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Waterford Public Schools

Music Curriculum 2026

Table of Contents Committee Members………………………………………………………………………………………1 Vision of a Graduate………………………………………………………………………………………..2 Music Curriculum Vision and Transfer Goals Statement……..……….…………...………… 3 General Music...…………………..………..………………………………………………………….……5 Chorus…………..……………………….…………………………………………………………………..174 Band……………..…………………….……………………………………………………………………..207 Orchestra……….…………..……………………………………………………………………………….249

Committee Members The following staff made significant contributions to the development of the Waterford Public Schools Music Curriculum:

Patrick Barry

Clark Lane Middle School Music Teacher

Timothy Fioravanti

Waterford High School Music Teacher

Lynn Masciarella

CLMS/WHS Music Teacher

William McCleary

Elementary School Music Teacher

Valerie Metivier

Quaker Hill Elementary Music Teacher

Celeste Milukas

Great Neck Elementary Music Teacher

Megan Nelson

Elementary School Music Teacher

Aaron Robarge

Clark Lane Middle School Music Teacher

Emma Taylor

Oswegatchie Elementary Music Teacher

Vision of the graduate

Effective Communicators

Information Analysts

Critical Thinkers

1A: Listen actively to understand information. 1B: Use an appropriate method of communication. 1C: Create a logical and evidence-based argument. 1D: Deliver a clear and effective presentation or performance. 2A: Use appropriate research tools to acquire information from a variety of sources. 2B: Evaluate different perspectives, biases, and levels of credibility. 2C: Analyze information gathered from research tools to demonstrate understanding.

3A: Make reasonable predictions of a real-world issue. 3B: Analyze data in order to justify a claim.

Self-Directed Learners

4A: Persevere through challenging situations with flexibility and resourcefulness. 4B: Recognize how thoughts, feelings, and actions affect achievement. 4C: Work independently towards achieving a meaningful goal.

Responsible Citizens

5A: Demonstrate respect for all cultures, identities, and perspectives. 5B: Practice responsible digital citizenship.

Waterford Public Schools is a community of learners that fosters and supports high aspirations, ensuring every student acquires the skills and knowledge necessary to be a responsible citizen, prepared to contribute and succeed in an ever-changing world. 2

Vision and Transfer Goals We provide a rigorous and inspiring experience to empower confident, creative, and expressive musicians. We advance a responsive, comprehensive, and inclusive program for our students using innovative tools and techniques, exploring historical and contemporary musical works, and strengthening the Vision of a Graduate skills to build a lifelong connection with the performing arts. With increased independence, students will be capable of the following: ●

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Reflecting and Growing as a Musician: Set goals, accept feedback, and apply self-reflection to grow as musicians (Self-Directed Learners, Critical Thinkers)

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Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, Self-Directed Learners)

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Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

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Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens)

Instructional Approach Our music program offers a cohesive and inclusive experience from early childhood through high school, grounded in joyful exploration, skill development, and artistic expression. Through general music, chorus, band, and orchestra, students grow as musicians, collaborators, and creative thinkers. Instruction is developmentally responsive, culturally inclusive, and aligned with national and state standards to support the whole learner. ●

Playful Exploration (PreK–5): Early music learning centers on singing, movement, games, and instrument play to build foundational skills and joy in music-making.

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Progressive Skill Building (K–12): Students develop technique, literacy, ensemble, expressive, creative, and reflective skills through scaffolded, intentional instruction.

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Executive Function Development: Music supports focus, planning, self-regulation, and perseverance through structured routines and rehearsal habits.

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Differentiated Instruction: Educators tailor feedback and strategies to meet diverse student needs and support growth for all experience levels.

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Peer Learning & Collaboration: Ensemble and group activities foster listening, leadership, and a shared sense of responsibility.

● Lifelong Musical Engagement: Through performance, creativity, and reflection, students build a deep connection to music that lasts beyond school.

General Music

Pre-School - 12 Grade

Pre-School General Music Pre-School Music Welcome to Music! Trimester 1: 12-15 Lessons

Moving and Grooving around the Music Room Trimester 2: 12-15 Lessons

Welcome to Arioso Land! Singing By Ourselves Trimester 3: 12-15 Lessons

Psst — do you hear that? That's the sound of music class calling our names! This is where our musical adventure begins. We get to find out what our voices can do, how our bodies can move, and what it feels like to make music together. Through echo songs, freeze dances, and a little bit of musical magic, we take our very first steps as musicians. And rumor has it — if we keep listening, keep singing, and keep exploring — there's a very special place waiting for us at the end of our journey.

We know the music room now — and the music room knows us! So it's time to turn things up. We're going to sing stronger, move bigger, and add something brand new to our musical toolkit: instruments we can shake, tap, and scrape. Along the way, we discover that music isn't just something we hear — it's something we feel in our body and something we share with the people around us.. And that special place we've been hearing about? We're getting closer.

We made it. Welcome to Arioso Land — a magical place where we sing instead of speak! All that exploring, moving, and listening was bringing us here the whole time. In Arioso Land, we discover that our singing voice is something special and all our own, and when we listen to each other sing, that’s the real magic. The music also has a heartbeat! We learn to start the beat ourselves and feel it moving through our songs and stories. When our voices and the beat work together, Arioso Land becomes the most musical place of all.

Pre-School General Music Unit 1 Course Name: Pre-K General Music Unit 1 Title: Welcome to Music!

Est. # of Lessons: 12-15

Unit Overview: Psst — do you hear that? That's the sound of music class calling our names! This is where our musical adventure begins. We get to find out what our voices can do, how our bodies can move, and what it feels like to make music together. Through echo songs, freeze dances, and a little bit of musical magic, we take our very first steps as musicians. And rumor has it — if we keep listening, keep singing, and keep exploring — there's a very special place waiting for us at the end of our journey. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Cr1.1.PK: With substantial guidance, explore musical sounds using the voice and body. Cr3.1.PK: With guidance, explore high and low vocal sounds through play. Re7.2.PK: With guidance, explore basic locomotor and non-locomotor movements. Pr6.1.PK: Participate appropriately in a group music experience with support.

Understandings ● ● ● ●

Our voices and bodies are instruments for making music. When we listen to each other, we make music together. Music class is a place where we explore, sing, move, and share. We can use our voices and bodies to respond to what we hear. Knowledge

Essential Questions ● ● ●

How do we move safely in the music room? What kinds of sounds can my voice make? How can my body move with music?

Skills (Framed as Learning Targets)

Pre-School General Music Unit 1 ● ● ● ● ● ● ●

Difference between singing voice and speaking voice Exploring loud/soft and high/low Call and response Personal space Basic locomotor movement (walk, tiptoe, hop, march) Basic non-locomotor movement (bend, stretch, sway, twist, freeze) Starting and stopping with a musical cue

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I can follow the music room routines. I can use my singing voice. I can echo a sound. I can move safely in my space. I can start and stop with the music

Key Vocabulary: singing voice, speaking voice, echo, personal space, high, low, loud, soft, move, freeze STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Participation in entrance and exit routines Use of singing voice during echo activities Safe movement during locomotor exploration Ability to respond to start/stop cues

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Echo song responses Vocal exploration during call-andresponse Freeze-and-move listening games Fingerplays demonstrating coordination Teacher modeling and guided practice

STAGE 3: LEARNING PLAN First Topic: Establishing Routines Through Vocal Play

Estimated # of Lessons: 6-7

Learning Targets: ● I can follow the routines in music class. ● I can use my singing voice. ● I can echo a sound

Essential Questions: ● How do we move in the music room? ● What kinds of sounds can my voice make?

Learning Activities: ● Welcome song with name echoes ● Entrance song (walking to spots with music) ● Echo songs using simple tonal patterns ● Vocal exploration with puppets or animal sounds (high bird / low bear) ● Call-and-response chants ● Musician’s posture play (practice listening bodies) Second Topic: Moving Our Bodies to Music

Estimated # of Lessons: 6-8

Learning Targets: ● I can move safely in my space. ● I can move when the music plays and

Essential Questions: ● How can my body move with music? ● How do we keep our bodies safe in music

Pre-School General Music Unit 1 ●

freeze when it stops. I can show loud/soft or fast/slow with my body.

class?

Learning Activities: ● Locomotor exploration (walk, march, tiptoe, hop) ● Freeze dance (start/stop cue practice) ● Movement scarves for expressive exploration ● Fingerplays and action songs ● Circle games with simple traveling patterns ● Recorded music for fast/slow and loud/soft movement exploration

Pre-School General Music Unit 2 Course Name: Pre-K General Music Unit 2 Title: Moving and Grooving around the Music Room

Est. # of Lessons: 12-15

Unit Overview: We know the music room now — and the music room knows us! So, it's time to turn things up. We're going to sing stronger, move bigger, and add something brand new to our musical toolkit: instruments we can shake, tap, and scrape. Along the way, we discover that music isn't just something we hear — it's something we feel in our body and something we share with the people around us.. And that special place we've been hearing about? We're getting closer. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

Transfer Goals

Cr1.1.PK: With guidance, explore and With increased independence, students will be create using vocal sounds and/or capable of the following: instruments. ● Creating and Sharing Original Music: Cr3.1.PK: Explore high and low singing Develop original ideas that convey voices. emotion, tell stories, and communicate Re7.2.PK: Move safely using basic with others through the writing, locomotor and non-locomotor movement. improvisation, and recording of music Pr4.3.PK: With substantial guidance, (Effective Communicators) explore music's expressive qualities such ● Performing Works of Music: Practice and as voice quality, dynamics, and tempo. refine technique, expressive intent, & Pr6.1.PK: Participate appropriately in a cultural understanding to communicate group music experience. musical ideas that pay respect to the Re8.1.PK: Experience loud/soft and composition & individual artistry (Effective fast/slow in music. Communicators, Information Analysts) ● Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Understandings

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Our singing voice is something we can grow and explore. Music lives in our bodies — we feel it when we move, tap, and sway. When we make music with others, we listen and respond together. Knowledge

Essential Questions ● ● ●

How can I use my singing voice? How can my body move to music with props? How can I make music with hand percussion?

Skills (Framed as Learning Targets)

Pre-School General Music Unit 2 ● ● ● ● ●

Singing voice vs. speaking voice Loud and soft Fast and slow High and low Personal space and group space

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I can sing with my group. I can use my singing voice. I can move safely in my space. I can move to show what I hear. I can use props to interact with music.

Key Vocabulary: singing voice, loud, soft, fast, slow, high, low, listen, space, ready body STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Participation in a group singing experience Use of singing voice during echo songs Movement reflects loud/soft or fast/slow Tactile and Kinesthetic Observation

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Echo and fragment songs Movement response to contrasting musical examples Freeze-and-move listening games

STAGE 3: LEARNING PLAN First Topic: Singing and Moving to the Music

Estimated # of Lessons: 8-10

Learning Targets: ● I can sing with my group. ● I can use my singing voice. ● I can move safely in my space. ● I can move to show what I hear.

Essential Questions: ● How can I use my voice to sing? ● How can my body show the music?

Learning Activities: ● Echo songs using short tonal patterns ● Fragment songs for singing stamina ● Singing games (i.e., name songs, question-and-answer) ● Movement exploration (walk, march, tiptoe, sway, freeze) ● Scarves or ribbons for expressive movement ● Loud/soft and fast/slow movement games ● Spatial exploration games for personal and group space ● Participation in age-appropriate school sing-alongs (as appropriate) Second Topic: Singing and Moving to the Music

Estimated # of Lessons: 4-5

Learning Targets: ● I can use props to interact with music. ● I can move to show what I hear.

Essential Questions: ● How can I make music with my hands & instruments? ● How can my body show the music?

Learning Activities: ● Introduction to hand percussion — shakers, drums, rhythm sticks ● Tap and shake along to songs and recorded music ● Stop-and-start instrument games ● Participation in age-appropriate school sing-alongs as appropriate

Pre-School General Music Unit 3 Course Name: Pre-School General Music Unit 3 Title: Welcome to Arioso Land! Singing By Ourselves

Est. # of Lessons: 12-15

Unit Overview: We made it. Welcome to Arioso Land — a magical place where we sing instead of speak! All that exploring, moving, and listening was bringing us here the whole time. In Arioso Land, we discover that our singing voice is something special and all our own, and when we listen to each other sing, that’s the real magic. The music also has a heartbeat! We learn to start the beat ourselves and feel it moving through our songs and stories. When our voices and the beat work together, Arioso Land becomes the most musical place of all. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Cr1.1.PK: With guidance, explore and create vocal sounds. Pr4.3.PK:With substantial guidance, explore music’s expressive qualities (such as voice quality, dynamics, and tempo) Pr6.1.PK: Participate appropriately in group music experiences Re8.1.PK: Experience loud/soft and fast/slow in music. Re9.1.PK: with guidance, express preferences about music using simple words or gestures.

Understandings ● ● ● ●

I can use my singing voice to share ideas. Everyone’s voice sounds different. Listening helps us be kind performers and audience members. Music can tell a story.

Essential Questions ● ● ● ● ●

Knowledge ● ●

High and low sounds Loud and soft

How can I use my singing voice in Arioso Land? How do I listen when someone else is singing or playing? How does this music make me feel? How can I use music to share my ideas? How can my body show the music? Skills (Framed as Learning Targets)

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I can use my singing voice in Arioso Land.

Pre-School General Music Unit 3 ● ● ● ●

Simple steady beat (patting, tapping, marching) Turn-taking Audience behavior (quiet body, listening ears) Music can be used to tell simple ideas or stories

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I can explore using my singing voice to create a simple melody. I can listen while someone else sings. I can find and show a steady beat. I can move to show the pulse of the music.

Key Vocabulary: Arioso Land, singing voice, high, low, loud, soft, beat, echo, listen, turn, audience, story STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Participation in a group Arioso Land sharing circle Use of singing voice during echo or creative play Ability to listen respectfully while others sing Simple vocal or movement response to music

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Echo and fragment songs Voluntary solo singing moments Call-and-response storytelling Movement responses to contrasting music Teacher modeling and guided participation

STAGE 3: LEARNING PLAN First Topic: Arioso (making and sharing songs)

Estimated # of Lessons: 9-11

Learning Targets: ● I can use my singing voice in Arioso Land. ● With guidance, I can use my singing voice to create a simple melody. ● I can listen when someone else sings.

Essential Questions: ● How can I use my singing voice in Arioso Land? ● How do I listen when someone else is singing or playing? ● How does this music make me feel?

Learning Activities: ● “Speaking vs. Singing” dramatic play ● Singing games (i.e., name songs, question-and-answer, familiar rhymes) ● Group storytelling through sung phrases ● Arioso Land sharing circle (voluntary singing turns) ● Puppet-led singing conversations ● Neutral syllable vocal play (loo, la, bee) ● High/low vocal slides Second Topic: Finding the Pulse

Estimated # of Lessons: 3-4

Learning Targets: ● I can start my own beat.

Essential Questions: ● How do I listen when someone else is singing or playing? 13

Pre-School General Music Unit 3 ●

I can move to show the pulse of the music.

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How can my body show the music? How can I use music to share my ideas?

Learning Activities: ● Simple steady beat with body percussion and classroom instruments ● Movement to recorded music to emphasize steady beat (patting, tapping, marching)

Kindergarten General Music

Kindergarten Music Welcome to Music! It’s been waiting for you! Trimester 1

We start our time together by getting to know the music room and each other. We start exploring the sounds we make and how we move to the music.

You are a S.T.A.R.! Using our singing voice Trimester 2

We now use our singing voice while we move our body to show what we are hearing.

Welcome to Arioso Land! Singing Solos and Respecting Performers Trimester 3

Welcome to Arioso Land — a magical place where every conversation is singing. We learn how to retell stories, create songs, and make music together.

Kindergarten General Music Unit 1

Course Name: Kindergarten General Music Unit Title: 1. Welcome to Music! - It’s been waiting for you!

Est. # of Lessons: 12-15

Unit Overview: We start our time together by getting to know the music room and each other. We explore with our voice and move our bodies to music. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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Cr1.1.Ka: With guidance, explores and experiences music concepts (such as beat and melodic contour) Cr3.1.Ka: With guidance, explore high/middle/low voice singing. Re7.2.Ka: Explore basic locomotor and non-locomotor movements (including but not limited to, walk, run, hop, jump, gallop, slide, skip, bend, twist and sway), travelling forward and backward. Pr6.1.Kb: Perform appropriately for the audience.

Understandings ●

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Musicians use their voices to demonstrate what matters to us — respect for routines, following directions, and engaging with others. Active engagement with music through vocalization, physical expression, and sound experimentation deepens our comprehension and appreciation of it.

Essential Questions ● ● ●

Knowledge ● ●

Difference between singing, speaking, shouting, whispering voices Basic directions: high and low, loud and

How do I/we move around the music room? How am I using my voice to communicate? How am I using my body to show what I am hearing?

Skills (Framed as Learning Targets) ● ● ●

I can follow the routines in my music class. I can change my voice when speaking. I can practice moving with the music.

Kindergarten General Music Unit 1 soft, same and different, call and response Body parts and body control Basic locomotor and nonlocomotory movement Key Vocabulary: speaking voice, personal space, echo, leader, follower ● ●

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Vocal inflection stories Fingerplays Observation and checklist to evaluate individual demonstration in class routines and procedures

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Echo songs and pitch exploration Movement exploration Teacher and peer modeling

STAGE 3: LEARNING PLAN First Topic: Establishing Routines as We Explore our Voices

Estimated # of Lessons: 4-6

Learning Targets: ● I can follow the routines in my music class. ● I can change my voice when speaking.

Essential Questions: ● How do I/we move around the music room? ● How am I using my voice to communicate?

Learning Activities: ● Echo songs and pitch exploration for engagement of vocal muscles ● Entrance activity (song/walking in line to spots ) for establishing routines ● Musician’s posture play for audience and listening skills ● Call and response and echoing for listening skills and vocal exploration Second Topic: Locomotor and Nonlocomotory Movement

Estimated # of Lessons: 7-9

Learning Targets: ● I can follow the routines in my music class. ● I can change my voice when speaking. ● I can practice moving with the music.

Essential Questions: ● How do I/we move around the music room? ● How am I using my voice to communicate? ● How am I using my body to show what I am hearing?

Learning Activities: ● Movement exploration activities for developing body coordination and expressive sensitivities ● Movement for form and expression (fingerplays, action songs, circle games, recorded music) for experiencing musical form through organized movement)

Kindergarten General Music Unit 2

Course Name: Kindergarten General Music Unit Title: 2. You are a S.T.A.R.! - Using our singing voice

Est. # of Lessons: 12-15

Unit Overview: We now use our singing voice while we move our body to show what we are hearing. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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Transfer Goals With increased independence, students will be capable of : ● Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) ● Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) ● Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) ● Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

Understandings ● ●

Attraction to a piece of music is grounded in one’s experiences (cultural background, life events), mood, and setting. Musicians use their voices to demonstrate what matters to us — respect for routines, following directions, and engaging with others.

Essential Questions ● ● ● ●

How is this song making me feel? How can I describe it? How am I using my voice to communicate? How am I using my body to show what I am hearing? How am I showing respect with my body and voice in a musical experience?

Kindergarten General Music Unit 2 ●

Active engagement with music through vocalization, physical expression, and sound experimentation deepens our comprehension and appreciation of it. Knowledge

Skills (Framed as Learning Targets)

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S.T.A.R. components: S=sit up straight and tall; T=track the speaker; A=always try your best; R=raise your hand to speak. ● Voices are instruments for singing ● Bodies are tools for expressing musical elements ● Ways to move: walk, run, hop, jump, gallop, slide, skip, bend, twist and sway, fast, slow ● Explore expressive qualities of movement ● Ways of how songs affect people (“I feel excited when I hear drums.” “I remember this song from when I went to a baseball game.”) Key Vocabulary: singing voice - loud, soft; walk, run, jump, hop, gallop, slide, skip, twist, sway, fast, slow

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I can move appropriately given the directions. I can sing in a group. I can practice S.T.A.R. as we sing together. I can move my body to connect with what I am hearing. I can share how a song makes me feel.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Group songs Group games and recorded music Observation and checklist to evaluate individual demonstration in singing and moving

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Echo and fragments songs Movement to classical music Teacher and peer modeling

STAGE 3: LEARNING PLAN First Topic: Singing and Moving to the Music

Estimated # of Lessons: 12-15

Learning Targets: ● I can move appropriately given the directions. ● I can sing in a group. ● I can practice S.T.A.R. as we sing together. ● I can move my body to connect with what I am hearing. ● I can share how a song makes me feel.

Essential Questions: ● How is this song making me feel? How can I describe it? ● How am I using my voice to communicate? ● How am I using my body to show what I am hearing? ● How am I showing respect with my body and voice in a musical experience?

Kindergarten General Music Unit 2 Learning Activities: ● Echo songs and fragment songs for exercising our singing voices ● Participation in school sing-alongs ● Movement exploration activities for developing body coordination and expressive sensitivities ● Movement for Form and Expression (fingerplays, Action song, Circle games, recorded music) for experiencing musical form through organized movement ● Musician’s posture play for audience and listening skills ● Spatial exploration for establishing person and group space

Kindergarten General Music Unit 3 Course Name: Kindergarten General Music Est. # of Lessons: 12-15 Unit Title: 3- Welcome to Arioso Land! Singing Solos and Respecting Performers Unit Overview: Welcome to Arioso Land — a magical place where every conversation is singing. We learn how to retell stories, create songs, and make music together. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Cr1.1.Ka: With guidance, explores and experiences music concepts (such as beat and melodic contour) Pr6.1.Kb: Perform appropriately for the audience. Re8.1.Ka: With guidance, explore and differentiate expressive qualities (such as dynamics, form and tempo) Cn10.1.Ka: Retell a personal story through song. Re9.1.Ka: With guidance, develop ways to apply personal and expressive preferences through guided listening.

Transfer Goals With increased independence, students will be capable of : ● Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) ● Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) ● Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) ● Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) ● Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens)

Understandings ● ●

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Essential Questions ● ● ● ● ●

Kindergarten General Music Unit 3 sound experimentation deepens our comprehension and appreciation of it. Knowledge ● ●

Skills (Framed as Learning Targets)

Beat and melodic direction Recognize that music has been created throughout time

Key Vocabulary: arioso land, beat, motion, echo, movement, low, middle, high, unpitched percussion, lullaby, ballad, audience, composer

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I can create simple songs with my voice. I can move my body to create artistic ideas. I can use a singing voice in arioso land. I can pay attention to other performers by listening and keeping my body still. I can share how a song makes me feel. I can maintain a steady beat

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ●

Formative Assessment

Solos - using a singing voice alone in an arioso melody Observation and checklist to evaluate individual demonstration in singing and moving

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Create simple songs Teacher and peer modeling in arioso land

STAGE 3: LEARNING PLAN First Topic: Arioso for Vocal Creativity

Estimated # of Lessons: 2-3

Learning Targets: ● I can use a singing voice in arioso land. ● I can create simple songs with my voice.

Essential Questions: ● How am I using my voice to communicate?

Learning Activities: ● Echo songs, Fragment songs, and Simple Songs for exercising our singing voices ● Arioso for spontaneous vocal creativity Second Topic: Making and Sharing Songs

Estimated # of Lessons: 6-7

Learning Targets: Essential Questions: ● I can create simple songs with my voice. ● How is this song making me feel? How can I describe it? ● I can move my body to create artistic ideas. ● How am I using my voice to communicate? ● I can use a singing voice in arioso land. ● How am I using my body to show what I am ● I can pay attention to other performers by hearing? listening and keeping my body still. ● How am I showing respect with my body and ● I can share how a song makes me feel. voice in a musical experience?

Kindergarten General Music Unit 3 Learning Activities: ● Spontaneous songs using neutral syllables, spontaneous songs using familiar rhymes, spontaneous songs as a way to communicate ● Playing music with students and have them describe emotions using words or pictures Third Topic: Maintaining the beat

Estimated # of Lessons: 4-5

Learning Targets: ● I can maintain a steady beat

Essential Questions: ● How am I using my body to show what I am hearing? ● How can I keep a steady beat when I sing, clap, or move?

Learning Activities: ● Simple steady beat with body percussion and classroom instruments ● Movement to recorded music to emphasize steady beat (patting, tapping, marching) ● Fingerplays and action songs

Grade 1 General Music

Grade 1 Music How We Connect to Music Trimester 1

How We Make Our Music Better Trimester 2

How We Read Music Trimester 3

We start our year by creating musical stories. We use our bodies to keep a steady beat. Then, we explore how to change our movements to match the rise and fall of a melody. As we create and connect, we discover how to express our feelings and experiences.

Next, we discover how to identify low, middle, and high sounds in songs. We explore how to use rhythm instruments to help us keep the steady beat. We learn how to add sounds and music to stories to help them feel more exciting. We practice being a respectful audience by using our S.T.A.R. behaviors as we watch and listen to musical performances.

Get your detective hats on! Music has a language that we can start to decode. We discover how to use special syllables to echo and identify different musical sounds. We also explore how to use rhythm words to read and create our very own musical patterns. Finally, we celebrate by sharing and listening to musical performances.

Grade 1 General Music Unit 1

Course Name: Grade 1 General Music Unit 1 Title: How We Connect to Music

Est. # of Lessons: 13-15

Unit Overview: We start our year by creating musical stories. We use our bodies to keep a steady beat. Then, we explore how to change our movements to match the rise and fall of a melody. As we create and connect, we discover how to express our feelings and experiences. STAGE 1: DESIRED RESULTS Established Goals ● ●

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CR1.1.1: With limited guidance, create musical ideas (such as answering a musical question) for a specific purpose. PR 4.2.1: With limited guidance, demonstrate knowledge of music concepts (such as beat and melodic contour ) in music from a variety of cultures selected for Performance. MU:Re9.1.1a: With limited guidance, apply personal and expressive preferences in the evaluation of music for specific purposes. Pr6.1.1b: Perform appropriately for the audience and purpose .

Transfer Goals ●

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Understandings ● ● ●

Attraction to a piece of music is grounded in one’s experiences (cultural background, life events), mood, and setting. Composing and improvising express personal voice and original ideas. Active engagement with music through vocalization, physical expression, and

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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How is this song making me feel? How can I describe it? How am I using my voice to communicate? How am I using my body to show what I am hearing? How can we listen to a song to show we care about the musicians performing it?

Grade 1 General Music Unit 1

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sound experimentation deepens our comprehension and appreciation of it. Respectful listening, for a musician, is an active process to appreciate its emotional intent. Knowledge

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Skills (Framed as Learning Targets)

How we use singing to convey meaning (expressive qualities) Music and sounds that create stories Music comes from many places, timelines (past, present, future), and experiences

Key Vocabulary: beat, movement, melody, shape

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I can create beat movements for a song. I can respond to changes in melody through my movements. I can make a personal connection to a piece of music. I can tell a personal story through song. I can listen and respond to a musical performance using S.T.A.R. behaviors.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Arioso Game songs (i.e., Monkey See and Do) Observation and checklist to evaluate individual demonstration of S.T.A.R behaviors

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Folk songs Movement exploration Teacher and peer modeling Game songs Guided movement Class discussion Journals

STAGE 3: LEARNING PLAN First Topic: Creating using the Body

Estimated # of Lessons: 6-7

Learning Targets: ● I can create beat movements for a song. ● I can listen and respond to a musical performance using S.T.A.R. behaviors. ● I can respond to changes in melody through my movements.

Essential Questions: ● How am I using my body to show what I am hearing? ● How can we listen to a song to show we care about the musicians performing it?

Learning Activities: ● STAR check-ins ● Musician’s posture play for audience and listening skills ● Game Songs ● Guided and freestyle movement exploration ● Body Percussion Staff creating

Grade 1 General Music Unit 1 Second Topic: Creating Using Feeling and Experiences

Estimated # of Lessons: 6-8

Learning Targets: Essential Questions: ● I can make a personal connection to a piece ● How is this song making me feel? How can I of music. describe it? ● I can tell a personal story through song. ● How am I using my voice to communicate? Learning Activities: ● Arioso ● Class discussion / sharing of family traditions, experiences and relationships

Grade 1 General Music Unit 2 Course Name: Grade 1 General Music Unit 2 Title: How We Make Our Music Better

Est. # of Lessons: 13-15

Unit Overview: Next, we discover how to identify low, middle, and high sounds in songs. We explore how to use rhythm instruments to help us keep the steady beat. We learn how to add sounds and music to stories to help them feel more excited. We practice being a respectful audience by using our S.T.A.R. behaviors as we watch and listen to musical performances. STAGE 1: DESIRED RESULTS Established Goals ●

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Re7.2.1: With limited guidance, demonstrate and identify how specific music concepts (such as beat or pitch) are used in various styles of music for a purpose. Pr4.2.1: With limited guidance, demonstrate knowledge of music concepts (such as beat and melodic contour ) in music from a variety of cultures selected for Performance. Pr6.1.1b: Perform appropriately for the audience and purpose.

Transfer Goals ●

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Understandings ● ● ●

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Attraction to a piece of music is grounded in one’s experiences (cultural background, life events), mood, and setting. Composing and improvising expresses personal voice and original ideas. Active engagement with music through vocalization, physical expression, and sound experimentation deepens our comprehension and appreciation of it. Respectful listening, for a musician, is an active process to appreciate its emotional

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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How do I use this instrument to make the story more special? How am I using my body to show what I am hearing? How do we show based on our actions when it's time to play, practice, or rest our instruments? How can we listen to a song to show we care about the musicians performing it?

Grade 1 General Music Unit 2 intent. Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Unpitched percussion instruments and how to use (e.g. tambourine, wood block, egg shaker) Creating and reading quarter notes, rests and beamed eighth notes, expressive qualities, beat structure, Classroom instrument technique Different positions to play music (floor, rest, ready, and play position) Impact of instruments on musical expression Music and sounds can create a story, music comes from many places, timelines (past, present, future), and experiences

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I can identify low, middle, and high in a piece of music. I can use a rhythm instrument to keep the beat as I play a song. I can create meaning by adding sound to stories. I can listen and respond to a musical performance using S.T.A.R. behaviors.

Key Vocabulary: low, middle, high, floor, rest, ready, play positions STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Solfege games Folk song or game song Sound stories Observation and checklist to evaluate individual demonstration of S.T.A.R behaviors

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Folk songs Teacher and peer modeling Game songs Class discussion Instrument identification games

STAGE 3: LEARNING PLAN First Topic: Practicing Being Respectful as We Watch and Listen

Estimated # of Lessons: 4-5

Learning Targets: ● I can listen and respond to a musical performance using S.T.A.R. behaviors.

Essential Questions: ● How can we listen to a song to show we care about the musicians performing it? ● How do we show based on our actions when it's time to play, practice, or rest our instruments?

Learning Activities: ● Teacher and peer modeling

Grade 1 General Music Unit 2 ●

Class discussion

Second Topic: Exploring the Beat and the Highs and Lows of a Song

Estimated # of Lessons: 5-6

Learning Targets: ● I can use a rhythm instrument to keep the beat as I play a song. ● I can identify low, middle, and high in a piece of music.

Essential Questions: ● How am I using my body to show what I am hearing?

Learning Activities: ● Folk songs ● Songs with unpitched percussion accompaniment ● Moving to recorded music ● Movement for form and expression (action songs) Third Topic: Using Sound to Bring Stories to Life

Estimated # of Lessons: 4-5

Learning Targets: ● I can create meaning by adding sound to stories.

Essential Questions: ● How do I use this instrument to make the story more special?

Learning Activities: ● Sound stories ● Timbre exploration (instrument identification games)

Grade 1 General Music Unit 3 Course Name: Grade 1 General Music Unit 3 Title: How We Read Music

Est. # of Lessons: 13-15

Unit Overview: Get your detective hats on! Music has a language that we can start to decode. We discover how to use special syllables to echo and identify different musical sounds. We also explore how to use rhythm words to read and create our very own musical patterns. Finally, we celebrate by sharing and listening to musical performances. STAGE 1: DESIRED RESULTS Established Goals ● ●

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MU:Pr4.2.1b: When analyzing selected music, read and perform rhythmic patterns using iconic or standard notation. MU:Cr2.1.1b: With limited guidance, use iconic or standard notation and/or recording technology to document and organize personal musical ideas. Pr6.1.1b: Perform appropriately for the audience and purpose .

Transfer Goals ●

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Understandings ● ● ●

Music is a system of organized sound and silence that can be read, written, and communicated. Rhythm is a fundamental building block of music that can be read, performed, and constructed to produce unique patterns. Respectful listening, for a musician, is an active process to appreciate its emotional intent.

Essential Questions ● ● ●

Knowledge ● ●

How can "La, Sol, Mi" help us sing and understand new songs? How can we use musical terms to read and create our own rhythms? How can we listen to a song to show we care about the musicians performing it?

Skills (Framed as Learning Targets)

Iconic and beginning standard notation Creating and reading quarter notes, rests and beamed eighth notes Beat structure to create rhythms Solfege syllables - La, Sol, Mi

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Key Vocabulary: du/du-de, quarter rest, silence, sol, mi, la notation

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I can echo and identify Solfege syllables La, Sol and Mi. I can create rhythms using du and du-de and quarter rest. I can read and identify simple rhythms using syllables. I can listen and respond to a musical performance using S.T.A.R. behaviors.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

Grade 1 General Music Unit 3 Summative Assessment ● ● ● ●

Formative Assessment

Solfege games Folk song or game song Rhythm identification games Observation and checklist to evaluate individual demonstration of S.T.A.R behaviors

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Folk songs Teacher and peer modeling Game songs Class discussion (i.e., turn and talk) Curwen hand signs Solfege and rhythm check ins

STAGE 3: LEARNING PLAN First Topic: Reading and Creating with Standard Notation ● ●

I can create rhythms using du and du-de and quarter rest. I can read and identify simple rhythms using syllables.

Estimated # of Lessons: 4-5 Essential Questions: ● How can we use musical terms to read and create our own rhythms?

Learning Activities: ● Folk songs ● Game songs ● Rhythm identification games ● Kinesthetic rhythm activities (popsicle sticks, play dough, dry erase boards) ● Rhythm check-ins Second Topic: Singing with Solfege

Estimated # of Lessons: 5-6

Learning Targets: ● I can echo and identify Solfege syllables La, Sol and Mi.

Essential Questions: ● How can "La, Sol, Mi" help us sing and understand new songs?

Learning Activities: ● Folk songs ● Game songs ● Solfege games ● Modeling of Curwen hand signs ● Solfege check-ins Third Topic: Responding Respectfully to Musical Works

Estimated # of Lessons: 4-5

Learning Targets: ● I can listen and respond to a musical performance using S.T.A.R. behaviors.

Essential Questions: ● How can we listen to a song to show we care about the musicians performing it?

Learning Activities: ● Student performances ● Teacher and peer modeling ● Class discussion (i.e., turn and talk)

Grade 2 General Music

Grade 2 General Music Getting Down with the Beat Trimester 1

Moving and Grooving from around the World Trimester 2

Laying Down Your Own Tracks Trimester 3

We make sounds on our mallet instruments by playing up and down scales, and discover how to respectfully care for our instruments. We play together in an ensemble and practice taking cues from our musical director to make our music louder or quieter.

Next, we keep that good vibe going and learn to perform folk dances from many cultures, playing our mallets to help tell their stories. We learn about half notes, quarter notes, and eighth notes and find out how they help us read and play new songs.

Finally, we become musical composers. We keep a steady beat as we read, write, and create rhythms of our own. We practice writing down our musical ideas using notation and then connect a story from a culture using a song and movement.

Grade 2 General Music Unit 1

Course Name: Grade 2 General Music Unit 1 Title: Getting Down with the Beat

Est. # of Lessons: 12-15

Unit Overview: We make sounds on our mallet instruments by playing up and down scales, and discover how to respectfully care for our instruments. We play together in an ensemble and practice taking cues from our musical director to make our music louder or quieter. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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MU:Pr6.1.2b: Perform appropriately for the audience and purpose. MU:pr6.1.2a: Perform music for a specific purpose with expression and technical accuracy MU:Pr5.1.2b: Rehearse, identify and apply strategies to address interpretive, performance, and technical challenges of music. MU:Pr4.3.2a: Demonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expressive intent.

Transfer Goals ●

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Understandings ●

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Musicians use their bodies appropriately to demonstrate what matters to us — respect for materials, following directions, and performing as a group. Active engagement with music through instruments and dance deepens our comprehension and appreciation of it. Conductors guide an ensemble in interpreting musical works.

Essential Questions ● ● ●

Knowledge ● ● ●

Mallet technique and positions Dynamics - forte and piano and its impact on audience Proper care for mallet instruments

How do context and the manner in which musical work is presented influence our movement? How do musicians improve the quality of their performance? How do performers interpret musical works?

Skills (Framed as Learning Targets) ● ● ●

I can move to a beat with a group I can play up/down glissando and scales on mallet instruments. I can respectfully play and care of my

Grade 2 General Music Unit 1

Key Vocabulary: unpitched percussions, mallet, bar, bordun, forte, piano, glissando, staff, line, space

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instrument. I can play a mallet instrument to accompany an ensemble. I can take cues from my musical director to make the sound louder or quieter.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Beat keeping with rhymes Playing up and down on mallets Observation and checklist to evaluate proper technique and care of mallets

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Teacher and peer modeling Movement to recorded and student-led music and rhymes Mallet visuals

STAGE 3: LEARNING PLAN First Topic: Moving to the beat

Estimated # of Lessons: 4-5

Learning Targets: ● I can move to a beat with a group.

Essential Questions: ● How do context and the manner in which musical work is presented influence our movement?

Learning Activities: ● Mabel, Mabel, Set the Table ● Games and folk songs (skin and bones, pass the pumpkin, freeze dances) ● Hand clapping games ● Musicplay “Up and Down” game Second Topic: Discovering mallet instruments

Estimated # of Lessons: 3-5

Learning Targets: ● I can play up/down glissando and scales on mallet instruments. ● I can respectfully play and care of my instrument. ● I can play a mallet instrument to accompany an ensemble.

Essential Questions: ● How do musicians improve the quality of their performance?

Learning Activities: ● Adding glissandos to folk songs and rhymes ● Adding sound to stories (Pease Porridge Hot, Little Old Lady Who Was Not Afraid of Anything) Third Topic: Exploring dynamics

Estimated # of Lessons: 5-6

Grade 2 General Music Unit 1 Learning Targets: ● I can take cues from my musical director to make the sound louder or quieter.

Essential Questions: ● How do performers interpret musical works?

Learning Activities: ● Games and folk songs (skin and bones, pass the pumpkin) ● Movement with scarves activities ● Choreographed moves to music

Grade 2 General Music Unit 2 Course Name: Grade 2 General Music Unit 2 Title: Moving and Grooving from around the World

Est. # of Lessons: 12-15

Unit Overview: Next, we keep that good vibe going and learn to perform folk dances from many cultures, playing our mallets to help tell their stories. We learn about half notes, quarter notes, and eighth notes and find out how they help us read and play new songs. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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MU:Pr6.1.2b: Perform appropriately for the audience and purpose. MU:pr6.1.2a: Perform music for a specific purpose with expression and technical accuracy MU:Pr5.1.2b: Rehearse, identify and apply strategies to address interpretive, performance, and technical challenges of music. MU:Pr4.2.2b: When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation. MU:Cr2.1.2b: Use iconic or standard notation and/or recording technology to combine, sequence, and document personal musical ideas.

Transfer Goals ●

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Understandings ●

Active engagement with music through instruments and dance deepens our comprehension and appreciation of it and its ability to connect us to cultures across the globe.

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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How does understanding the structure and context of musical works inform performance? How do musicians make creative decisions?

Grade 2 General Music Unit 2 Knowledge ● ● ● ● ●

Skills (Framed as Learning Targets)

Introduction to 5-line staff as way to communicate music in the Western world Basic routines that are part of given folk dances (e.g., do-si-do, sashay) How to create songs using mallet instruments (e.g., xylophone, metallophone, glockenspiel) How sounds and instruments from various cultures are unique Introduction to folk dances from around the world

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I can perform folk dances from many cultures. I can echo mi, re, do patterns on a 5-line staff. I can create patterns and rhythms using mallet instruments. I can identify half notes, quarter notes, and eighth notes in a piece of music.

Key Vocabulary: half note, quarter note, eighth note, solfege, culture STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Folk dance to recorded music Observation and checklist to evaluate proper dance technique Musicplay Online games

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Teacher and peer modeling Movement to recorded and student-led music and rhymes

STAGE 3: LEARNING PLAN First Topic: Moving to a folk dance

Estimated # of Lessons: 6-7

Learning Targets: ● I can perform folk dances from many cultures.

Essential Questions: ● How does understanding the structure and context of musical works inform performance?

Learning Activities: ● Folk dances (Sashay the Donut, Alabama Gal, etc.) Second Topic: Exploring patterns in music

Estimated # of Lessons: 5-7

Learning Targets: ● I can echo mi, re, do patterns on a 5-line staff. ● I can create patterns and rhythms using mallet instruments. ● I can identify half notes, quarter notes, and eighth notes in a piece of music.

Essential Questions: ● How do musicians make creative decisions?

Grade 2 General Music Unit 2 Learning Activities: ● Accompanying folk songs and rhymes on mallets ● Musicplay Online Games ● Melodic and rhythmic flash cards

Grade 2 General Music Unit 3 Course Name: Grade 2 General Music Unit 3 Title: Laying Down Your Own Tracks

Est. # of Lessons: 12-15

Unit Overview: Finally, we become musical composers. We keep a steady beat as we read, write, and create rhythms of our own. We practice writing down our musical ideas using notation and then connect a story from a culture using a song and movement. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.2b: When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation. MU:Cr2.1.2b: Use iconic or standard notation and/or recording technology to combine, sequence, and document personal musical ideas. MU:Cn10.1.2a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Transfer Goals ●

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Understandings ●

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Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance. Musicians’ creative choices are influenced by their expertise, context, and expressive intent. Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and responding.

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How does understanding the structure and context of musical works inform performance? How do musicians make creative decisions? How do the other arts, other disciplines, contexts, and daily life inform creating, performing, and responding to music?

Grade 2 General Music Unit 3 Knowledge ● ● ●

Skills (Framed as Learning Targets)

Recording musical ideas using iconic and standard notation The relationship of Mi, Re, Do on a staff Different cultures tell us stories

Key Vocabulary: no new vocabulary

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I can keep a steady beat while echoing, writing, and reading rhythms. I can identify and perform mi, re, do patterns by reading them on the 5-line staff. I can create musical ideas using notation. I can connect to a story from a culture using song and movement.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Teacher observation Playing mi-re-do on mallet instruments Recording musical ideas with standard notation

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Teacher and peer modeling

STAGE 3: LEARNING PLAN First Topic: Beginning Standard Notation

Estimated # of Lessons: 6-7

Learning Targets: ● I can keep a steady beat while echoing, writing, and reading rhythms. ● I can identify and perform mi, re, do patterns by reading them on the 5-line staff. ● I can create musical ideas using notation.

Essential Questions: ● How does understanding the structure and context of musical works inform performance? ● How do musicians make creative decisions?

Learning Activities: ● Musicplay Online games ● Small group/full class work to share compositions ● Gameplan and First Steps songs (Go Round the Mountain, Hop Old Squirrel) Second Topic: Connecting to Cultures around the World

Estimated # of Lessons: 6-7

Learning Targets: ● I can connect to a story from a culture using song and movement.

Essential Questions: ● How do the other arts, other disciplines, contexts, and daily life inform creating, performing, and responding to music?

Learning Activities: ● Folk tales and stories ● Student sharing of family culture

Grade 3 General Music Grade 3 General Music Rhythm By The Numbers! Trimester 1

Read Between the Lines! Trimester 2

I Can Play The Recorder! Trimester 3

We start our year exploring how music is written by identifying and labeling notes and rhythms on the staff. We practice counting rhythms using numbers to strengthen our reading skills and expand to reading longer phrases in music. We sing in canon to create harmony and independence, and we discover the new solfege syllable high Do’ to expand our range. Finally, we practice following a conductor to perform together with precision and expression.

Next, we look and listen to how music is organized by exploring the form of songs and the parts of the staff. We learn to read treble clef note names so we can understand and play melodies. We discover the four instrument families and learn how each one sounds and works to make music in its own special way. By listening, labeling, and describing what we hear, we connect the notes on the page to the instruments that bring them to life.

Finally, we kick off our 3-year recorder journey by learning to play the notes B, A, and G with good hand and finger positions. We explore exciting new rhythms with sixteenth notes and add the solfege syllable Fa to our singing. As we play and sing, we listen critically to how we sound and enhance our musicianship skills—reflecting on our performances and finding ways to improve each time we play.

Grade 3 General Music Unit 1

Course Name: Grade 3 General Music Unit 1 Title: Rhythm By The Numbers!

Est. # of Lessons: 12-15

Unit Overview: We start our year exploring how music is written by identifying and labeling notes and rhythms on the staff. We practice counting rhythms using numbers to strengthen our reading skills and expand to reading longer phrases in music. We sing in canon to create harmony and independence, and we discover the new solfege syllable high Do’ to expand our range. Finally, we practice following a conductor to perform together with precision and expression. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Cr2.1.3b: Use standard and/or iconic notation and/or recording technology to document personal rhythmic and melodic musical ideas. MU:Pr4.2.3b: When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and standard notation. MU:Pr5.1.3b: Rehearse to refine technical accuracy, expressive qualities, and identified performance challenges. MU:Pr5.1.3a: Apply teacher-provided and collaboratively- developed criteria and feedback to evaluate accuracy of ensemble Performances. MU:Pr4.2.3a: Demonstrate understanding of the structure in music selected for performance.

Transfer Goals ●

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Understandings ● ● ● ●

Counting rhythms using numbers helps musicians play with accuracy and precision. Conductors use gestures and patterns to guide musicians in playing together at the same tempo and with unified expression. Musicians use familiar rhythm patterns as building blocks to read new music and play with greater accuracy and confidence. Harmony is created when multiple pitches are played simultaneously, and chords are built by combining three or more notes together.

Essential Questions ● ● ● ● ●

How does counting help me play rhythms correctly? What does a conductor do to help everyone play together? How can I use rhythm patterns to guide my playing? What is harmony and how do I recognize it? How can I tell if I’m improving?

Grade 3 General Music Unit 1 ●

Musicians assess improvement by comparing current performances to past performances, noticing increased accuracy, confidence, and expression. Knowledge

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Skills (Framed as Learning Targets)

Modern music is based off of music from the past How to identify grade 3 standard notation Solfege syllable Fa Cross over pattern on mallets

Key Vocabulary: strings, woodwinds, percussion, brass, audience etiquette, conductor

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I can identify and label grade-level notation. I can count rhythms in numbers. I can identify and echo a phrase. I can sing in Canon. I can sing and identify the Solfege syllable high Do.’ I can follow a conductor. I can play a cross-over pattern on mallets. I can demonstrate dance etiquette. I can respond to a performance. I can describe music using basic music terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Teacher observation /checklist Solos solfege echos Decoding and recording rhythms Musicplay assessment games (Rhythm Racer)

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Teacher and peer modeling Match the Melody/Solfege ID games Class discussion Peer assessment

STAGE 3: LEARNING PLAN First Topic: Expanding Music Literacy Learning Targets: ● I can identify and label grade-level notation. ● I can count rhythms in numbers. ● I can identify and echo a phrase. ● I can sing and identify the Solfege syllable high Do.’ ● I can describe music using basic music terminology

Estimated # of Lessons: 12-15 ● ● ● ●

How does counting help me play rhythms correctly? How can I use rhythm patterns to guide my playing? What is harmony and how do I recognize it? How can I tell if I’m improving?

Learning Activities: ● Music play online games

Grade 3 General Music Unit 1 ● ● ●

Rhythm games (poison pattern, decoding, hand clapping games, etc) Puppets and manipulatives Dry erase boards rhythm writing

Second Topic: Performing as an Ensemble Learning Targets: ● I can sing in Canon. ● I can sing and identify the Solfege syllable high Do.’ ● I can follow a conductor. ● I can play a cross-over pattern on mallets. ● I can demonstrate dance etiquette. ● I can respond to a performance.

Estimated # of Lessons: 12-15 ● ●

What does a conductor do to help everyone play together? How can I tell if I’m improving?

Learning Activities: ● Accompany folk songs on mallets ● Movement canon ● Sing simple Canon songs by rote ● Concentration/following games ● Turn and Talk

Grade 3 General Music Unit 2 Course Name: Grade 3 General Music Unit 2 Title: Read Between the Lines!

Est. # of Lessons: 12-15

Unit Overview: Next, we look and listen to how music is organized by exploring the form of songs and the parts of the staff. We learn to read treble clef note names so we can understand and play melodies. We discover the four instrument families and learn how each one sounds and works to make music in its own special way. By listening, labeling, and describing what we hear, we connect the notes on the page to the instruments that bring them to life. STAGE 1: DESIRED RESULTS Established Goals ● ●

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MU:Pr4.2.3a: Demonstrate understanding of the structure in music selected for performance. MU:Pr4.2.3b: When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and standard notation. MU:Re7.1.3a: Demonstrate and describe how selected music connects to and is influenced by specific interests, experiences, or purposes. MU:Re7.2.3a: Demonstrate and describe how a response to music can be informed by the structure, the use of the elements of music , and context (such as personal and social) MU:Re8.1.3a: Demonstrate and describe how the expressive qualities (such as dynamics and tempo ) are used in performers’ interpretations to reflect expressive intent . MU:Cn11.1.3: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

Transfer Goals ●

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Understandings ● ●

Reading notes on the staff requires understanding the relationship between lines, spaces, and pitch. Different instruments produce sound through distinct mechanisms—strings vibrate, air columns resonate, membranes

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens)

Essential Questions ● ● ● ●

How do I read notes on the staff? How do different instruments make their sounds? How is music organized? How do I describe what I hear?

Grade 3 General Music Unit 2

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are struck, and brass buzzes. Music is organized using structural elements like form, measures, bar lines, and repeat signs that create predictable patterns. Musical vocabulary (tempo, dynamics, timbre) allows musicians to precisely describe and analyze what they hear. Knowledge

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Skills (Framed as Learning Targets)

How to identify and count grade 3 standard notation Solfege syllable Fa Cross over pattern on mallets

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Key Vocabulary: measure, bar line, double bar line, repeat sign, rondo, relationship, connection, treble clef notes, harmony, ostinato, canon, ensemble, time signature

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I can identify and label the form of a song and parts of the staff. I can identify and label treble clef note names. I can read and play a cross over mallet pattern I can describe how instruments sound and function. I can count rhythms in numbers. I can identify basic musical terminology. I can name instrument families. I can relate music from other cultures to my own.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Teacher observation /checklist Decoding and recording rhythms Musicplay assessment activities Performing on instruments

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Teacher and peer modeling Class discussion Peer assessment Musicplay games and worksheets

STAGE 3: LEARNING PLAN First Topic: Reading Music on the Staff ● ● ● ●

Estimated # of Lessons: 8-9

I can identify and label the form of a song and parts of the staff. I can identify and label treble clef note names. I can count rhythms in numbers. I can identify basic musical terminology.

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How do I read notes on the staff? How is music organized?

Learning Activities: ● Music play games ● Staff ID games (Music symbol rug, board games) ● Flash cards

Grade 3 General Music Unit 2 Second Topic: Instrument Families ● ●

I can describe how instruments sound and function. I can name instrument families.

Estimated # of Lessons: 2-3 ● ●

How do different instruments make their sounds? How do I describe what I hear?

Learning Activities: ● Musicplay 4 corners instrument families’ game ● Adding instruments to folk songs (Rocky Mountain, Liza Jane, etc) ● Stories told via music (Peter and the Wolf / Carnival of the Animals / Never Play Music Right Next to the Zoo, etc) ● Videos of instrument demonstrations ● Reflection sheets ● Instrument zoo to rediscover instrument timbre Third Topic: Making Connections ● ●

I can read and play a cross over mallet pattern I can relate music from other cultures to my own.

Estimated # of Lessons: 2-3 ● ● ●

How do different instruments make their sounds? How is music organized? How do I describe what I hear?

Learning activities: ● Adding instruments to folk songs (Rocky Mountain, Liza Jane, etc) ● Student discussion/sharing of cultures ● Reflection sheets ● Group instrument family activities

Grade 3 General Music Unit 3 Course Name: Grade 3 General Music Unit 3 Title: I Can Play The Recorder!

Est. # of Lessons: 12-15

Unit Overview: Finally, we kick off our 3-year recorder journey by learning to play the notes B, A, and G with good hand and finger positions. We explore exciting new rhythms with sixteenth notes and add the solfege syllable Fa to our singing. As we play and sing, we listen critically to how we sound and enhance our musicianship skills—reflecting on our performances and finding ways to improve each time we play. STAGE 1: DESIRED RESULTS Established Goals ● ●

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MU:Cr1.1.3b: Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter. MU:Cr3.1.3a: Evaluate, refine, and document revisions to personal musical ideas, applying teacher- provided and collaboratively-developed criteria and feedback. MU:Cr3.2.3a Present the final version of personal created music to others, and describe connection to expressive intent. MU:Pr4.2.3b: When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and standard notation. MU:Pr5.1.3b: Rehearse to refine technical accuracy, expressive qualities, and identified performance challenges. MU:Re9.1.3a: Evaluate musical works and performances, applying established criteria, and describe appropriateness to the context.

Transfer Goals ●

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Understandings ● ●

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Even with limited notes, musicians can create melodies by varying rhythm, order, and repetition. Musicians improve through deliberate practice that focuses on specific techniques like finger position, breath control, and tone quality. Good recorder technique requires proper hand position, finger coverage, breath support, and posture. Musicians know they sound their best

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers)

Essential Questions ● ● ● ● ●

What can I create with just three notes? How can I improve my playing? What makes a good recorder position and sound? What happens when we divide the beat into smaller pieces? How does Fa fit into the solfege system and help us sing new melodies?

Grade 3 General Music Unit 3 when they produce clear tone, accurate pitch, and appropriate dynamics while maintaining good technique. Knowledge ●

Skills (Framed as Learning Targets)

How to identify, count, create and play grade 3 standard notation

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Key Vocabulary: B, A, G, fingerings, tempo, dynamics

I can play BAG on the Soprano Recorder. I can demonstrate recorder positions. I can sing and identify the Solfege syllable Fa. I can experience sixteenth notes I can begin to self-assess my performance. I can play B, A, G on the recorder. I can create using B, A, and G on the recorder. I can share compositions with classmates.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

BAG echoes BAG songs How Did You Play rubric Musicplay games and assessments (Find Your Rhythm Partner, etc.)

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Songs with 16th notes (Old Brass Wagon) Teacher modeling / echos Center activities

STAGE 3: LEARNING PLAN First Topic: Counting Sixteenth Notes

Estimated # of Lessons: 2-3

Learning Targets: ● I can experience sixteenth notes

Essential Questions: ● What happens when we divide the beat into smaller pieces?

Learning Activities: ● Folk songs with 16th notes (Old Brass Wagon) ● Movement activities ● Rhythm games (manipulatives and online) Second Topic: Adding Fa

Estimated # of Lessons: 2-3

Learning Targets: ● I can sing and identify the Solfege syllable Fa.

Essential Questions: ● How does Fa fit into the solfege system and help us sing new melodies?

Learning Activities:

Grade 3 General Music Unit 3 ● ●

Solfege hand symbol pictures Folk songs with Fa

Third Topic: Learning the Play the Recorder

Estimated # of Lessons: 8-9

Learning Targets: ● I can play BAG on the Soprano Recorder. ● I can demonstrate recorder positions. ● I can begin to self-assess my performance. ● I can play B, A, G on the recorder. ● I can create using B, A, and G on the recorder. ● I can share compositions with classmates

Essential Questions: ● What can I create with just three notes? ● How can I improve my playing? ● What makes a good recorder position and sound?

Learning Activities: ● Playing songs with BAG ● Play along videos ● Jigsaw melodies with BAG ● Small groups and peer/self assessment ● Recorder position games

Grade 4 General Music

Grade 4 General Music Recorders Rock! Trimester 1

Express Yourself! Trimester 2

Uke Can Do It! Trimester 3

We start the year by adding the note E to our recorder playing. We add complexity to our rhythm repertoire by identifying and counting sixteenth notes. As we practice, we use a performance rubric to reflect on our progress and set goals, learning how to improve and become more confident, independent musicians.

Next, we use expressive musical terminology to describe the sounds we hear and create. We learn to harmonize using chords with classroom instruments. We practice the low D on our recorders, paying close attention to our own playing while listening and blending with the group. We also lend a helping hand to our peers, using a recorder performance rubric to give thoughtful feedback, shaping our music together and making our ensemble sound its very best.

Finally, we learn how to play the ukulele by reading a fret chart and using that knowledge to play simple accompaniments. On the recorder, we continue our learning by adding the note F#, expanding the melodies we can play. Along the way, we listen to and play a variety of musical genres, exploring the unique sounds and styles that make each one shine and enables us to connect to people around the world.

Grade 4 General Music Unit 1 Course Name: Grade 4 General Music Unit 1 Title: Recorders Rock!

Est. # of Lessons: 12-15

Unit Overview: We start the year by adding the note E to our recorder playing. We add complexity to our rhythm repertoire by identifying and counting sixteenth notes. As we practice, we use a performance rubric to reflect on our progress and set goals, learning how to improve and become more confident, independent musicians. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr5.1.4a: Apply teacher- provided and collaboratively-developed criteria and feedback to evaluate accuracy and expressiveness of ensemble and personal performances. MU:Pr5.1.4b: Rehearse to refine technical accuracy and expressive qualities, and address performance challenges. MU:Pr6.1.4b: Demonstrate performance decorum and audience etiquette appropriate for the context, venue, and genre. MU:Re9.1.4a: Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context.

Transfer Goals ●

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Understandings ●

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Musicians improve through deliberate practice that focuses on specific techniques like finger position, breath control, and tone quality. Adding more complex rhythms like sixteenth notes expands musical possibilities and requires careful counting and coordination. Each new note on an instrument opens up access to different melodies, songs, and

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Essential Questions

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How can I improve my playing? What happens when I add more complex rhythms? What new music can I play with one more note? How can I tell if I’m improving?

Grade 4 General Music Unit 1 ●

musical styles. Musicians assess improvement by comparing current performances to past performances using rubrics, noticing increased accuracy, confidence, and technical skill. Knowledge

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Skills (Framed as Learning Targets)

Music can be categorized by eras and genres Music terminology specific to the elements How to identify, count, and play grade 4 standard notation Recorder fingerings for E and D

Key Vocabulary: rote singing, first and second ending, performer etiquette, expressive music terminology, major, minor, genre

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I can play B, A, G, E on my recorder. I can identify and count sixteenth notes. I can assess my own performance using a rubric. I can think critically by listening and questioning. I can describe music using grade-level terminology. I can respond to performances in different settings.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

BAG/E songs - charts/checklists Assessment games (manipulatives and online) Solo/small group performances How Did You Play rubric

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Teacher modeling / echoes BAG/E echoes Games (manipulatives and online)

STAGE 3: LEARNING PLAN First Topic: Reviewing BAG on recorder Learning Targets: ● I can assess my own performance using a rubric. ● I can think critically by listening and questioning.

Estimated # of Lessons: 3-5 ● ●

How can I improve my playing? How can I tell if I’m improving?

Learning Activities: ● Recorder Rocks/Recorder Karate /Recorder Express/Musicplay online, for learning fingerings and performing songs ● Small group playing for learning fingerings and performing songs ● Recorder memory games for aural memory and fingering recall ● Recorder rubrics for self and peer assessment Second Topic: Adding E on the Recorder

Estimated # of Lessons: 4-5

Grade 4 General Music Unit 1 Learning Targets: ● I can play B, A, G, E on my recorder. ● I can assess my own performance using a rubric. ● I can think critically by listening and questioning.

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What new music can I play with one more note?

Estimated # of Lessons: 3-5 ●

What happens when I add more complex rhythms?

Learning Activities: ● Games (manipulatives and online) for rhythm reading ● Folk songs with sixteenth notes for connecting to culture and kinesthetic response

Grade 4 General Music Unit 2 Course Name: Grade 4 General Music Unit 2 Title: Express Yourself!

Est. # of Lessons: 12-15

Unit Overview: Next, we use expressive musical terminology to describe the sounds we hear and create. We learn to harmonize using chords with classroom instruments. We practice the low D on our recorders, paying close attention to our own playing while listening and blending with the group. We also lend a helping hand to our peers, using a recorder performance rubric to give thoughtful feedback, shaping our music together and making our ensemble sound its very best. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.4a: Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, and form ) in music selected for performance. MU:Pr4.2.4b: When analyzing selected music, read and perform using iconic and/or standard notation. MU:Pr4.3.4a: Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre) . MU:Pr5.1.4a: Apply teacher- provided and collaboratively-developed criteria and feedback to evaluate accuracy and expressiveness of ensemble and personal performances. MU:Pr5.1.4b: Rehearse to refine technical accuracy and expressive qualities, and address performance challenges. MU:Re9.1.4a: Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context.

Transfer Goals ●

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Understandings ●

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Blending sound with others requires listening carefully, matching volume and tone, and adjusting one's playing to create unified ensemble sound. Harmony is created when multiple pitches are played simultaneously, and chords are built by combining three or more notes together. Chords change the emotional quality of a

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

Essential Questions ● ● ● ● ● ●

How do I blend my sound with others? How do I create harmony using musical sounds? How do chords change the feeling of a song? How do I describe what I hear? How does feedback help me grow? How do signs and symbols help us navigate a song?

Grade 4 General Music Unit 2

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song by adding harmonic color, tension, and resolution that supports the melody. Musical vocabulary (tempo, dynamics, timbre, articulation) allows musicians to precisely describe and analyze what they hear. Constructive feedback helps musicians identify strengths, recognize areas for growth, and refine their work through specific, actionable suggestions. Knowledge

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Skills (Framed as Learning Targets)

How to identify, count, and play grade 4 standard notation Recorder fingerings for E and D

Key Vocabulary: chord, fret chart, coda, D.C al Fine, D, E, ukulele chord charts

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I can describe music using expressive vocabulary. I can demonstrate ensemble etiquette. I can play low D on a recorder. I can identify a chord. I can help improve peer recorder performance using a rubric. I can use musical road signs to know where to go in a song.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

BAG/ED songs - charts/checklists Games (manipulatives and online) How Did You Play rubric Solo/small group performances

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Teacher modeling / echoes BAG/ED echoes Games (manipulatives and online) Worksheets/Flashcards

STAGE 3: LEARNING PLAN First Topic: Adding Low D on the recorder

Estimated # of Lessons: 3-4

Learning Targets: ● I can demonstrate ensemble etiquette. ● I can play low D on a recorder. ● I can help improve peer recorder performance using a rubric.

Essential questions: ● How do I blend my sound with others? ● How does feedback help me grow?

Estimated # of Lessons: 5-6

Grade 4 General Music Unit 2 Vocabulary Learning Targets: ● I can describe music using expressive vocabulary. ● I can use musical road signs to know where to go in a song.

Essential questions: ● How do I describe what I hear? ● How does feedback help me grow? ● How do signs and symbols help us navigate a song?

Learning Activities: ● Response to music through movements (MOVE IT Videos and Artie Almeida) for kinesthetic connection, artistic expression and experience ● Worksheets (matching, identifying, coloring) to develop understanding of terms and symbols ● Games using music symbol rug for kinesthetically reinforcing symbol identification Third Topic: Beginning Harmony

Estimated # of Lessons: 4-5

Learning Targets: ● I can demonstrate ensemble etiquette. ● I can identify a chord.

Essential questions: ● How do I create harmony using musical sounds? ● How do chords change the feeling of a song? ● How do I describe what I hear?

Learning Activities: ● Pitched percussion accompaniment for folk and popular songs ● Games using music symbol rug for kinesthetically reinforcing chord identification ● Compare and contrast Major and Minor chords in songs

Grade 4 General Music Unit 3 Course Name: Grade 4 General Music Unit 3 Title: Uke Can Do It!

Est. # of Lessons: 12-15

Unit Overview: Finally, we learn how to play the ukulele by reading a fret chart and using that knowledge to play simple accompaniments. On the recorder, we continue our learning by adding the note F#, expanding the melodies we can play. Along the way, we listen to and play a variety of musical genres, exploring the unique sounds and styles that make each one shine and enables us to connect to people around the world. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.4a: Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch , and form ) in music selected for performance. MU:Pr4.2.4b: When analyzing selected music, read and perform using iconic and/or standard notation. MU:Pr4.3.4a: Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre). MU:Pr5.1.4b: Rehearse to refine technical accuracy and expressive qualities, and address performance challenges. MU:Re7.2.4a: Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music, and context (such as social and cultural).

Transfer Goals ●

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Understandings ● ●

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Fret charts provide a visual guide showing finger placement on specific strings and frets to produce chords on the ukulele. Musicians adapt their playing by learning characteristic rhythms, chord progressions, and stylistic elements of different musical genres. Combining different instruments (voice and ukulele) creates richer musical textures through melody and accompaniment. Different genres are distinguished by unique characteristics including rhythm patterns, instrumentation, cultural origins,

Essential Questions ● ● ● ● ● ●

How do I read and follow a fret chart? How can I play along with different styles of music? What makes different genres of music special? How does music connect us to people around the world? What new music can I play with one more note? How can I change the texture of a song by combining voice and ukulele?

Grade 4 General Music Unit 3 ●

and expressive qualities. Music connects people across cultures by expressing universal emotions, telling shared stories, and celebrating diverse traditions and experiences. Knowledge

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Skills (Framed as Learning Targets)

How to identify, count, create and play grade 4 standard notation How to create songs using the ukulele. Recorder fingerings for F#

Key Vocabulary: fret chart, ukulele string names, chord progression, intent

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I can read a ukulele fret chart. I can follow simple chord progressions on the ukulele. I can play a C7 and F chord on ukulele. I can play F# on a recorder. I can recognize different genres in music. I can play C7 and F chords on ukulele.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ● ●

Formative Assessment

F# songs - charts/checklists Rainbow Ukulele - charts/checklists How Did You Play rubric Assessment games (manipulatives and online) Solo/small group performances

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F# echoes Games (manipulatives and online) Online play along videos Worksheets/Flashcards/Road Map Ramble

STAGE 3: LEARNING PLAN First Topic: Adding F# on the Recorder

Estimated # of Lessons: 4-5

Learning targets: ● I can play F# on a recorder.

Essential questions: ● What new music can I play with one more note?

Estimated # of Lessons: 8-10

Grade 4 General Music Unit 3 Learning Targets: ● I can read a ukulele fret chart. ● I can follow simple chord progressions on the ukulele. ● I can recognize different genres in music. ● I can play C7 and F chords on ukulele.

Essential questions: ● How do I read and follow a fret chart? ● How can I play along with different styles of music? ● What makes different genres of music special? ● How does music connect us to people around the world? ● How can I change the texture of a song by combining voice and ukulele?

Grade 5 General Music

Grade 5 General Music Circle Back: Revisiting Familiar Instruments Trimester 1

Remix: Exploring Theme And Variations Trimester 2

Move Over Mozart: Composing in Real Life Trimester 3

We kick off the year by strengthening our skills on classroom instruments, refining our playing and discovering new ways to make music come alive. We dive into the ukulele with e minor, C and G7 chords, allowing us to explore the I-IV-V chord progression in the key of C. We are also adding C’ and D’ on the recorder. As we play, we let our creativity shine making the music uniquely ours.

Next, we dive into the storytelling power of music by creating soundscapes that bring poems and tales to life. We explore how to use expressive vocabulary to describe the sounds we hear and create. We play with rhythm and melody, transforming a familiar folk tune into a fresh new style, and discover the ideas of “theme” and “variation,” learning how music can change and evolve while keeping its heart.

Finally, we unleash our creativity by composing our own four-measure pieces, weaving together grade-level rhythms and notes into original musical ideas. We record our unique ideas using traditional as well as modern digital composition methods so we can listen, reflect, and share our unique music with others.

Grade 5 General Music Unit 1

Course Name: Grade 5 General Music Unit 1 Title: Circle Back: Revisiting Familiar Instruments

Est. # of Lessons: 12-15

Unit Overview: We kick off the year by strengthening our skills on classroom instruments, refining our playing and discovering new ways to make music come alive. We dive into the ukulele with e minor, C and G7 chords, allowing us to explore the I-IV-V chord progression in the key of C. We are also adding C’ and D’ on the recorder. As we play, we let our creativity shine making the music uniquely ours. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Cr1.1.5b: Generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes. MU:Pr4.2.5a: Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, form, and harmony ) in music selected for performance. MU:Pr5.1.5b: Rehearse to refine technical accuracy and expressive qualities to address challenges, and show improvement over time. MU:Pr6.1.5a: Perform music, alone or with others, with expression, technical accuracy, and appropriate interpretation. MU:Re9.1.5a: Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context, citing evidence from the elements of music

Transfer Goals ●

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Understandings ● ● ● ●

Musicians improve through deliberate practice that focuses on specific skills and techniques. Strong performances combine technical accuracy, expressive intent, and confidence. Musical rules provide structure, but thoughtful rule-breaking can lead to creative expression and personal style. Progress in music can be measured through

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Essential Questions

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What makes a strong performance? How do I know if I am getting better? How can practicing something I already know help me discover new possibilities? Why do some songs sound happy and others sound sad, even when using the same instruments? How does adding just one new note or chord open up new musical choices?

Grade 5 General Music Unit 1 self-reflection, peer feedback, and comparing current work to past performances.

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When is it okay to break the rules or change things when playing music? Skills (Framed as Learning Targets)

Music can be categorized by styles and genres How to identify and count grade 5 standard notation Recorder fingerings for C',D' and F#. All music has value

Key Vocabulary: accidentals, context, style

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I can improve my performance on a classroom instrument. I can demonstrate understanding of a I-IV-V chord progression in the key of C. I can play C’ and D’ on the recorder. I can play e minor, C and G7 chords on ukulele. I can improvise a rhythm and a short melody.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ● ●

Formative Assessment

Rainbow Ukulele - charts/checklists Assessment games (manipulatives and online) C’, D’ songs - charts/checklists How Did You Play rubric Solo/small group performance

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Teacher modeling / echoes C’, D’ echoes Games (manipulatives and online) Playa longs

STAGE 3: LEARNING PLAN First Topic: Ukulele Focus

Estimated # of Lessons: 6-8

Learning Targets: ● I can improve my performance on a classroom instrument. ● I can demonstrate understanding of a I-IV-V chord progression in the key of C. ● I can play an e minor, C and G7 chord on ukulele.

Essential Questions: ● What makes a strong performance? ● How do I know if I am getting better? ● How can practicing something I already know help me discover new possibilities? ● How does adding just one new note or chord open up new musical choices? ● Why do some songs sound happy and others sound sad, even when using the same instruments?

Learning Activities: ● Online play along videos for introduction and reinforcement ● Performance videos for cultural connection ● Rainbow Ukulele for adding in cultural context and self-paced learning ● Learn ukulele accompaniments to known folk songs for cultural connection, reinforcement, and scaffolding previous learning

Grade 5 General Music Unit 1

Second Topic: Recorder Focus

Estimated # of Lessons: 5-7

Learning Targets: ● I can improve my performance on a classroom instrument. ● I can play C’ and D’ on the recorder. ● I can improvise a rhythm and a short melody.

Essential Questions: ● What makes a strong performance? ● How do I know if I am getting better? ● How can practicing something I already know help me discover new possibilities? ● How does adding just one new note or chord open up new musical choices? ● When is it okay to break the rules or change things when playing music?

Grade 5 General Music Unit 2

Course Name: Grade 5 General Music Unit 2 Title: Remix: Exploring Theme And Variations

Est. # of Lessons: 12-15

Unit Overview: Next, we dive into the storytelling power of music by creating soundscapes that bring poems and tales to life. We explore how to use expressive vocabulary to describe the sounds we hear and create. We play with rhythm and melody, transforming a familiar folk tune into a fresh new style, and discover the ideas of “theme” and “variation,” learning how music can change and evolve while keeping its heart. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Cr2.1.5a: Demonstrate selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context. MU:Pr4.3.5a: Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, timbre, and articulation/style ). MU:Pr5.1.5b: Rehearse to refine technical accuracy and expressive qualities to address challenges, and show improvement over time. MU:Cr3.1.5a: Evaluate, refine, and document revisions to personal music, applying teacherprovided and collaboratively-developed criteria and feedback, and explain rationale for changes. MU:Cr3.2.5a: Present the final version of personal created music to others that demonstrates craftsmanship , and explain connection to expressive intent. MU:Re8.1.5a: Demonstrate and explain how the expressive qualities (such as dynamics, tempo, timbre, and articulation ) are used in performers’ and personal interpretations to reflect expressive intent.

Understandings

Transfer Goals ●

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Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

Grade 5 General Music Unit 2 ●

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Composers transform familiar music by changing rhythm, melody, tempo, dynamics, or instrumentation while preserving recognizable elements. Music communicates narrative and emotion through changes in tempo, dynamics, timbre, and melodic/rhythmic patterns. Theme and variation maintains the core identity of a piece while exploring different musical possibilities. Musical vocabulary (tempo, dynamics, timbre, articulation) allows us to precisely describe and analyze what we hear.

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Knowledge ● ● ● ● ●

How can I make something familiar sound new? How does music tell a story? What stays the same when I change a song? How do I describe what I hear?

Skills (Framed as Learning Targets)

Music can be categorized by music and genres How to identify, count and create grade 5 standard notation How to evaluate a performance How to respond to critique All music has value

Key Vocabulary: improvisation, theme and variation

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I can create a soundscape for a story or poem to add to the mood. I can describe music using expressive vocabulary. I can rearrange the rhythm or melody of a folk tune to change the new style. I can define the terms “theme” and “variation.” I can critique, analyze, and evaluate musical performances.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Performing variation on a familiar folk song, vocally or instrumentally Rubric/checklist for rhythmic or melodic accuracy Solo/small group performance with peer assessment

● ● ●

Teacher modeling / echo Sound Stories Vocabulary building (dynamics/form)

STAGE 3: LEARNING PLAN First Topic: Soundscapes

Estimated # of Lessons: 5-6

Learning Targets: ● I can create a soundscape for a story or poem to add to the mood. ● I can describe music using expressive vocabulary.

Essential Questions: ● How can I make something familiar sound new? ● How does music tell a story? ● How do I describe what I hear?

Grade 5 General Music Unit 2 ●

I can critique, analyze, and evaluate musical performances.

Learning Activities: ● Sound Stories for conveying the mood of a story using classroom instruments ● Small group composition and performance to express intent and convey interpretive decisions ● Instrument zoo to rediscover instrument timbre Second Topic: Theme and variation

Estimated # of Lessons: 7-9

Learning Targets: ● I can describe music using expressive vocabulary. ● I can rearrange the rhythm or melody of a folk tune to change the new style. ● I can define the terms “theme” and “variation.” ● I can critique, analyze, and evaluate musical performances.

Essential Questions: ● How can I make something familiar sound new? ● How does music tell a story? ● What stays the same when I change a song? ● How do I describe what I hear?

Learning Activities: ● Round-robin sharing of variations of familiar recorder songs for scaffolding of previous learning and experimenting with variation ● Discussion of types of variation (lyrical parody, change of meter, tempo, timbre, mood, etc.) ● Using technology (Chrome Music Lab, for example) to change timbre or add accompaniment to express variation

Grade 5 General Music Unit 3

Course Name: Grade 5 General Music Unit 3 Title: Move Over Mozart: Composing in Real Life

Est. # of Lessons: 12-15

Unit Overview: Finally, we unleash our creativity by composing our own four-measure pieces, weaving together grade-level rhythms and notes into original musical ideas. We record our unique ideas using traditional as well as modern digital composition methods so we can listen, reflect, and share our unique music with others. STAGE 1: DESIRED RESULTS Established Goals ●

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● ●

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MU:Cr2.1.5b: Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two-chord harmonic musical ideas. MU:Cr3.2.5a: Present the final version of personal created music to others that demonstrates craftsmanship , and explain connection to expressive intent. MU:Pr5.1.5b: Rehearse to refine technical accuracy and expressive qualities to address challenges, and show improvement over time. MU:Pr6.1.5a: Perform music, alone or with others, with expression, technical accuracy, and appropriate interpretation. MU:Re9.1.5a: Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context, citing evidence from the elements of music. MU:Cn10.1.5a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Transfer Goals ●

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Understandings

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (SelfDirected Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

Grade 5 General Music Unit 3 ● ● ●

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Musical ideas are inspired by personal experiences, emotions, other music, experimentation, and the world around us. Composers develop a piece of music to effectively communicate their intended message and meet their artistic goals. Recording music (through notation or technology) preserves compositions, enables reflection, and allows sharing with wider audiences. Music communicates emotion, tells a story, and connects to shared human experiences. Constructive feedback helps musicians identify strengths, recognize areas for growth, and refine their work without losing their unique voice.

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Knowledge ● ● ● ● ● ●

Where do musical ideas come from? How do I know when my composition is finished? How can I save and share my musical ideas? What makes my music meaningful to others? How does feedback help me grow?

Skills (Framed as Learning Targets)

Music can be categorized by music and genres How to create songs using technology How to identify, count, create and play grade 5 standard notation How to evaluate a performance How to respond to critique All music has value

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I can independently create a 4 measure composition using grade level rhythms and notes. I can improvise a song on an instrument. I can create a short composition. I can record my musical ideas using technology.

Key Vocabulary: critic, critique STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Creation of a four-measure musical work to be on a classroom instrument Recording previously created musical works in digital Games (manipulatives and online) Solo/small group performance with peer assessment

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Teacher modeling / echo Games (manipulatives and online) Online compositional tools (Chrome Music lab/Musicplay comp tools) Turn and Talk /whole class sharing

STAGE 3: LEARNING PLAN First Topic: Improvisation

Estimated # of Lessons: 5-6

Learning Targets: ● I can improvise a song on an instrument.

Essential Questions: ● Where do musical ideas come from?

Grade 5 General Music Unit 3 ● ●

What makes my music meaningful to others? How does feedback help me grow?

Learning Activities: ● Improvising over a backing track to demonstrate ability to improvise on a classroom instrument ● Watching performances for cultural connection and to provide examples ● Using folk dancing to reinforce “question and answer” improvisational concept ● Round-robin sharing of variations using pre-set notes to demonstrate understanding of harmony, theory, and technique to create coherent music instantly Second Topic: Composition

Estimated # of Lessons: 7-9

Learning Targets: ● I can independently create a 4 measure composition using grade level rhythms and notes. ● I can create a short composition. ● I can record my musical ideas using technology.

Essential Questions: ● Where do musical ideas come from? ● How do I know when my composition is finished? ● How can I save and share my musical ideas? ● What makes my music meaningful to others? ● How does feedback help me grow?

Learning Activities: ● Games (manipulatives and online) to practice creating new musical ideas ● Small group/partner/center work to provide feedback and support for compositional works ● Using digital composition software to record musical ideas ● Class creation of compositional rubric for clear guidance that is student lead ● Class discussion and sharing of compositions to reflect intent

Middle School Popular Music Popular Music What makes a song unforgettable? In Middle School Popular Music, we explore the music we already know and love — discovering how beat, structure, style, and lyrics work together to create meaning and move audiences. We learn to listen with intention, think like critics, and express our own ideas through music. By the end of this course, we don't just enjoy music — we understand how it works and why it matters. Why Music Feels the Way It Does 6-7 Lessons

The Blueprint of a Song 6-7 Lessons

Music, Style, and Identity 6-7 Lessons

Music, Meaning, and You 6-7 Lessons

We begin with music we already know and enjoy. Why does one song make us want to move while another feels calm, tense, or emotional? In this unit, we explore beat, groove, repetition, and musical layers — and how these elements shape the way music feels. Through listening, movement, discussion, and guided analysis, we learn to notice patterns, describe what we hear, and explain why certain songs "work." We don't need to play an instrument or sing — this is about learning how to listen with intention.

Songs often feel familiar, even the first time we hear them. In this unit, we investigate how popular songs are built. We break down parts like verses, choruses, bridges, and hooks, and explore why repetition makes music catchy and memorable. By mapping song structures and comparing examples across genres, we begin to see the patterns behind the music. Over time, we move from recognizing structure to explaining how structure shapes audience experience.

Music isn't just sound — it communicates identity. In this unit, we explore how different styles and genres reflect culture, community, and personal expression. Why do certain sounds feel powerful, rebellious, comforting, or authentic? Through comparison, discussion, and personal reflection, we examine how artists use musical elements to communicate who they are and how listeners connect to that message. We also explore the music that matters to us and consider why it resonates.

In this final unit, we step back and ask: Why does music matter? How does it connect to memory, identity, and reallife experience? How do artists use sound, lyrics, structure, and style to tell stories and communicate messages? Through listening, discussion, and guided creative work, we interpret meaning in music and apply everything we've learned to create our own short song concept. Drawing on emotional impact, structure, and style from earlier units, we develop lyrics and a musical plan that communicates a personal message or perspective. This unit challenges us not just to understand music — but to shape meaning intentionally.

Middle School Popular Music Unit 1 Course Name: Middle School Popular Music Unit 1 Title: Why Music Feels the Way It Does

Est. # of Lessons: 6-7

Unit Overview: We begin with music we already know and enjoy. Why does one song make us want to move while another feels calm, tense, or emotional? In this unit, we explore beat, groove, repetition, and musical layers — and how these elements shape the way music feels. Through listening, movement, discussion, and guided analysis, we learn to notice patterns, describe what we hear, and explain why certain songs "work." We don't need to play an instrument or sing — this is about learning how to listen with intention. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Re7.2.E.7a: Analyze how the structure and context of varied musical works inform the listener’s response. Re8.1.E.7a: Interpret intent and meaning in musical works, citing musical evidence to support understanding. Cn10.0.E.7a: Demonstrate how interests, experiences, and purposes influence the selection and interpretation of music.

Transfer Goals ●

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Understandings ●

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Musical choices — beat, groove, repetition, and layering — shape how listeners experience music physically and emotionally. Listeners interpret music based on both what they hear and who they are. Musical meaning emerges from the interaction between the sounds an artist creates and the experiences a listener brings.

Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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Why does music make us feel the way it does? What makes a song feel powerful, calming, tense, or exciting? Do all listeners hear the same thing? Why or why not?

Knowledge

Skills (Framed as Learning Targets)

Fundamental ● Beat vs. rhythm ● Fast vs. slow (tempo) ● Loud vs. soft (dynamics) ● Basic layers: drums, bass, melody, harmony ● Repetition makes music memorable ● Music can create physical responses (movement)

Middle School Popular Music Unit 1

Intermediate ● Groove as interaction between rhythm and feel ● Tempo influences mood and energy ● Texture (thick vs. thin sound) ● Layering builds intensity ● Repetition creates expectation ● Musical contrast increases interest

Advanced: Advanced ● I can analyze how multiple musical elements ● How groove differs across styles (hip-hop interact to shape emotional impact. vs. rock vs. pop) ● I can defend my interpretation of a song ● How production choices influence using detailed musical evidence. emotional response ● I can explain how listener background or ● How tension and release operate in rhythm experience may influence interpretation and layering differently. ● How minimalism vs. density affects audience perception ● How cultural familiarity influences listener interpretation Key Vocabulary: beat,rhythm, tempo, groove, repetition, layer, dynamics, texture STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students select (or are assigned) a song and create a short presentation explaining how and why the song creates a particular emotional or physical effect. Fundamental ● Identify the beat and describe the tempo. ● Describe the overall mood or energy of the song. ● Identify at least one repeated section. ● Identify at least two musical layers (e.g., drums, vocals, bass). ● Explain how the song makes them feel.

Formative Assessment ● ● ●

Cause & Effect Quick Write: “This part feels ___ because ___.” Energy Timeline: Students draw a simple intensity graph across an excerpt. Mood Shift Map: Students identify what changed in a song and how it affected the feeling

Intermediate ● Explain how tempo, groove, repetition, or layering contributes to the mood.

Middle School Popular Music Unit 1 ●

Identify multiple repeated sections and describe their function. ● Describe how musical contrast affects listener experience. ● Support interpretations with specific musical evidence. ● Compare at least two musical moments within the song. Advanced ● Analyze how multiple musical elements interact to shape emotional impact. ● Explain how repetition, contrast, texture, or dynamics create tension and release. ● Defend an interpretation using clear musical evidence. ● Evaluate how effectively the song achieves its intended emotional effect. ● Consider how the listener background or context may influence interpretation Criteria: Fundamental: ● Identifies the beat, tempo, and at least two musical layers accurately ● Describes the mood or emotional effect of the song using basic vocabulary ● Explains how the song makes them feel with at least one musical reason Intermediate: ● Explains how specific musical elements — tempo, groove, layering, or repetition — contribute to the song's emotional effect ● Supports interpretations with specific musical evidence from the song ● Describes how a moment of contrast affects listener experience Advanced: ● Analyzes how multiple musical elements interact to create a specific emotional or physical effect ● Defends an interpretation using clear, detailed musical evidence ● Considers how listener background or context might shape a different

Middle School Popular Music Unit 1 interpretation STAGE 3: LEARNING PLAN First Topic: Feeling the Beat - Physical & Emotional Response

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions: ● Why does music make us feel the way it does? ● How do musical elements shape emotional and physical response? ● Do all listeners hear the same thing? Why or why not?

Fundamental: ● I can identify the beat and describe the tempo and mood of a song. ● I can identify at least two musical layers and describe their roles. ● I can explain how a song makes me feel using basic musical vocabulary. Intermediate: ● I can explain how tempo, groove, and layering affect the mood and energy of a song. Advanced: ● I can analyze how multiple musical elements interact to shape emotional impact.

Learning Activities: ● Listen to contrasting musical excerpts and describe the overall mood, energy, and tempo of each. ● Tap, clap, or move to identify and maintain the steady beat across different styles of music. ● Identify and list musical layers (e.g., drums, bass, melody, harmony) as they enter and exit in a recording. ● Compare two excerpts with different tempos or grooves and describe how those differences affect listener response. ● Complete brief cause-and-effect prompts such as: “This section feels ___ because ___.” ● Create a simple visual map (e.g., timeline or graph) showing changes in energy or intensity across an excerpt. Second Topic: Repetition, Contrast, and Energy

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions: ● Why does music make us feel the way it does? ● How do musical elements shape emotional and physical response?

Fundamental: ● I can identify the beat and describe the tempo and mood of a song.

Middle School Popular Music Unit 1 ● ●

I can identify at least two musical layers and describe their roles. I can explain how a song makes me feel using basic musical vocabulary.

●

How does repetition influence the way we experience music?

Intermediate: ● I can explain how tempo, groove, and layering affect the mood and energy of a song. ● I can describe how repetition creates familiarity and contrast changes listener experience. Advanced ● I can analyze how multiple musical elements interact to shape emotional impact. Learning Activities: ● Listen to a popular song and signal when a repeated section returns. ● Map the structure of a song using simple labels (e.g., A / B / chorus / repeated section). ● Create an energy timeline showing where intensity builds and releases. ● Compare two sections of the same song and describe what changed (tempo, texture, layering, dynamics). ● Annotate a listening guide identifying moments of repetition and contrast. ● Facilitate brief discussion or quick write prompts such as: ○ “Why do songs repeat certain sections?” ○ “What changed in this section, and how did it affect the feeling?” ○ “How would the song feel if this repeated section were removed?” ● Listen to two versions of a similar song (e.g., acoustic vs. full production) and describe how repetition and layering influence impact. Third Topic: Musical Choices & Listener Experience

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions: ● Why does music make us feel the way it does? ● How do musical elements shape emotional and physical response? ● Do all listeners hear the same thing? Why or why not?

Fundamental: ●

I can explain how a song makes me feel using basic musical vocabulary.

Intermediate: ● ●

I can explain how tempo, groove, and layering affect the mood and energy of a song. I can describe how repetition creates

Middle School Popular Music Unit 1

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familiarity and contrast changes listener experience. I can support my interpretation with specific musical evidence.

Advanced: ● ● ●

I can analyze how multiple musical elements interact to shape emotional impact. I can defend my interpretation of a song using detailed musical evidence. I can explain how listener background or experience may influence interpretation differently.

Learning Activities: ● Listen to a song and discuss how musical choices (tempo, groove, layering, repetition) shape its emotional impact. ● Analyze a selected excerpt and identify how multiple musical elements interact to create a specific feeling. ● Compare student interpretations of the same song and discuss similarities and differences in response. ● Complete a structured listening guide connecting musical evidence to interpretation. ● Engage in small-group discussion responding to prompts such as: ○ “What do you think the artist is trying to communicate?” ○ “How do specific musical choices support that interpretation?” ○ “Why might different listeners experience this song differently?” ● Model a full “Why It Works” explanation as a class before students begin their summative project. ● Workshop project drafts and provide peer feedback focused on clarity of musical evidence.

Middle School Popular Music Unit 2

Course Name: Middle School Popular Music Unit 2 Title: The Blueprint of a Song

Est. # of Lessons: 6-7

Unit Overview: Songs often feel familiar, even the first time we hear them. In this unit, we investigate how popular songs are built. We break down parts like verses, choruses, bridges, and hooks, and explore why repetition makes music catchy and memorable. By mapping song structures and comparing examples across genres, we begin to see the patterns behind the music. Over time, we move from recognizing structure to explaining how structure shapes audience experience. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Re7.2.E.7a: Analyze how the structure and context of varied musical works inform the listener’s response. Re8.1.E.7a: Interpret intent and meaning in musical works, citing musical evidence to support understanding. Re9.1.E.7a: Evaluate musical works and performances using established criteria and appropriate musical vocabulary. Cn10.0.E.7a: Demonstrate how interests, experiences, and purposes influence the selection and interpretation of music.

Transfer Goals ●

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Understandings ● ● ● ●

Repetition and contrast shape listener expectation and engagement. Different sections of a song serve distinct musical and expressive purposes. Form influences emotional pacing and audience experience. Artists may follow or intentionally disrupt structural conventions to create impact.

Essential Questions ● ● ● ●

How are popular songs built? Why does repetition make music catchy and memorable? How does song structure shape listener experience? What happens when artists break structural conventions?

Knowledge

Skills (Framed as Learning Targets)

Fundamental ● Common song sections: verse, chorus. ● Songs often repeat sections. ● The chorus is usually the most memorable part. ● Repetition makes music predictable. ● Songs have a beginning, middle, and end.

Fundamental: ● I can identify common sections of a popular song — verse, chorus, and repeated sections. ● I can map the basic structure of a song and describe what makes the chorus different from the verse. ● I can explain why repetition makes a song memorable.

Middle School Popular Music Unit 2

Intermediate ● Additional sections: bridge, intro, outro, hook. ● Verses often tell the story; choruses often summarize the main idea. ● Repetition creates expectation. ● Contrast between sections increases interest. ● Many popular songs follow predictable structural patterns. Advanced ● Common structural formats (e.g., verse– chorus form). ● How bridges function to provide contrast or tension. ● How hooks can appear instrumentally or lyrically. ● Structural variation across genres. ● Artists sometimes disrupt structure intentionally for artistic effect. ● Form influences emotional pacing and audience engagement.

Intermediate: ● I can identify verses, choruses, bridges, and hooks and explain the function of each. ● I can explain how repetition and contrast work together to shape listener expectation. ● I can compare the structure of two songs and describe how structure influences listener experience. Advanced: ● I can analyze how song structure creates tension, contrast, and release. ● I can evaluate how effectively a song uses form to engage the listener. ● I can explain how artists may intentionally follow or break structural conventions to create impact.

Key Vocabulary: form, structure, section, verse, chorus, bridge, hook, intro, outro, repetition, contrast, transition, arrangement, build, breakdown, variation, tension, release STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students select (or are assigned) a popular song and create a clear visual map of its structure (e.g., verse, chorus, bridge, intro, outro). They include a written description of the map or can elect to present the visual to the class to explain their choices. Levelled Assessment Tools Fundamental ● ●

Identify and label verse and chorus sections. Recognize and mark repeated sections.

Formative Assessment ● ● ● ●

Section Signal: Students raise a hand or mark on paper when a new section begins (verse, chorus, bridge). Structure Sketch: Students create a quick label map of the song using simple section letters (A, B, C) or names (Verse, Chorus). “Why Repeat?” Quick Write: “Why does this section repeat? What is its role in the song?” Section Compare: Students identify two sections (e.g., verse vs. chorus) and describe one musical difference and one functional

Middle School Popular Music Unit 2 ● ● ●

Create a basic visual map of the song’s structure. Describe how the chorus differs from the verse. Explain why repetition makes the song memorable.

difference.

Intermediate ● ● ● ● ●

Identify verse, chorus, bridge, intro, and outro. Describe the function of each section. Explain how repetition and contrast create interest. Compare two sections and describe how they differ musically. Explain how the structure shapes listener expectation.

Advanced ● ● ● ● ●

Analyze how structure creates tension, contrast, and release. Identify structural patterns (e.g., verse– chorus form). Explain how sections build toward a climax or emotional peak. Evaluate how effectively the song’s form engages the audience. Explain how the artist follows or disrupts structural conventions.

Criteria: Fundamental: ● Accurately identifies and labels verse, chorus, and repeated sections ● Creates a clear visual map of the song's structure ● Explains why repetition makes the song memorable using at least one specific example Intermediate: ● Identifies verse, chorus, bridge, and hook and explains the function of each ●

Explains how repetition and contrast create interest and shape listener expectation

Middle School Popular Music Unit 2 ●

Supports interpretation with specific musical evidence from the song

Advanced: ● Analyzes how structure creates tension, contrast, and release across the song ● Evaluates how effectively the song's form engages the audience with specific evidence ● Explains how the artist follows or intentionally disrupts structural conventions and what effect that creates STAGE 3: LEARNING PLAN First Topic: Identifying Song Sections

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions:

Fundamental:

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I can identify common sections of a popular song — verse, chorus, and repeated sections. I can map the basic structure of a song and describe what makes the chorus different from the verse. I can explain why repetition makes a song memorable.

How are popular songs built? Why does repetition make music catchy and memorable?

Intermediate: ●

I can identify verses, choruses, bridges, and hooks and explain the function of each.

Advanced: ●

I can analyze how song structure creates tension, contrast, and release.

Learning Activities: ● Listen to a popular song and signal when sections repeat. ● Label sections of a song while listening (Verse, Chorus, etc.). ● Create a quick A/B structure sketch of an excerpt. ● Compare two songs and identify similarities in structure. Second Topic: Function of Sections

Estimated # of Lessons: 2-3

Middle School Popular Music Unit 2 Learning Targets: Fundamental: ● ● ●

Essential Questions: ● What role does each section of a song play? ● Why does repetition make music catchy and memorable?

Intermediate: ● ●

I can identify verses, choruses, bridges, and hooks and explain the function of each. I can explain how repetition and contrast work together to shape listener expectation.

Advanced: ●

I can analyze how song structure creates tension, contrast, and release.

Learning Activities: ● Compare verse and chorus sections and identify musical differences. ● Annotate lyrics to determine the function of each section. ● Complete a “Why Repeat?” quick write. ● Discuss: “What would happen if this section were removed?” Third Topic: Structure and Audience Experience

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions: ● How does song structure shape listener experience? ● What happens when artists break structural conventions?

Fundamental: ● ● ●

Intermediate: ●

I can identify verses, choruses, bridges, and

Middle School Popular Music Unit 2

● ●

hooks and explain the function of each. I can explain how repetition and contrast work together to shape listener expectation. I can compare the structure of two songs and describe how structure influences listener experience.

Advanced: ● ● ●

I can analyze how song structure creates tension, contrast, and release. I can evaluate how effectively a song uses form to engage the listener. I can explain how artists may intentionally follow or break structural conventions to create impact.

Learning Activities: ● Create an energy timeline aligned with structural sections. ● Listen to a song that disrupts typical form and identify where expectations shift. ● Compare a traditional verse–chorus song with a less predictable structure. ● Workshop structure maps in preparation for the summative project.

Middle School Popular Music Unit 3

Course Name: Middle School Popular Music Unit 3 Title: Music, Style, and Identity

Est. # of Lessons: 6-7

Unit Overview: Music isn't just sound — it communicates identity. In this unit, we explore how different styles and genres reflect culture, community, and personal expression. Why do certain sounds feel powerful, rebellious, comforting, or authentic? Through comparison, discussion, and personal reflection, we examine how artists use musical elements to communicate who they are and how listeners connect to that message. We also explore the music that matters to us and consider why it resonates. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Re7.2.E.7a: Analyze how the structure and context of varied musical works inform the listener’s response. Re8.1.E.7a: Interpret intent and meaning in musical works, citing musical evidence to support understanding. Re9.1.E.7a: Evaluate musical works and performances using established criteria and appropriate musical vocabulary. Cn10.0.E.7a: Demonstrate how interests, experiences, and purposes influence the selection and interpretation of music. Cn11.0.E.7a: Explain how musical works are influenced by the time, place, and social setting in which they were created.

Transfer Goals ●

●

Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens)

Understandings ● ● ● ●

Musical styles and genres reflect the communities and cultures in which they develop. Artists use musical elements intentionally to express personal and cultural identity. Listener interpretation is shaped by personal experience and cultural background. Authenticity in music is shaped by both what artists intend and how audiences receive it. Knowledge

Fundamental

Essential Questions ● ● ● ● ●

How does music communicate identity? How do genres reflect culture and community? Why do certain styles feel authentic, powerful, or meaningful? How do artists use musical choices to express who they are? How does who we are influence how we experience music?

Skills (Framed as Learning Targets) Fundamental:

Middle School Popular Music Unit 3 ● ● ● ●

Genre refers to categories or styles of music. Different genres have different sounds. Music can reflect personality and emotion. Listeners connect to music for different reasons.

● ● ●

Intermediate

I can identify different musical styles or genres and describe how they sound different. I can explain how a song reflects a mood, personality, or cultural identity. I can share music that feels meaningful to me and explain why it resonates.

Intermediate: Genres have recognizable musical traits. ● I can compare musical elements across genres Musical elements (rhythm, instrumentation, and explain how style communicates identity vocal style) help define genre. or culture. ● Genres often reflect cultural communities. ● I can explain how musical choices reflect ● Artists make stylistic choices intentionally. values or emotions using specific evidence. ● Identity can be expressed through musical ● I can explain why certain genres feel style. authentic to certain communities. Advanced Advanced: ● Genre conventions shape listener ● I can analyze how musical elements signal expectations. cultural identity and belonging. ● Style can communicate social, cultural, or ● I can evaluate how artists use style to shape political identity. public identity and expression. ● Artists may adopt or blend genres ● I can articulate how my own musical strategically. preferences connect to my identity and ● Authenticity is shaped by audience experiences. perception. ● Cultural context influences how music is created and received. ● ●

Key Vocabulary: genre, style, identity, culture, community, expression, authenticity, convention, influence, tradition, innovation, audience, stereotype, symbolism STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students select a song, artist, or genre and analyze how musical style communicates identity, culture, or community. Levelled Assessment Tools Fundamental ● ●

Identify the genre or style of the song. Describe at least three musical

Formative Assessment ●

●

Genre Traits List: Students identify and list defining musical characteristics of a genre or song (rhythm, instrumentation, vocal style, production). Style Compare: Students compare two excerpts and identify one musical similarity and one difference, explaining what those differences communicate. “This Sounds Like…” Quick Write:

Middle School Popular Music Unit 3

● ● ●

characteristics of the style. Explain how the style reflects a mood or personality. Describe why the song might feel meaningful to certain listeners. Share a personal connection to the music.

●

“This music communicates ___ because ___.” (Require at least one musical element in the explanation.) Students respond briefly: “Who might connect most strongly to this music? Why?”

Intermediate ● ● ● ● ●

Identify defining musical traits of the genre (rhythm, instrumentation, vocal style). Explain how musical elements communicate identity or cultural values. Compare two songs within the same genre or across genres. Support interpretations with specific musical evidence. Explain why the style may feel authentic to certain communities.

Advanced ● ● ● ● ●

Analyze how musical conventions signal belonging or cultural identity. Explain how artists intentionally use or adapt genre conventions. Evaluate how effectively the style communicates identity or perspective. Defend an interpretation using detailed musical evidence. Explain how listener background influences perception of authenticity.

Criteria: Fundamental: ● Identifies the genre or style and describes at least three defining musical characteristics ● ●

Explains how the style reflects a mood, personality, or cultural identity Shares a personal connection to the music with at least one musical reason

Intermediate: ● Explains how specific musical elements communicate identity or cultural values using evidence ● Compares two songs or artists and

Middle School Popular Music Unit 3

●

supports interpretation with musical evidence Explains why the style may feel authentic or meaningful to certain communities

Advanced: ● Analyzes how musical conventions signal cultural belonging or identity ● Evaluates how effectively the style communicates identity or perspective with detailed evidence ● Articulates how personal background or experience shapes interpretation of the music STAGE 3: LEARNING PLAN First Topic: Recognizing Style and Genre Traits

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions: ● How does music communicate identity? ● How do genres reflect culture and community?

Fundamental: ● ●

I can identify different musical styles or genres and describe how they sound different. I can explain how a song reflects a mood, personality, or cultural identity.

Intermediate: ●

I can compare musical elements across genres and explain how style communicates identity or culture.

Advanced: ●

I can analyze how musical elements signal cultural identity and belonging.

Learning Activities: ● Listen to excerpts from contrasting genres and identify defining musical traits (rhythm, instrumentation, vocal style, production). ● Create a genre traits chart that lists consistent characteristics across multiple examples. ● Compare two songs from different genres and identify how tempo, groove, instrumentation, or vocal style contribute to stylistic identity. ● Facilitate brief discussion prompts such as: ○ “What makes this style recognizable?”

Middle School Popular Music Unit 3

●

○ “What musical clues tell you what genre this is?” Complete a short written response identifying how specific musical elements signal a particular style.

Second Topic: Style, Culture, and Community

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions ● How do genres reflect culture and community? ● Why do certain styles feel authentic, powerful, or meaningful?

Fundamental: ● I can identify different musical styles or genres and describe how they sound different. ● I can explain how a song reflects a mood, personality, or cultural identity. Intermediate ● ● ●

I can compare musical elements across genres and explain how style communicates identity or culture. I can explain how musical choices reflect values or emotions using specific evidence. I can explain why certain genres feel authentic to certain communities.

Advanced ●

I can analyze how musical elements signal cultural identity and belonging.

Learning Activities: ● Examine a genre’s historical or cultural background and discuss how that context influences its sound. ● Listen to multiple songs within a genre and identify common themes or stylistic patterns. ● Compare two artists within the same genre and discuss how each expresses identity differently. ● Respond in writing to prompts such as: ○ “What values or perspectives might this music represent?” ○ “Who might feel represented by this style?” ● Engage in small-group discussion analyzing how musical choices (lyrics, instrumentation, rhythm) connect to cultural identity. Third Topic: Identity, Perspective, and Authenticity Estimated # of Lessons: 2-3 Learning Targets: Fundamental:

Essential Questions: ● Why do certain styles feel authentic, powerful, or meaningful?

Middle School Popular Music Unit 3 ● ●

I can explain how a song reflects a mood, personality, or cultural identity. I can share music that feels meaningful to me and explain why it resonates.

●

How does who we are influence how we experience music?

Intermediate: ● ●

I can explain how musical choices reflect values or emotions using specific evidence. I can explain why certain genres feel authentic to certain communities.

Advanced: ● ● ●

I can analyze how musical elements signal cultural identity and belonging. I can evaluate how artists use style to shape public identity and expression. I can articulate how my own musical preferences connect to my identity and experiences.

Learning Activities: ● Listen to a song and discuss how different listeners might experience it differently. ● Complete a short reflection connecting personal musical preferences to aspects of identity. ● Compare an artist who follows genre conventions with one who blends or challenges them, identifying how that affects perception of authenticity. ● Facilitate structured discussion using prompts such as: ○ “What makes music feel authentic?” ○ “Can music belong to more than one community?” ○ “How do our experiences shape what we hear?” ● Provide workshop time for students to develop and refine their summative project with peer feedback focused on clarity of musical evidence.

Middle School Popular Music Unit 4

Course Name: Middle School Popular Music Unit 4 Title: Music, Meaning, and You

Est. # of Lessons: 6-7

Unit Overview: In this final unit, we step back and ask: Why does music matter? How does it connect to memory, identity, and real-life experience? How do artists use sound, lyrics, structure, and style to tell stories and communicate messages? Through listening, discussion, and guided creative work, we interpret meaning in music and apply everything we've learned to create our own short song concept. Drawing on emotional impact, structure, and style from earlier units, we develop lyrics and a musical plan that communicates a personal message or perspective. This unit challenges us not just to understand music — but to shape meaning intentionally. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

Re8.1.E.7a: Interpret intent and meaning in musical works, citing musical evidence to support understanding. Re9.1.E.7a: Evaluate musical works and performances using established criteria and appropriate musical vocabulary. Cn10.0.E.7a: Demonstrate how interests, experiences, and purposes influence the selection and interpretation of music. Cn11.0.E.7a: Explain how musical works are influenced by the time, place, and social setting in which they were created. Cr1.1.E.7a: Generate musical ideas for various purposes and contexts. Cr2.1.E.7a: Develop musical ideas, demonstrating understanding of structure and form. Re7.2.E.7a: Analyze how structure and context inform listener response

Transfer Goals ●

●

Understandings ● ● ●

Music communicates meaning through intentional choices in lyrics, structure, style, and sound. Meaning in music emerges from the interaction between creator and listener. Personal experiences and identity influence both how music is created and how it is interpreted.

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers)

Essential Questions ● ● ● ●

How do artists communicate meaning through music? How do structure and style support storytelling? How do personal experiences and identity shape musical creation? How might different listeners interpret the same message differently?

Middle School Popular Music Unit 4 Knowledge Fundamental: ● ● ● ●

Skills (Framed as Learning Targets) Fundamental:

Songs communicate messages or stories. Lyrics and mood work together. Basic song structures support meaning. Music connects to memory and emotion.

Intermediate:

● ● ●

●

I can describe the message or theme of a song and explain how lyrics contribute to meaning. I can create simple original lyrics expressing a personal idea. I can describe how I want my song to feel and choose a structure to support it.

Repetition and structure reinforce a message. ● Genre and style influence how a message is Intermediate: ● I can explain how lyrics and musical elements received. work together to tell a story. ● Musical elements shape emotional framing. ● I can write original lyrics using intentional ● Artists make intentional creative choices. repetition in a hook or chorus. ● I can support my creative choices with reasoning using musical vocabulary. Advanced: ● ● ● ●

Meaning emerges from interaction between structure, style, lyrics, and audience. Artists may use symbolism, contrast, and genre conventions strategically. Production and arrangement influence interpretation. Audience background influences perceived authenticity and meaning.

Advanced: ● I can write lyrics that use imagery, metaphor, or contrast intentionally. ● I can justify stylistic and structural decisions using musical vocabulary. ● I can reflect on how audience interpretation may differ from my intent.

Key Vocabulary: message, theme, storytelling, narrative, perspective, imagery, metaphor, symbolism, mood, tone, structure, verse, chorus, hook, repetition, contrast, production, arrangement, interpretation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students create an original short song concept communicating a personal message, memory, or perspective. The deliverable has two parts: written lyrics including at least a verse and chorus, and a brief explanation — written or spoken — describing the structural and stylistic choices they made and why.

Formative Assessment ● ● ●

Theme Statement Draft: Students write a one-sentence statement of the message or idea their song will communicate. Structure Sketch: Students outline their planned song form (verse, chorus, bridge) and briefly describe the purpose of each section. Hook Workshop: Students draft a chorus or hook and identify how repetition reinforces the message.

Middle School Popular Music Unit 4 ● Levelled Assessment Tools: Fundamental ● ● ● ● ●

Write original lyrics expressing a clear message or theme. Identify a basic song structure (verse/chorus). Choose a genre or style for the piece. Describe how the music should feel. Explain how the song connects to personal experience.

Style Justification Prompt: Students respond: “I chose this genre/style because ___.” (Require at least one musical element in the explanation.)

Intermediate ● ● ● ● ●

Write lyrics using intentional repetition (hook or chorus). Create a clear structural outline including verse and chorus (bridge optional). Identify how musical elements (tempo, groove, instrumentation) support the message. Explain how stylistic choices communicate identity or mood. Support creative decisions with reasoning.

Advanced ● ● ● ● ●

Develop lyrics that use imagery, metaphor, or contrast intentionally. Design a full structural plan (verse–chorus– bridge or variation). Explain how repetition and contrast reinforce meaning. Justify stylistic choices using genre conventions. Reflect on how audience interpretation may differ from original intent.

Criteria: Fundamental: ● Lyrics express a clear message or theme ● Basic song structure is identifiable — at least verse and chorus ● Explanation describes how the song should feel with at least one musical reason Intermediate:

Middle School Popular Music Unit 4 ● ● ●

Lyrics use intentional repetition in a hook or chorus to reinforce the message Structural outline is clear and purposeful Explanation supports creative decisions with musical vocabulary and reasoning

Advanced: ● Lyrics use imagery, metaphor, or contrast intentionally and effectively ● Stylistic and structural choices are justified using genre conventions and musical vocabulary ● Reflection considers how different listeners might interpret the song differently from the creator's intent STAGE 3: LEARNING PLAN First Topic: Choosing an Idea Worth Writing About

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: ● How do personal experiences shape musical creation? ● How does music connect to identity, memory, and real-life experience?

Fundamental: ●

I can describe the message or theme of a song and explain how lyrics contribute to meaning.

Intermediate: ●

I can explain how lyrics and musical elements work together to tell a story.

Advanced: ●

I can reflect on how audience interpretation may differ from my intent.

Learning Activities: ● Brainstorm possible song topics (memory, mood, character, celebration, story, dream, challenge, etc.). ● Draft a one-sentence “Song Idea Statement” (e.g., “My song is about ___.”). ● Analyze short song excerpts to identify how artists clearly establish a theme. ● Participate in peer feedback to refine clarity and focus of the idea. ● Complete a brief reflection explaining why the chosen topic works for a song. Second Topic: Building the Song

Estimated # of Lessons: 2

Middle School Popular Music Unit 4 Learning Targets: Fundamental: ● ●

I can create simple original lyrics expressing a personal idea. I can describe how I want my song to feel and choose a structure to support it.

Essential Questions: ● How do structure and style support storytelling? ● How do artists communicate meaning through music?

Intermediate: ●

I can write original lyrics using intentional repetition in a hook or chorus.

Advanced: ●

I can write lyrics that use imagery, metaphor, or contrast intentionally.

Learning Activities: ● Draft lyrics for a verse that introduces the song idea. ● Develop a chorus that clearly reinforces the main message using repetition. ● Create a structural outline (Verse–Chorus–Verse–Chorus–Bridge optional). ● Study examples of effective choruses and identify why they are memorable. ● Workshop lyrics in small groups focusing on clarity and structure. Third Topic: Making It Sound Intentional

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions ● How do artists communicate meaning through music? ● How might different listeners interpret the same message differently?

Fundamental ● ●

I can describe the message or theme of a song and explain how lyrics contribute to meaning. I can describe how I want my song to feel and choose a structure to support it.

Intermediate ●

I can support my creative choices with reasoning using musical vocabulary.

Advanced ● ●

I can justify stylistic and structural decisions using musical vocabulary. I can reflect on how audience interpretation may differ from my intent.

Learning Activities: ● Select a genre or stylistic direction and justify the choice.

Middle School Popular Music Unit 4 ● ● ● ●

Describe musical elements (tempo, instrumentation, mood) that support the idea. Participate in structured peer feedback sessions focused on clarity and impact. Revise lyrics and structural outline based on feedback. Write a short reflection explaining how musical and structural choices communicate the intended meaning.

Middle School Music Technology Middle School Music Technology What does it take to build music from scratch? In Middle School Music Technology, we learn to create, shape, and communicate through sound using the same tools real producers use. We explore how to build structure with loops, tell stories through recorded audio, design mood with synthesizers, and bring it all together in a collaborative production. No traditional instrument required — just curiosity, creativity, and a willingness to experiment. Building with Sound 5-6 Lessons

Sound as Story 5-6 Lessons

Designing Mood with Synth & Production 5-6 Lessons

Collaborative Production Project 6-8 Lessons

We begin by asking a question most listeners never think about: how is music actually built inside a computer? Using a digital audio workstation, we explore loops, layering, and arrangement — the building blocks of digital music production. Through hands-on experimentation, we learn to organize sound into structured sections and make intentional choices about repetition and contrast. By the end of this unit, we've created our first original track and started thinking like producers.

With our DAW skills in place, we push sound in a new direction. Music doesn't need notes or words to communicate — recorded audio can build suspense, humor, mystery, or emotion on its own. We capture real-world sounds and use editing, timing, and layering to create a short wordless sound story. By the end of this unit, we understand that meaning comes not just from what we record but from how we arrange and shape what we hear.

We've built structure and told stories through sound. Now we ask: how do producers design sounds that feel dramatic, calm, intense, or dreamy in the first place? We explore synthesizers and digital instruments, experimenting with timbre, harmony, texture, and effects to shape emotional tone. Rather than performing on a traditional instrument, we use technology to design sound from the inside out — and create a short mood-based track that communicates a specific atmosphere.

Everything we've learned now comes together. We bring our understanding of structure, narrative, and sound design into a collaborative production team — taking on real producer roles and making collective decisions about how to shape a complete, polished piece. This unit challenges us to move from experimenting with tools to creating something intentional and finished, just like real-world creators. The result is a production that reflects not just what we've learned — but who we are as a team.

Middle School Technology Unit 1 Course Name: Middle School Music Technology Unit 1 Title: Building with Sound

Est. # of Lessons: 5-6

Unit Overview: We begin by asking a question most listeners never think about: how is music actually built inside a computer? Using a digital audio workstation, we explore loops, layering, and arrangement — the building blocks of digital music production. Through hands-on experimentation, we learn to organize sound into structured sections and make intentional choices about repetition and contrast. By the end of this unit, we've created our first original track and started thinking like producers. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ●

●

Understandings ●

● ●

Digital music is built through layering, repetition, and intentional arrangement — the same principles that organize any musical structure. Loops and digital tools are creative materials that require intentional choices, not just technical operation. Sound selection and layering influence the mood and energy of a piece.

● ● ● ● ●

How is music built inside a computer? How do producers organize sound into structured pieces? How does layering affect the way music feels? What makes a digital track sound intentional instead of random? How do repetition and contrast shape listener experience?

Knowledge

Skills (Framed as Learning Targets)

Fundamental ● A DAW allows users to arrange audio and MIDI. ● Loops can be repeated and layered. ● Tracks hold different sounds. ● Music can be organized into sections. ● Repetition creates structure.

Fundamental: ● I can navigate a DAW to add, arrange, and layer loops on separate tracks. ● I can create a short piece using repetition and identify two contrasting sections. ● I can describe how my track feels using basic vocabulary.

Middle School Technology Unit 1 Intermediate ● Tracks can be adjusted for volume and balance. ● Tempo affects mood. ● Layering increases texture. ● Contrast between sections adds interest. ● Digital form can mirror traditional musical structure.

Intermediate: ● I can create a structured piece with clearly contrasting sections using repetition intentionally. ● I can layer multiple tracks to build texture and adjust volume for balance. ● I can explain how my sound choices affect mood and energy.

Advanced ● Producers use arrangement intentionally to shape listener experience. ● Sound selection influences emotional tone. ● Effects (e.g., EQ, reverb) shape clarity and space. ● Structured form improves cohesion. ● Digital composition relies on both creativity and organization.

Advanced: ● I can design a track with clear and cohesive form using contrast intentionally between sections. ● I can justify my sound selection and layering choices using appropriate vocabulary. ● I can evaluate whether my track communicates the intended mood.

Key Vocabulary: DAW, track, region, loop, MIDI, audio, tempo, quantize, arrangement, layering, section, repetition, contrast, texture, balance, effects, EQ, reverb STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students will create a short original digital track (45–90 seconds) using loops and/or MIDI in a DAW. Leveled Assessment Tools:

Formative Assessment ● ●

Fundamental ● Create a short digital track using loops. ● Include at least two layered tracks. ● Demonstrate repetition within the piece. ● Identify two sections (A/B). ● Describe the intended mood of the track.

●

Intermediate ● Create a structured track with clearly contrasting sections. ● Use repetition intentionally to establish form. ● Layer multiple tracks to build texture. ● Adjust tempo or basic effects.

●

A/B Structure Check: Students label their track sections (A and B) and briefly describe one difference between them. Layer Mute Test: Students mute one track at a time and identify how removing that layer changes the sound. Intentional Loop Prompt: Students respond: “I chose this loop because ___.” (Require reference to mood, energy, or texture.) Repetition Map: Students visually mark where repetition occurs in their track and explain how it creates structure. "Mood Statement" prompt: "My track is trying to feel ___ and I created that by ___"

Middle School Technology Unit 1 ●

Explain how sound choices influence mood.

Advanced ● Design a track with a clear and cohesive form (A/B or verse/chorus). ● Use contrast intentionally between sections. ● Refine balance and layering for clarity. ● Use effects strategically to enhance mood. ● Justify structural and sound design choices using vocabulary. Criteria: Fundamental: ● Track includes at least two layered loops on separate tracks ● Clear repetition is present and at least two sections are identifiable ● Student can describe the intended mood using at least one vocabulary word Intermediate: ● Track has clearly contrasting sections with intentional use of repetition ● Multiple layers build texture and volume is adjusted for balance ● Student explains how specific sound choices affect mood and energy Advanced: ● Track demonstrates clear and cohesive form with contrast used intentionally between sections ● Sound selection and layering choices are justified using appropriate vocabulary ● Student evaluates whether the track successfully communicates the intended mood and identifies one specific revision decision STAGE 3: LEARNING PLAN First Topic: Navigating the DAW

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions:

100

Middle School Technology Unit 1

Fundamental: ● I can navigate a DAW to add, arrange, and layer loops on separate tracks. ● I can create a short piece using repetition and identify two contrasting sections.

● ●

How is music built inside a computer? What makes a digital track sound intentional instead of random?

Intermediate: ●

I can layer multiple tracks to build texture and adjust volume for balance.

Advanced: ●

I can justify my sound selection and layering choices using appropriate vocabulary.

Learning Activities: ● Explore the DAW interface and identify key tools (tracks, regions, tempo, playhead). ● Add loops to separate tracks and experiment with layering. ● Practice dragging, trimming, copying, and repeating regions. ● Create a 4–8 measure loop pattern and repeat it. ● Reflect briefly: “Does this sound organized or random? Why?” Second Topic: Building Structure with Repetition and Contrast

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: ● How do producers organize sound into structured pieces? ● How do repetition and contrast shape listener experience?

Fundamental: ●

I can create a short piece using repetition and identify two contrasting sections.

Intermediate: ●

I can create a structured piece with clearly contrasting sections using repetition intentionally.

Advanced: ●

I can design a track with clear and cohesive form using contrast intentionally between sections.

Learning Activities: ● Build an A section using selected loops.

101

Middle School Technology Unit 1 ● ● ● ●

Create a contrasting B section by changing rhythm, instrumentation, or density. Label sections clearly in the DAW. Compare two student examples and discuss what makes structure clear. Complete a quick written response explaining how sections differ.

Third Topic: Designing Mood Through Layering

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions: ● How does layering affect the way music feels? ● What makes a digital track sound intentional instead of random?

Fundamental: ●

I can describe how my track feels using basic vocabulary.

Intermediate ● ●

I can layer multiple tracks to build texture and adjust volume for balance. I can explain how my sound choices affect mood and energy.

Advanced ● ●

I can justify my sound selection and layering choices using appropriate vocabulary. I can evaluate whether my track communicates the intended mood.

Learning Activities: ● Experiment with adding and removing layers to change energy. ● Adjust volume levels to create balance between tracks. ● Test how different loops change the emotional tone. ● Apply simple effects (reverb, EQ) and reflect on how they change the sound. ● Write a short explanation describing how layering supports the intended mood.

102

Middle School Technology Unit 2

Course Name: Middle School Music Technology Unit 2 Title: Sound as Story

Est. # of Lessons: 5-6

Unit Overview: With our DAW skills in place, we push sound in a new direction. Music doesn't need notes or words to communicate — recorded audio can build suspense, humor, mystery, or emotion on its own. We capture real-world sounds and use editing, timing, and layering to create a short wordless sound story. By the end of this unit, we understand that meaning comes not just from what we record but from how we arrange and shape what we hear. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Cr1.1.E.7a: Generate musical ideas for various purposes and contexts. Cr2.1.E.7a: Develop musical ideas, demonstrating understanding of structure and form. Cr3.1.E.7a: Evaluate and refine personal musical ideas using teacher-provided and collaboratively developed criteria. Re8.1.E.7a: Interpret intent and meaning in musical works, citing musical evidence to support understanding.

Transfer Goals ●

●

Understandings ● ● ●

Sound alone can communicate story, mood, and meaning without words or traditional instruments. Editing, timing, and layering shape how listeners interpret recorded audio. Silence and space are as powerful as sound in building tension and emotion. Knowledge

Fundamental: ● Audio can be recorded into a DAW. ● Recorded sound can be trimmed and moved. ● Sound can be organized into sections. ● Mood can be shaped through timing.

● ● ● ● ●

How can sound tell a story without words? How do editing and timing shape meaning? What makes a sound sequence feel organized instead of random? How can silence and space create tension or emotion? How do producers use recorded sound intentionally? Skills (Framed as Learning Targets)

Fundamental: ● I can record audio into a DAW and trim and arrange recorded clips. ● I can organize sounds into a clear beginning, middle, and end. ● I can describe the mood of my sound story.

103

Middle School Technology Unit 2

Intermediate: ● Layering recorded sounds builds texture. ● Volume changes affect emphasis. ● Silence and pauses shape tension. ● Editing tools allow precise arrangement. Advanced: ● Narrative structure can be created through contrast and pacing. ● Effects (reverb, EQ, fades) shape space and realism. ● Audio editing influences emotional interpretation. ● Intentional arrangement improves clarity and cohesion. Key Vocabulary: recording, audio track, waveform, trim, cut, fade, volume, silence, pacing, layering, texture, contrast, narrative, edit, effects, reverb, space, timing

Intermediate: ● I can layer recorded sounds to build texture and use timing intentionally to shape pacing. ● I can create contrast between sections of my sound story. ● I can explain how my editing choices affect listener experience. Advanced: ● I can design a sound narrative with clear and intentional structure. ● I can use silence and space strategically to build tension or emotion. ● I can justify how my editing choices support the story and evaluate whether it communicates clearly.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Project Overview: Students will create a 60–90 second wordless sound story using recorded and edited audio in a DAW.

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Levelled Assessment Tools Fundamental

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● ● ● ● ●

Record original audio into the DAW. Arrange sounds into a clear beginning, middle, and end. Trim and move audio clips accurately. Create at least one moment of contrast. Describe the intended mood or story.

Intermediate ● ● ● ● ●

Layer multiple recorded sounds to build texture. Use timing intentionally to shape pacing. Create contrast between sections. Use volume or simple fades effectively. Explain how editing choices support the

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Beginning–Middle–End Sketch: Students outline their sound story in three short phrases describing what happens in each section. Pacing Check: Students play 20–30 seconds of their project and explain: “What feeling does this timing create?” Layering Test: Students mute and unmute layers to identify how each sound contributes to texture and mood. Silence Moment Prompt: Students identify one place where silence or space could increase impact and briefly explain why. "Sound Selection Justify" prompt: "I chose this sound because it suggests ____"

104

Middle School Technology Unit 2 story. Advanced ● ● ● ● ●

Design a cohesive sound narrative with intentional structure. Use silence or space strategically. Apply effects (reverb, EQ, fades) intentionally. Manipulate timing and layering for emotional impact. Justify editing decisions using appropriate vocabulary.

Criteria: Fundamental: ● Recorded audio is trimmed and arranged into a clear beginning, middle, and end ● At least one moment of contrast is identifiable ● Student describes the intended mood or story using basic vocabulary Intermediate: ● Multiple recorded sounds are layered to build texture with intentional pacing ● Contrast between sections shapes listener experience ● Student explains how specific editing choices support the story Advanced: ● Sound narrative has clear and cohesive structure with intentional use of contrast ● Silence or space is used strategically at least once to build tension or emotion ● Student justifies editing decisions using appropriate vocabulary and evaluates whether the story communicates clearly STAGE 3: LEARNING PLAN First Topic: Capturing and Exploring Sound

Estimated # of Lessons: 1-2

105

Middle School Technology Unit 2 Learning Targets: Fundamental: ● I can record audio into a DAW and trim and arrange recorded clips.

Essential Questions: ● How can sound tell a story without words? ● How do producers use recorded sound intentionally?

Intermediate: ●

I can layer recorded sounds to build texture and use timing intentionally to shape pacing.

Advanced: ●

I can use silence and space strategically to build tension or emotion.

Learning Activities: ● Record environmental or object-based sounds around the classroom or school. ● Explore waveform displays and identify where sounds begin and end. ● Practice trimming, cutting, and repositioning audio clips. ● Create a short 10–15 second “sound collage” from recorded material. ● Reflect briefly: “What kind of story could this sound suggest?” Second Topic: Shaping Narrative Through Editing

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions: ● How do editing and timing shape meaning? ● What makes a sound sequence feel organized instead of random?

Fundamental: ●

I can organize sounds into a clear beginning, middle, and end.

Intermediate: ● ●

I can layer recorded sounds to build texture and use timing intentionally to shape pacing. I can create contrast between sections of my sound story.

Advanced: ● ●

I can design a sound narrative with clear and intentional structure. I can use silence and space strategically to build tension or emotion.

Learning Activities:

106

Middle School Technology Unit 2 ● ● ● ● ●

Draft a “Beginning–Middle–End” outline before building the project. Rearrange recorded sounds to create different narrative effects. Compare two versions of the same sequence with different pacing. Experiment with inserting silence between sounds to increase impact. Write a brief explanation of how structure supports the story.

Third Topic: Refining Mood and Impact

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions: ● How can silence and space create tension or emotion? ● How do editing choices influence listener interpretation?

Fundamental: ●

I can describe the mood of my sound story.

Intermediate: ●

I can explain how my editing choices affect listener experience.

Advanced: ●

I can justify how my editing choices support the story and evaluate whether it communicates clearly.

Learning Activities: ● Apply fades and volume adjustments to smooth transitions. ● Experiment with reverb to create a sense of space. ● Compare dry vs. effected versions of the same sound. ● Conduct peer listening sessions focused on clarity and impact. ● Revise project based on feedback.

107

Middle School Technology Unit 3

Course Name: Middle School Music Technology Unit 3 Title: Designing Mood with Synth & Production

Est. # of Lessons: 5-6

Unit Overview: We've built structure and told stories through sound. Now we ask: how do producers design sounds that feel dramatic, calm, intense, or dreamy in the first place? We explore synthesizers and digital instruments, experimenting with timbre, harmony, texture, and effects to shape emotional tone. Rather than performing on a traditional instrument, we use technology to design sound from the inside out — and create a short mood-based track that communicates a specific atmosphere. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Cr1.1.E.7a: Generate musical ideas for various purposes and contexts. Cr2.1.E.7a: Develop musical ideas, demonstrating understanding of structure and form. Cr3.1.E.7a: Evaluate and refine personal musical ideas using teacher-provided and collaboratively developed criteria. Re7.2.E.7a: Analyze how the structure and context of varied musical works inform the listener’s response. Re8.1.E.7a: Interpret intent and meaning in musical works, citing musical evidence to support understanding.

Transfer Goals ●

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Understandings ●

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Timbre and texture shape how music feels — the same notes can sound completely different depending on the instrument or synthesizer used. Chord progressions contribute to mood — major and minor harmonies create fundamentally different emotional experiences. Producers use layering and harmony together to create atmosphere — every element of a track is a deliberate choice about how the listener should feel. Knowledge

Fundamental:

Essential Questions ● ● ● ● ●

How do producers create sounds that feel dramatic, calm, or intense? How does timbre influence emotional impact? How do chord progressions shape mood? What makes a sound feel warm, bright, dark, or aggressive? How do harmony and texture work together to create atmosphere?

Skills (Framed as Learning Targets) Fundamental:

108

Middle School Technology Unit 3 ● ● ● ●

Digital instruments produce different timbres. Chords create harmony. Tempo influences emotional tone. Layering builds texture.

Intermediate: ● ● ● ●

Filters change brightness and tone. Envelopes shape how a sound starts and ends. Major and minor harmonies create different moods. Texture influences emotional depth.

Advanced: ● ● ● ●

Timbre is shaped by waveform and synthesis parameters. Harmonic movement affects tension and release. Sound design influences listener interpretation. Atmosphere is created through intentional layering and balance.

Key Vocabulary: synthesizer, timbre, waveform, filter, envelope, attack, decay, sustain, release, harmony, chord progression, major, minor, texture, atmosphere, layering, mood, tension, release

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I can use a digital instrument or synth and program simple chords in a DAW. I can layer sounds to create mood and describe how my track feels. I can identify how major and minor harmonies create different emotional effects.

Intermediate: ● I can create a chord progression that supports a specific mood. ● I can adjust synth settings to modify the character and feel of a sound. ● I can explain how harmony and texture influence emotional tone using specific examples. Advanced: ● I can design or significantly modify synth sounds intentionally to shape atmosphere. ● I can use chord progressions and layering strategically to build a specific emotional direction. ● I can justify sound design and harmonic choices and evaluate whether my track communicates the intended mood.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students will create a 60–90 second original digital track designed to communicate a specific mood or emotional atmosphere. Leveled Assessment Tools Fundamental ● Use a digital instrument or synth in the DAW. ● Create a simple chord progression (2–3 chords). ● Layer at least two sounds. ● Identify the intended mood.

Formative Assessment ●

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Mood Target Statement: Before building, students complete: "My track should feel ___ and I plan to create that using ___." Requires at least one specific element — harmony, timbre, or texture. Synth Modification Check: Students adjust one synth parameter, describe what changed, and explain whether it moved toward or away from their intended mood. Harmony Compare: Students program two short chord progressions — one major, one minor — and describe the emotional difference in their own words.

109

Middle School Technology Unit 3 ●

Describe how the music feels.

Intermediate ● ● ● ● ●

Create a clear chord progression that supports a mood. Modify at least one synth setting (filter, envelope, etc.). Use layering to build texture. Create at least one contrasting section. Explain how harmony and sound design influence emotional tone.

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Layer Mute Test — Mood Version: Students mute one layer at a time and identify how removing that element changes the emotional character of the track.

Advanced ● ● ● ● ●

Design or significantly modify original synth sounds intentionally. Use chord progression to shape tension and release. Layer sounds strategically to build atmosphere. Refine balance and texture for clarity. Justify sound design and harmonic choices using appropriate vocabulary.

Criteria: Fundamental: ● Track includes simple chord progression using digital instruments ● At least two sounds are layered to create mood ● Student identifies the intended mood and describes how it feels using basic vocabulary Intermediate: ● Chord progression clearly supports a specific mood with intentional harmonic choices ● At least one synth setting is modified to change the character of a sound ● Student explains how harmony and texture choices influence emotional tone Advanced: ● Synth sounds are designed or significantly modified intentionally to shape atmosphere ● Chord progression and layering work together to create a specific and cohesive

110

Middle School Technology Unit 3

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emotional direction Student justifies sound design and harmonic choices using appropriate vocabulary and evaluates whether the track communicates the intended mood STAGE 3: LEARNING PLAN

First Topic: Mood and Harmony

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: ● How do chord progressions shape mood? ● How do harmony and texture work together to create atmosphere?

Fundamental: ● ●

I can use a digital instrument or synth and program simple chords in a DAW. I can identify how major and minor harmonies create different emotional effects.

Intermediate: ●

I can create a chord progression that supports a specific mood.

Advanced: ●

I can use chord progressions and layering strategically to build a specific emotional direction.

Learning Activities: ● Explore major vs. minor chord examples and describe emotional differences. ● Program simple 2–3 chord progressions using MIDI. ● Compare two different chord progressions and discuss mood shifts. ● Experiment with tempo changes and reflect on emotional impact. ● Draft a short progression intended to communicate a specific mood. Second Topic: Designing Sound with Synth Tools

Estimated # of Lessons: 2

Learning Targets: Fundamental

Essential Questions ● How does timbre influence emotional impact? ● What makes a sound feel warm, bright, dark, or aggressive?

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I can use a digital instrument or synth and program simple chords in a DAW.

Intermediate ●

I can adjust synth settings to modify the

111

Middle School Technology Unit 3

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character and feel of a sound. I can explain how harmony and texture influence emotional tone using specific examples.

Advanced ●

I can design or significantly modify synth sounds intentionally to shape atmosphere.

Learning Activities: ● Explore different waveform presets and describe tonal qualities. ● Adjust filter and envelope settings to hear how attack and brightness change. ● Compare “dry” vs. modified synth sounds. ● Modify a preset to match a target mood (e.g., suspenseful, calm, energetic). ● Share and explain sound design choices with peers. Third Topic: Building Atmosphere Through Layering

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: ● How do producers create sounds that feel dramatic, calm, or intense? ● How do harmony and texture work together to create atmosphere?

Fundamental: ●

I can layer sounds to create mood and describe how my track feels.

Intermediate: ●

I can create a chord progression that supports a specific mood.

Advanced: ● ●

I can use chord progressions and layering strategically to build a specific emotional direction. I can justify sound design and harmonic choices and evaluate whether my track communicates the intended mood.

Learning Activities: ● Layer chords with pads, bass, or melodic elements. ● Adjust volume levels to create balance. ● Create a contrasting section by changing harmony, texture, or density. ● Conduct peer listening sessions focused on mood clarity. ● Revise track based on feedback.

112

Middle School Technology Unit 4

Course Name: Middle School Music Technology Unit 4 Title: Collaborative Production Project

Est. # of Lessons: 6-8

Unit Overview: Everything we've learned now comes together. We bring our understanding of structure, narrative, and sound design into a collaborative production team — taking on real producer roles and making collective decisions about how to shape a complete, polished piece. This unit challenges us to move from experimenting with tools to creating something intentional and finished, just like real-world creators. The result is a production that reflects not just what we've learned — but who we are as a team. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Cr1.1.E.7a: Generate musical ideas for various purposes and contexts. Cr2.1.E.7a: Develop musical ideas, demonstrating understanding of structure and form. Cr3.1.E.7a: Evaluate and refine personal musical ideas using teacher-provided and collaboratively developed criteria. Re9.1.E.7a: Evaluate musical works and performances using established criteria and appropriate musical vocabulary.

Transfer Goals ●

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Understandings ●

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Different production roles contribute to a cohesive final product — collaboration requires both individual contribution and collective decision-making. Revision improves clarity, balance, and impact — and collaborative revision requires negotiating creative decisions with others. Intentional structure, mood, and sound design work together to create a polished and cohesive production. Knowledge

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What makes a digital production feel polished and complete? How do collaborators contribute to a shared creative vision? How does revision improve clarity and impact? How do structure, mood, and sound design work together? How do producers balance creativity and organization? Skills (Framed as Learning Targets)

113

Middle School Technology Unit 4 Fundamental: ● ● ● ●

Digital projects can be developed collaboratively. Structure improves clarity. Mood is shaped by sound choices. Revision improves quality.

Production roles divide responsibility. Balance and layering affect clarity. Editing tools refine transitions. Cohesion requires intentional organization.

Advanced: ● ● ● ●

● ●

Intermediate: ● ● ● ●

Fundamental: ● I can contribute meaningful ideas to a team production and take on a defined responsibility.

Collaborative workflow requires planning and communication. Production decisions influence audience perception. Refinement improves emotional and structural impact. Polished production involves both creativity and technical clarity.

Key Vocabulary: producer, arrangement, revision, mix, balance, transition, cohesion, production role, refinement, audience, final mix

I can identify the structure and mood of our project and describe my contribution to it. I can revise my work based on peer and teacher feedback.

Intermediate: ● I can take responsibility for a defined production role and complete it with intention. ● ●

I can organize a project with cohesive structure and refine layering and balance for clarity. I can explain how our collective production choices support the intended mood.

Advanced: ● I can coordinate collaborative decisions effectively to maintain a shared creative vision. ● I can refine structure, transitions, and sound design intentionally across the full production. ● I can evaluate the cohesion and audience impact of the final product and justify production decisions using appropriate vocabulary.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Project Overview: Students will work in small production teams (2–4 members) to create a polished digital production that demonstrates intentional structure, mood, and sound design.

Formative Assessment ●

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Levelled Assessment Tools: Fundamental ●

Contribute meaningfully to a collaborative project.

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Production Plan Sheet: Teams outline their project idea, intended mood, structure (sections), and assigned production roles before building. Role Accountability Check: Each team member states: “My role is ___ and today I am responsible for ___.” Midpoint Cohesion Check: Teams play 30–45 seconds of their track and answer:

114

Middle School Technology Unit 4 ● ● ● ●

Help organize the track into clear sections. Participate in revising based on feedback. Identify the intended mood of the project. Describe personal contributions to the final product.

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“Does this feel organized and cohesive? Why or why not?” Revision Reflection Prompt: After peer feedback, teams respond: “One change we made and why.”

Intermediate ● ● ● ● ●

Take responsibility for a defined production role. Organize the track with cohesive structure. Refine layering and balance for clarity. Collaborate effectively to revise and improve the project. Explain how structure and sound choices support mood.

Advanced ● ● ● ● ●

Coordinate collaborative decisions to maintain a shared vision. Refine structure, transitions, and layering intentionally. Use sound design and harmony strategically. Evaluate and improve cohesion and audience impact. Justify production decisions using appropriate vocabulary.

Criteria: Fundamental: ● ● ●

Student contributes meaningfully to a collaborative project with a defined responsibility Track has identifiable structure and a clear intended mood Student describes their personal contribution and what they would revise with more time

Intermediate: ● ●

Student takes ownership of a defined production role with clear contribution to the final product Track has cohesive structure with intentional layering and balance

115

Middle School Technology Unit 4 ●

Student explains how collective production choices support the intended mood using musical vocabulary

Advanced: ● ● ●

Student coordinates collaborative decisions to maintain a shared creative vision Track demonstrates refined structure, transitions, and sound design working together intentionally Student evaluates the cohesion and audience impact of the final product and justifies production decisions using appropriate vocabulary STAGE 3: LEARNING PLAN

First Topic: Planning and Production Roles

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: ● How do collaborators contribute to a shared creative vision? ● How do producers balance creativity and organization?

Fundamental: ●

I can contribute meaningful ideas to a team production and take on a defined responsibility.

Intermediate: ●

I can take responsibility for a defined production role and complete it with intention.

Advanced: ●

I can coordinate collaborative decisions effectively to maintain a shared creative vision.

Learning Activities: ● Brainstorm project concepts as a team (mood, theme, style). ● Complete a Production Plan Sheet outlining structure and roles. ● Assign production roles (arranger, sound designer, editor, mixer). ● Listen to professional examples and identify production roles. ● Establish shared expectations for collaboration and workflow.

116

Middle School Technology Unit 4 Second Topic: Building and Refining the Production

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: ● How do structure, mood, and sound design work together? ● How does revision improve clarity and impact?

Fundamental: ● ●

I can identify the structure and mood of our project and describe my contribution to it. I can revise my work based on peer and teacher feedback.

Intermediate: ● ●

I can organize a project with cohesive structure and refine layering and balance for clarity. I can explain how our collective production choices support the intended mood.

Advanced: ●

I can refine structure, transitions, and sound design intentionally across the full production.

Learning Activities: ● Build core sections of the project collaboratively. ● Rotate roles briefly to understand different responsibilities. ● Conduct midpoint listening sessions and gather peer feedback. ● Adjust layering, transitions, and structure based on critique. ● Document one intentional revision decision. Third Topic: Polishing and Presenting

Estimated # of Lessons: 2-3

Learning Targets: Fundamental:

Essential Questions ● What makes a digital production feel polished and complete? ● How do producers consider audience impact?

● ●

I can identify the structure and mood of our project and describe my contribution to it. I can revise my work based on peer and teacher feedback.

Intermediate: ●

I can explain how our collective production choices support the intended mood.

117

Middle School Technology Unit 4 Advanced: ●

I can evaluate the cohesion and audience impact of the final product and justify production decisions using appropriate vocabulary.

Learning Activities: ● Adjust final volume levels and clean transitions. ● Conduct final peer listening session focused on clarity and polish. ● Complete collaborative reflection describing structure, mood, and roles. ● Present projects to the class and explain production decisions. ● Reflect individually on collaboration and growth.

118

High School American Popular Music American Popular Music What makes music meaningful? How do artists use sound to tell stories, challenge conventions, and connect with audiences? In American Popular Music, we explore the sounds that have shaped American culture — from blues and jazz to hip-hop and pop — building the listening skills, critical vocabulary, and creative awareness to engage with music as more than fans. We learn to hear like critics, think like artists, and begin to find our own voice. Think Like an Artist 5-7 Lessons

Listening Like a Critic 5-7 Lessons

Genre as Language 5-7 Lessons

Artist Identity and Voice 5-7 Lessons

What does it mean to create music that matters? We open this course by stepping inside the artist's perspective — examining how musicians make intentional choices about sound, lyrics, structure, and performance to communicate meaning and move audiences. Through active listening and the Describe–Analyze–Interpret (DAI) process, we build a shared vocabulary for talking about music with depth and precision. By the end of this unit, we can articulate not just what we hear, but why it works — and that changes how we listen to everything that follows.

Now that we understand how artists think, we sharpen our ears. Moving beyond "I like it" or "I don't," we learn to evaluate music through its musical elements, production choices, cultural context, and artistic intent. We practice constructing and defending thoughtful musical arguments — in discussion and in writing — culminating in an album or concert review that demonstrates our analytical voice. By the end of this unit, we can say something specific, evidencebased, and worth reading about why a piece of music succeeds or falls short.

With critical listening skills in place, we turn to a new question: How do genres communicate? We explore blues, jazz, rock, country, R&B, hiphop, pop, and musical theatre as distinct musical languages — each shaped by specific grooves, forms, lyrics, production techniques, and performance conventions. We examine how genres evolve, blur, and respond to social and cultural change. The unit culminates in a genre "decode" project where we curate a playlist and make a case — using evidence from the music itself — for what makes a genre a genre.

Having spent this course inside the minds of artists, sharpened our ears, and decoded the conventions of genre, we turn the question inward: What do we want to say, and how might we say it? We examine the sources of personal inspiration — lived experience, cultural heritage, the music that moves us — and explore how artists translate those sources into a distinct creative voice. Through lyric writing and storytelling exercises, we begin developing our own. This unit brings everything together, not as a summary, but as a beginning. 119

High School American Popular Music Unit 1

Course Name: American Popular Music Unit 1 Title: Think Like an Artist

Est. # of Lessons: 5-7

Unit Overview: What does it mean to create music that matters? We open this course by stepping inside the artist's perspective — examining how musicians make intentional choices about sound, lyrics, structure, and performance to communicate meaning and move audiences. Through active listening and the Describe–Analyze–Interpret (DAI) process, we build a shared vocabulary for talking about music with depth and precision. By the end of this unit, we can articulate not just what we hear, but why it works — and that changes how we listen to everything that follows. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

MU: Re7.2.E: Analyze how structure and context inform response MU: Re8.1.E: Interpret intent and meaning MU: Cn10.E: Relate personal interests and experiences to musical works MU: Cn11.0.E: Relationships between music and social/cultural/historical contexts

Transfer Goals ●

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Understandings ● ● ●

Artists make intentional choices - in sound, lyrics, and structure - to communicate meaning and move audiences. Elements and structures of music provide insight into expressive intent. Music functions beyond entertainment, serving cultural, social, and communicative roles that reflect the world artists live in.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ●

Artist’s position in society Active listening strategies DAI (Describe–Analyze–Interpret) process Functions of music Lyrics and cultural reflection Interpretation

Key Vocabulary: active listening, DAI process,

What does it mean to create music that matters? How do artists use sound, lyrics, and structure to communicate meaning? How do we discern what a creator is actually trying to say?

Skills (Framed as Learning Targets) ● ● ●

I can explain how artists use intentional choices — in sound, lyrics, and structure — to communicate meaning. I can apply the DAI process to analyze what a piece of music expresses and how it achieves that effect. I can identify the cultural or social role a piece of music plays and explain what shapes that

120

High School American Popular Music Unit 1 music function, lyrics, cultural reflection, interpretation

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role. I can interpret expressive intent using specific evidence from the music.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Task: Students select one song and complete a DAI analysis that addresses three things: what the artist is communicating, how specific choices in sound, lyrics, or structure create that effect, and what cultural or social role this music plays and why.

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Participation in class discussions on functions of music and active listening. Listening journal entries. Peer dialogue in small groups

This can be written, annotated, or presented verbally — the format is flexible. What matters is that all three questions are answered with specific evidence from the music. Criteria: ● ● ● ●

Applies the DAI process accurately using musical vocabulary Explains how specific artistic choices communicate meaning — not just what they hear, but why those choices matter Identifies the cultural or social role of the piece and supports that claim with evidence Interprets expressive intent rather than just describing what happens in the song STAGE 3: LEARNING PLAN

First Topic: The Artist’s Mindset

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can explain how artists use intentional choices — in sound, lyrics, and structure — to communicate meaning. ● I can identify the cultural or social role a piece of music plays and explain what shapes that role.

Essential Question: ● What does it mean to create music that matters?

121

High School American Popular Music Unit 1 Learning Activities: ● Discussion: different modes of listening. ● Lecture: Describe–Analyze–Interpret framework Second Topic: Active Listening

Estimated # of Lessons: 1-2 lessons

Learning Targets: ● I can apply the DAI process to analyze what a piece of music expresses and how it achieves that effect.

Essential Question: ● How do we move from hearing music to understanding it?

Learning Activities: ● Discussion: different modes of listening. ● Lecture: Describe–Analyze–Interpret framework Third Topic: Listening Applied

Estimated # of Lessons: 2 lessons

Learning Targets: ● I can apply the DAI process to analyze what a piece of music expresses and how it achieves that effect. ● I can interpret expressive intent using specific evidence from the music.

Essential Question: ● How do we discern what a creator is actually trying to say?

Learning Activities: ● Guided listening: Bob Dylan and other artists. ● Annotated lyric activity. ● Small-group discussion using collaboration and communication capacities and DAI

122

High School American Popular Music Unit 2

Course Name: American Popular Music Unit 2 Title: Listening Like a Critic

Est. # of Lessons:

5-7

Unit Overview: Now that we understand how artists think, we sharpen our ears. Moving beyond "I like it" or "I don't," we learn to evaluate music through its musical elements, production choices, cultural context, and artistic intent. We practice constructing and defending thoughtful musical arguments — in discussion and in writing — culminating in an album or concert review that demonstrates our analytical voice. By the end of this unit, we can say something specific, evidence-based, and worth reading about why a piece of music succeeds or falls short. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

MU: Re7.2.E: Analyze how structure and context inform response MU: Re8.1.E: Interpret intent and meaning MU: Re9.1.E: Evaluate musical works by applying criteria MU: Re9.1.E: Support evaluations based on analysis and criteria

Transfer Goals ●

●

Understandings ● ● ● ●

Thoughtful listening requires attention to musical details, context, and intent. Personal opinion becomes meaningful criticism when supported by evidence. Musical meaning is shaped by culture, history, production, and audience. Strong musical arguments use clear criteria and specific examples.

Essential Questions ● ● ●

Knowledge ● ● ●

Musical elements: melody, harmony, rhythm, texture, form, timbre Production elements: recording techniques, effects, mixing, amplification Genre conventions in American popular music

What separates preference from informed critique? What makes a musical argument convincing? How do we decide what makes music "good"?

Skills (Framed as Learning Targets) ● ● ●

I can distinguish between personal preference and informed critique. I can evaluate music using specific criteria (musical elements, production, context, intent). I can construct a musical argument using

123

High School American Popular Music Unit 2 ● ● ●

Cultural and historical context Criteria-based evaluation Evidence-based writing and discussion

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specific evidence from the music. I can write a review that supports claims with musical evidence and clear criteria.

Key Vocabulary: critique, criteria, evidence, timbre, texture, grove, form, production, arrangement, genre, context, interpretation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Album or Concert Review:: Students write a formal album or concert review evaluating a work of their choosing. The review must address musical elements, production choices, cultural context, and artistic intent — supporting every claim with specific evidence from the music.

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Guided listening worksheets Short written responses (“claim + evidence”) Small-group discussion observations Exit tickets identifying musical elements heard Peer feedback on draft critiques

Criteria: ● ● ● ●

Distinguishes clearly between personal taste and evidence-based evaluation Applies specific criteria — musical elements, production, context, intent — consistently throughout Constructs a clear musical argument supported by specific evidence Sustains an analytical voice rather than drifting into description or summary STAGE 3: LEARNING PLAN

First Topic: From Opinion to Analysis

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can distinguish between personal preference and informed critique. ● I can evaluate music using specific criteria (musical elements, production, context, intent).

Essential Question: ● What separates preference from informed critique?

Learning Activities: ● Compare casual reactions vs. analytical responses ● Teacher-led listening demonstrations

124

High School American Popular Music Unit 2 Second Topic: Musical Elements, Production, and Genre

Estimated # of Lessons: 1-2 lessons

Learning Targets: ● I can evaluate music using specific criteria (musical elements, production, context, intent).

Essential Question: ● What makes a musical argument convincing?

Learning Activities: ● Side-by-side listening comparisons ● Genre “fingerprint” charts ● Production-focused listening Third Topic: Making and Defending a Musical Argument

Estimated # of Lessons: 2 lessons

Learning Targets: ● I can construct a musical argument using specific evidence from the music. ● I can write a review that supports claims with musical evidence and clear criteria.

Essential Question: ● How do we decide what makes music "good"?

Learning Activities: ● Reading and analyzing professional music reviews ● Peer review of critique drafts ● Structured debates on contrasting musical works ● Final album or concert review project

125

High School American Popular Music Unit 3

Course Name: American Popular Music Unit 3 Title: Genre as Language

Est. # of Lessons:

5-7

Unit Overview: With critical listening skills in place, we turn to a new question: How do genres communicate? We explore blues, jazz, rock, country, R&B, hip-hop, pop, and musical theatre as distinct musical languages — each shaped by specific grooves, forms, lyrics, production techniques, and performance conventions. We examine how genres evolve, blur, and respond to social and cultural change. The unit culminates in a genre "decode" project where we curate a playlist and make a case — using evidence from the music itself — for what makes a genre a genre. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

MU: Re7.2.E: Analyze how structure and context inform response MU: Re8.1.E : Interpret intent and meaning MU: Re9.1.E: Evaluate using criteria MU: Cn11.0.E : Relationships with social/cultural/historical contexts

Transfer Goals ●

●

Understandings ● ● ● ●

Musical genres are defined by shared musical, cultural, and performance conventions. Genre identity is communicated through intentional artistic choices. Genres change over time through cultural exchange, technology, and innovation. Genre conventions are both a creative toolkit and a cultural code - understanding them deepens how we hear and interpret music.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ●

Musical elements: rhythm, melody, harmony, form, texture, timbre Groove and rhythmic feel Lyrical themes and storytelling conventions Production techniques and recording styles Performance practice and artist image Cultural and historical influences on genre

How do genres signal identity and community? What happens when we can't categorize a song? How do artists use and break genre conventions?

Skills (Framed as Learning Targets) ● ● ●

I can identify and explain how musical elements (groove, form, production) define and signal genre identity. I can compare genres using specific musical evidence to explain what distinguishes them. I can analyze how cultural context shapes musical style and genre evolution.

126

High School American Popular Music Unit 3 development

●

Key Vocabulary: genre, groove, form, timbre, texture, production, arrangement, style, performance practice, hybrid, convention, innovation

I can curate a playlist and defend genre classifications using musical evidence.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Playlist: Students curate a playlist representing a specific genre and present a written or verbal case — using evidence from the music itself — for what defines that genre, how it evolved, and why the songs they selected belong there.

● ● ● ● ●

Guided listening charts Think-pair-share discussions Exit tickets identifying genre traits Small-group genre comparison tasks Peer feedback on playlist drafts

Criteria: ● ● ● ●

Identifies and explains specific musical elements that define the genre's identity Analyzes how cultural context shaped the genre's development Compares the selected genre to at least one other to clarify what makes it distinct Defends song selections with specific musical evidence rather than personal preference STAGE 3: LEARNING PLAN

First Topic: What Is a Genre?

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can identify and explain how musical elements (groove, form, production) define and signal genre identity.

Essential Question: ● How do genres signal identity and community?

Learning Activities: ● Brainstorm genres students already know Second Topic: Genre Traits and Musical Choices

Estimated # of Lessons: 1-2 lessons

Learning Targets:

Essential Question:

127

High School American Popular Music Unit 3 ●

I can compare genres using specific musical evidence to explain what distinguishes them.

●

What happens when we can't categorize a song?

Learning Activities: ● Side-by-side listening comparisons ● Genre trait graphic organizers ● Lyric and groove analysis activities Third Topic: Genre Evolution and Overlap

Estimated # of Lessons: 2 lessons

Learning Targets: ● I can analyze how cultural context shapes musical style and genre evolution. ● I can curate a playlist and defend genre classifications using musical evidence.

Essential Question: ● How do artists use and break genre conventions?

Learning Activities: ● Hybrid genre listening (e.g., country pop, jazz fusion, rap rock) ● Discussion on cultural exchange and innovation ● Final Genre Decode playlist project

128

High School American Popular Music Unit 4

Course Name: American Popular Music Unit 4 Title: Artist Identity & Voice

Est. # of Lessons:

13-17

Unit Overview: Having spent this course inside the minds of artists, sharpened our ears, and decoded the conventions of genre, we turn the question inward: What do we want to say, and how might we say it? We examine the sources of personal inspiration — lived experience, cultural heritage, the music that moves us — and explore how artists translate those sources into a distinct creative voice. Through lyric writing and storytelling exercises, we begin developing our own. This unit brings everything together, not as a summary, but as a beginning. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

MU: Cr1.1.E: Generate musical ideas for various purposes and contexts MU: Cr2.1.E: Select and develop musical ideas for defined purposes MU: Cn10.E: Relate personal interests and experiences to musical works MU: Cn11.0.E: Relationships with social/cultural/historical contexts

Transfer Goals ●

●

Understandings ● ● ● ● ●

Artists’ choices are shaped by personal experiences, contexts, and purposes. Active listening deepens our understanding of expressive intent. The creative ideas that influence musicians’ work come from a variety of sources. Music communicates beyond entertainment; it reflects culture and identity. Personal voice emerges when we translate our experiences, influences, and cultural identity into intentional creative choices.

Essential Questions ● ● ●

Knowledge ● ●

Artist’s role in society Active listening strategies

What experiences and influences shape an artist's voice? What do we want to say, and how might we say it? How do the genres we connect with reflect who we are?

Skills (Framed as Learning Targets) ●

I can analyze how artists draw on personal and cultural experience to develop a distinct

129

High School American Popular Music Unit 4 ● ● ● ●

DAI (Describe–Analyze–Interpret) process Personal influences and storytelling Genre and cultural reflection Lyric-writing techniques

Key Vocabulary: active listening, DAI process, genre, interpretation, lyrics, imagery, narrative, cultural reflection

● ● ●

creative voice. I can identify the experiences, influences, and genres that shape my own artistic voice. I can write original lyrics or narratives that express personal meaning using specific craft techniques. I can articulate and defend the creative choices I made and explain what I was trying to say.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Culminating Task: Students complete an Artist's Voice Portfolio with two components. First, an original lyric or short narrative that expresses personal meaning using at least two craft techniques. Second, a written or verbal artist's statement that explains what they were trying to say, what creative choices they made and why, and how their experiences, influences, and genre connections shaped their work.

● ● ● ● ●

Participation in discussions on functions of music. Mind map of personal influences. Quick-writes on daily routines and pivotal experiences. Genre exploration brainstorm and classgenerated lists. Informal peer feedback on lyric drafts

Criteria: ●

● ● ●

Lyric or narrative uses specific craft techniques — imagery, metaphor, repetition, or rhyme — intentionally and effectively Artist's statement explains creative choices with specific reference to the work itself Connects personal experiences and cultural influences to specific decisions in the writing Articulates an emerging artistic voice rather than just summarizing what the piece is about STAGE 3: LEARNING PLAN

First Topic: The Artist’s Mindset

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can analyze how artists draw on personal and cultural experience to develop a

Essential Question: ● What experiences and influences shape an artist's voice?

130

High School American Popular Music Unit 4 distinct creative voice. Learning Activities: ● Lecture/discussion: Artist’s position in society. ● Class discussion: “Why must artists create?” Second Topic: Active Listening & DAI

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify the experiences, influences, and genres that shape my own artistic voice.

Essential Question: ● What do we want to say, and how might we say it?

Learning Activities: ● Lecture/discussion: listening modes and DAI framework. ● Guided listening (e.g., Bob Dylan, contemporary artists). Third Topic: Finding My Voice

Estimated # of Lessons: 5-6 lessons

Learning Targets: ● I can write original lyrics or narratives that express personal meaning using specific craft techniques. ● I can articulate and defend the creative choices I made and explain what I was trying to say.

Essential Questions: How do the genres we connect with reflect who we are?

Learning Activities: ● Create mind maps of personal influences. ● Playlist of 5 most important songs. ● Quick-writes on routines and pivotal life moments. ● Lyric-writing mini-lessons: rhyme, imagery, metaphor, repetition. ● Draft chorus lyrics using at least two techniques

131

High School Rock, Blues, & Jazz Improvisation Grades 9-12 Rock, Blues, and Jazz Improvisation What does it mean to improvise — not just play notes, but say something? In Rock, Blues, and Jazz Improvisation, we build the language of spontaneous musical expression from the ground up — exploring harmony, style, and rhythm across three great American musical traditions. We learn to listen deeply, play expressively, and respond to the musicians around us. By the end of this course, we don't just understand how improvisation works. We have a voice of our own. Unit 1: The Basics of Improvisation (10 Lessons)

Unit 2: Improvisation over Standard Chord Progressions (10 Lessons)

Unit 3: Stylistic Elements and Rhythm (10 Lessons)

Unit 4: Personal Expression and Ensemble Performance (10 Lessons)

Unit 5: Aural Skills, Transcription, and Application (10 Lessons)

We begin our journey as improvisers by building the foundational language of rock, blues, and jazz. We explore scales, modes, and chord tones — the essential tools that allow us to create spontaneous melodies over harmony. As we develop our ears and our fingers, we also practice the art of listening and responding to musical ideas around us. By the end of this unit, we can construct melodic phrases that outline harmony, demonstrate stylistic feel, and respond musically to the players around us — the foundational language that everything ahead depends on.

Now that we have core tools in place, we apply them to the harmonic frameworks that define rock, blues, and jazz — progressions like the ii–V–I, 12-bar blues, and rhythm changes. We learn to hear chord movement, select scales and arpeggios that fit each chord, and construct melodic lines that flow smoothly across changes. As we internalize these progressions, we gain the freedom to improvise with confidence and intention. Our solos begin to tell coherent musical stories over familiar harmonic landscapes.

With harmonic knowledge in hand, we shift our focus to what makes improvisation come alive: style and rhythm. We explore the distinct feels of rock, blues, and jazz — from driving eighth notes to swinging triplets to the deep groove of the blues shuffle. Through articulation, syncopation, and phrasing, we learn to capture the authentic character of each style. We discover that the right feel can transform correct notes into compelling music, and that rhythmic conversation with other musicians creates energy and connection in ways that melody alone cannot.

Everything we've learned now comes together as we develop our individual voices within an ensemble context. We bring our harmonic understanding, our stylistic awareness, and our rhythmic fluency to create improvised solos that express something meaningful and personal. We practice the balance between preparation and spontaneity, between asserting our musical ideas and listening deeply to others. Through performance, selfevaluation, and peer feedback, we refine our ability to improvise with confidence, presence, and authenticity. We are no longer just playing notes and making music that communicates and connects.

To deepen our voices as improvisers, we turn to the tradition itself -learning directly from the masters of rock, blues, and jazz through careful listening and transcription. We train our ears to identify and imitate melodic and rhythmic ideas, transcribe phrases and solos, and analyze what makes great improvisation compelling. Transcription isn't just about copying, it's about absorbing vocabulary, internalizing style, and then making those ideas our own. By the end of this unit, we understand that our personal voice doesn't come from nowhere, it emerges from the tradition we inherit, absorb, and transform. 132

High School Rock, Blues, & Jazz Improvisation Unit 1

Course Name: Grades 9-12 Rock, Blues, and Jazz Improvisation Unit 1 Title: The Basics of Improvisation

Est. # of Lessons: 10

Unit Overview: We begin our journey as improvisers by building the foundational language of rock, blues, and jazz. We explore scales, modes, and chord tones — the essential tools that allow us to create spontaneous melodies over harmony. As we develop our ears and our fingers, we also practice the art of listening and responding to musical ideas around us. By the end of this unit, we can construct melodic phrases that outline harmony, demonstrate stylistic feel, and respond musically to the players around us — the foundational language that everything ahead depends on. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● ●

MU:Pr4.1.HS.Ia: Perform music with technical accuracy, stylistic understanding, and appropriate interpretation. MU:Pr4.2.HS.Ia: Demonstrate understanding of music through improvising melodies, variations, and accompaniments using appropriate scales, modes, and chords. MU:Pr6.1.HS.Ia: Perform expressively, with appropriate interpretation and technical accuracy. MU:Re7.2.HS.Ia: Analyze how elements of music are manipulated to convey intent in improvised performances. MU:Cr1.1.HS.Ia: Generate melodic, rhythmic, and harmonic ideas (fits perfectly with learning scales/modes) MU:Cr2.1.HS.Ia: Select and develop musical ideas (fits with building phrases from chord tones)

Transfer Goals ●

●

Understandings ● ● ●

Jazz improvisation is a musical language built on harmonic structure, melodic vocabulary, and rhythmic expression. Knowledge of scales, modes, and chord tones enables musicians to make informed and expressive choices while improvising. Listening and responding to musical ideas are essential to developing fluency in jazz. Knowledge

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers)

Essential Questions ● ● ●

How do scales, modes, and chord tones give us freedom to make expressive choices in the moment? How does listening to and responding to others shape our improvisational voice? What does it mean to improvise with intention rather than just playing notes? Skills (Framed as Learning Targets)

133

High School Rock, Blues, & Jazz Improvisation Unit 1 ● ● ● ● ●

The structure and sound of major, minor, Dorian, Mixolydian, and blues scales. The function of chord tones (root, 3rd, 5th, 7th) in jazz harmony. The relationship between scales, chords, and melodic improvisation. Jazz phrasing, articulation, and rhythmic style (swing feel, syncopation). The role of the rhythm section and how soloists interact with accompaniment.

Key Vocabulary: scale, mode, chord tone, arpeggio, modes, blues scale, chord progression, swing, latin, rock, syncopation, phrase, motif, call and response, guide tones (goal notes)

● ● ● ● ●

I can identify and play the scales, modes, and chord tones commonly used in rock, blues, and jazz improvisation. I can construct melodic phrases that outline harmony using chord tones and scale tones. I can demonstrate swing feel and stylistically appropriate articulation when improvising. I can generate and develop short melodic ideas using scales, modes, and rhythmic variation. I can listen and respond musically to melodic and rhythmic ideas from other players.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

● ●

Formative Assessment

Improvisation Performance: Perform a short improvised solo over a ii–V–I progression demonstrating use of chord tones and appropriate scales. Scale & Mode Proficiency Check: Play and identify major, minor, modes, and blues scales in selected keys. Reflective Journal or Recording Analysis: Evaluate your improvisation to identify effective phrasing, tone, and harmonic understanding.

● ●

Daily warm-up improvisation exercises (call and response, scale-based patterns). Listening and transcription of short jazz phrases. Peer feedback sessions on melodic contour and harmonic accuracy. Instructor feedback during small group improvisation practice. Scale quizzes and chord-tone identification drills.

Criteria: ● Demonstrates accurate use of scales, modes, or chord tones appropriate to the progression ● Constructs melodic phrases that outline harmonic changes rather than running scales randomly ● Performs with recognizable stylistic feel — swing, blues, or rock — through articulation and phrasing ● Reflects on at least one intentional musical choice made during the solo STAGE 3: LEARNING PLAN

134

High School Rock, Blues, & Jazz Improvisation Unit 1 First Topic: Scales and Modes

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify and play the scales, modes, and chord tones commonly used in rock, blues, and jazz improvisation.

Essential Questions: ● How do scales, modes, and chord tones give us the freedom to make expressive choices in the moment?

Learning Activities: ● Write and perform all major scales. ● Perform scale warm-ups in multiple keys using various styles. ● Improvise short melodic ideas using each mode. Second Topic: Chord Tones and Harmonic Outlining

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can construct melodic phrases that outline harmony using chord tones and scale tones. ● I can generate and develop short melodic ideas using scales, modes, and rhythmic variation.

Essential Questions: ● How does understanding harmony help us make expressive choices in the moment?

Learning Activities: ● Practice arpeggios and guide tone lines through ii–V–I progressions. ● Compose and perform short improvisations emphasizing chord tones. ● Use call-and-response with a partner focusing on chord-tone motion. ● Analyze a solo (e.g., Charlie Parker or Sonny Rollins) to identify chord-tone targets. Third Topic: Building Melodic Language and Style Feel

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can demonstrate swing feel and stylistically appropriate articulation when improvising. ● I can listen and respond musically to melodic and rhythmic ideas from other players.

Essential Questions: ● What does it mean to improvise with intention rather than just playing notes?

Learning Activities: ● Perform “call and response” trading two-bar and four-bar phrases. ● Explore rhythmic motifs using only a few notes from a chosen scale. ● Improvise over a simple 12-bar blues progression with stylistic focus. ● Group performance emphasizing listening and interaction.

135

High School Rock, Blues, & Jazz Improvisation Unit 2

Course Name: Grades 9-12 Rock, Blues, and Jazz Improvisation Unit 2 Title: Improvisation Over Standard Chord Progressions

Est. # of Lessons: 10

Unit Overview: Now that we have core tools in place, we apply them to the harmonic frameworks that define rock, blues, and jazz — progressions like the ii–V–I, 12-bar blues, and rhythm changes. We learn to hear chord movement, select scales and arpeggios that fit each chord, and construct melodic lines that flow smoothly across changes. As we internalize these progressions, we gain the freedom to improvise with confidence and intention. Our solos begin to tell coherent musical stories over familiar harmonic landscapes. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● ● ●

MU:Pr4.1.HS.Ia: Perform music with technical accuracy and stylistic understanding. MU:Pr4.2.HS.Ia: Demonstrate understanding of music through improvising melodies, variations, and accompaniments using appropriate scales, modes, and chords. MU:Pr6.1.HS.Ia: Perform expressively, with appropriate interpretation and technical accuracy. MU:Re7.2.HS.Ia: Analyze how elements of music are manipulated to convey expressive intent in improvisation. MU:Re9.1.HS.Ia: Evaluate musical works and performances, supporting judgments with analysis of structure and style. MU:Cr1.1.HS.Ia: Generate ideas (creating solos over progressions) MU:Cr3.1.HS.Ia: Evaluate and refine musical ideas (fits with the recording project)

Transfer Goals ●

●

Understandings ●

● ●

Common chord progressions such as the ii–V–I and 12-bar blues provide the harmonic framework for much of music improvisation. Successful improvisation balances harmonic accuracy, melodic creativity, and rhythmic expression. Understanding and internalizing harmonic

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

Essential Questions ● ● ●

What makes an improvised solo sound coherent and connected across chord changes? How does internalizing chord progressions change the way we improvise? What's the relationship between harmonic awareness and musical freedom?

136

High School Rock, Blues, & Jazz Improvisation Unit 2 movement allows musicians to improvise freely and communicate musically with others. Knowledge ● ● ● ● ●

The harmonic structure of common progressions (ii–V–I, I–vi–ii–V, 12-bar blues, rhythm changes). The appropriate scales, modes, and arpeggios to use over each chord type. The function and resolution tendencies of chords within progressions. Techniques for creating melodic continuity through chord changes (guide tones, voice leading). The role of harmonic rhythm and phrasing in jazz performance.

Skills (Framed as Learning Targets) ● ● ● ● ●

I can identify and play chord progressions commonly used in rock, blues, and jazz. I can select appropriate scales, modes, and arpeggios for each chord in a progression. I can use guide tones and voice leading to create melodic lines that connect chords smoothly. I can improvise over standard progressions with stylistic accuracy and rhythmic awareness. I can evaluate and revise my improvisation based on self-assessment and peer feedback.

Key Vocabulary: ii–V–I chord progression, blues progression, rhythm changes, turnaround, guide tones, voice leading, arpeggio, chord substitution, approach note, passing tone, phrase, motif, goal/target note, sequence STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Recording Project: Students record an improvised solo over a ii–V–I or 12-bar blues backing track and submit a written or verbal analysis describing the scale and chord-tone choices they made, where the solo connects smoothly across changes, and one specific area they would revise and why. Criteria: ● ● ●

Demonstrates accurate selection of scales and chord tones appropriate to each chord in the progression Creates melodic lines that outline harmonic changes rather than running scales without direction Performs with stylistic accuracy — swing, blues, or rock — through articulation and phrasing

Formative Assessment ● ● ● ● ●

Daily warm-up drills over ii–V–I and 12-bar blues patterns. Short in-class improvisations focusing on connecting chord tones. Peer and teacher feedback sessions on phrasing and harmonic accuracy. Listening/transcription of classic jazz solos to identify harmonic approaches. Call-and-response improvisation exercises emphasizing harmonic motion.

137

High School Rock, Blues, & Jazz Improvisation Unit 2 ●

Evaluates their own solo with specific reference to the music rather than general impressions STAGE 3: LEARNING PLAN

First Topic: Understanding Common Chord Progressions

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify and play chord progressions commonly used in rock, blues, and jazz.

Essential Questions: ● What makes an improvised solo sound coherent and connected across chord changes?

Learning Activities: ● Analyze and perform ii–V–I progressions in multiple keys. ● Write out and label chord symbols for 12-bar blues and rhythm changes. ● Listen to recordings (e.g., Autumn Leaves, Straight, No Chaser) and identify progressions. Second Topic: Connecting Chords through Guide Tones and Voice Leading

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can select appropriate scales, modes, and arpeggios for each chord in a progression. ● I can use guide tones and voice leading to create melodic lines that connect chords smoothly.

Essential Questions: ● How does internalizing chord progressions change the way we improvise?

Learning Activities: ● Practice guide-tone lines through ii–V–I in all keys. ● Compose and perform short solos emphasizing smooth chord connections. Third Topic: Creating Melodic Solos Over Chord Progressions

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can improvise over standard progressions with stylistic accuracy and rhythmic awareness. ● I can evaluate and revise my improvisation based on self-assessment and peer feedback.

Essential Question: ● What's the relationship between harmonic awareness and musical freedom?

Learning Activities: ● Improvise over a ii–V–I or 12-bar blues progression using chord tones and passing tones.

138

High School Rock, Blues, & Jazz Improvisation Unit 2 ● ● ● ● ●

Develop a short solo that builds a melodic idea over a full chorus. “Trading fours” activity with rhythm section, focusing on conversational phrasing. Record and reflect on a solo, identifying strengths and areas for improvement. Partner exercises: “passing the line” — alternate improvising phrases that continue each other’s harmonic motion. Analyze transcribed solos (e.g., Lester Young or Sonny Rollins) for voice-leading techniques.

139

High School Rock, Blues, & Jazz Improvisation Unit 3

Course Name: Grades 9-12 Rock, Blues, and Jazz Improvisation Unit 3 Title: Stylistic Elements and Rhythm

Est. # of Lessons: 10

Unit Overview: With harmonic knowledge in hand, we shift our focus to what makes improvisation come alive: style and rhythm. We explore the distinct feels of rock, blues, and jazz — from driving eighth notes to swinging triplets to the deep groove of the blues shuffle. Through articulation, syncopation, and phrasing, we learn to capture the authentic character of each style. We discover that the right feel can transform correct notes into compelling music, and that rhythmic conversation with other musicians creates energy and connection in ways that melody alone cannot. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● ●

MU:Pr4.1.HS.Ia: Perform music with technical accuracy, stylistic understanding, and appropriate expression. MU:Pr4.2.HS.Ia: Improvise melodies, variations, and accompaniments demonstrating stylistic awareness and rhythmic precision. MU:Pr6.1.HS.Ia: Perform expressively, demonstrating stylistic interpretation and sensitivity to rhythm. MU:Re7.2.HS.Ia: Analyze how rhythmic and expressive elements communicate mood and intent in jazz performance. MU:Re9.1.HS.Ia: Evaluate and refine musical performances based on stylistic and expressive goals. MU:Cr2.1.HS.Ia: Select and develop ideas (developing rhythmic motifs)

Transfer Goals ●

●

Understandings ● ● ●

Rhythm and style are essential to musical authenticity and expression. Style, articulation, and syncopation give each genre its distinctive sound and character. Rhythmic variety and dynamic interaction between musicians enhance improvisation and ensemble performance.

Essential Questions ● ● ● ●

What makes a rhythm feel like rock, blues, or jazz—and what happens when we blend these styles? How do articulation, phrasing, and dynamics shape the character of our performance? How does rhythmic interaction create connection and conversation within an ensemble? What's the difference between playing the right notes and playing with the right feel?

140

High School Rock, Blues, & Jazz Improvisation Unit 3 Knowledge ● ● ● ● ●

The rhythmic and stylistic features of Rock, Latin, swing, and other styles. How to interpret and perform syncopation, swing eighth notes, and off-beat phrasing. The concept of “playing behind or ahead of the beat” for expressive phrasing. The relationship between articulation, dynamics, and style (e.g., accents, ghost notes, legato, staccato). The role of rhythmic interaction between soloists and rhythm section players.

Skills (Framed as Learning Targets) ● ● ● ● ●

Key Vocabulary: swing, straight eighths, swing eighths, syncopation, groove, comping, articulation, phrasing, ghost notes, dynamics, backbeat, pocket, fours, interaction, form, bridge

I can perform with accurate rock, blues, or swing feel using stylistically appropriate articulation. I can create and develop rhythmic motifs through repetition and variation. I can shape phrases expressively using dynamics and articulation to enhance stylistic character. I can listen and respond rhythmically to other performers in real time. I can trade rhythmic phrases with ensemble members as part of a musical conversation.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Performance and Review: Students perform an improvised solo or ensemble piece demonstrating stylistic feel, rhythmic phrase development, and expressive use of articulation and dynamics. This can be performed live or recorded. Following the performance, students submit a brief reflection identifying one rhythmic or stylistic choice they made intentionally and how it shaped the character of their playing. Criteria: ● ● ● ●

Formative Assessment ● ● ● ● ●

Daily rhythm warm-ups emphasizing swing, syncopation, and articulation. Call-and-response exercises focused on rhythmic imitation and variation. Peer and instructor feedback on phrasing and style. Listening activities comparing different rhythmic feels in jazz (swing vs. straight, Latin vs. funk/rock). Group improvisation focusing on rhythmic interplay and ensemble responsiveness.

Performs with recognizable and consistent stylistic feel — rock, blues, or swing — through articulation and phrasing Creates and develops at least one rhythmic motif through repetition or variation rather than playing random patterns Shapes phrases expressively using dynamics and articulation rather than playing at a single volume and intensity Demonstrates active listening and rhythmic responsiveness to ensemble members

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High School Rock, Blues, & Jazz Improvisation Unit 3 STAGE 3: LEARNING PLAN First Topic: Understanding Style and Feel

Estimated # of Lessons: 1-2 lessons

Learning Targets: ● I can perform with accurate rock, blues, or swing feel using stylistically appropriate articulation.

Essential Question: ● What makes a rhythm feel like rock, blues, or jazz—and what happens when we blend these styles?

Learning Activities: ● Clap and play swing eighth-note patterns to internalize rhythmic feel. ● Clap and play straight eighth-note patterns to internalize rhythmic feel. ● Listen to and compare classic recordings for stylistic characteristics. ● Group discussion: “What makes a performance sound like rock, Latin, and/or jazz?” Second Topic: Articulation, Phrasing, and Dynamics

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can create and develop rhythmic motifs through repetition and variation. ● I can shape phrases expressively using dynamics and articulation to enhance stylistic character.

Essential Question: ● How do articulation, phrasing, and dynamics shape the character of our performance?

Learning Activities: ● Perform articulation drills on short melodic phrases. ● Improvise two-bar rhythmic motifs focusing on phrasing and articulation. ● Transcribe and analyze excerpts from jazz solos focusing on articulation and dynamics. ● “Imitate and vary” activity: listen to a professional recording and mimic phrasing exactly. Third Topic: Rhythmic Creativity and Ensemble Interaction

Estimated # of Lessons: 2-3 lessons

Learning Targets: Essential Questions: ● I can listen and respond rhythmically to ● How does rhythmic interaction create other performers in real time. connection and conversation within an ● I can trade rhythmic phrases with ensemble ensemble? members as part of a musical conversation. ● What's the difference between playing the right notes and playing with the right feel? Learning Activities: ● Perform trading-fours exercises with rhythm section accompaniment. ● Create rhythmic motifs and develop them through repetition and variation. ● Group improvisation focusing on call-and-response phrasing. ● Ensemble listening drills emphasizing rhythmic interplay and “locking in the groove.”

142

High School Rock, Blues, & Jazz Improvisation Unit 4

Course Name: Grades 9-12 Rock, Blues, and Jazz Improvisation Unit 4 Title: Personal Expression and Ensemble Performance

Est. # of Lessons: 10

Unit Overview: Everything we've learned now comes together as we develop our individual voices within an ensemble context. We bring our harmonic understanding, our stylistic awareness, and our rhythmic fluency to create improvised solos that express something meaningful and personal. We practice the balance between preparation and spontaneity, between asserting our musical ideas and listening deeply to others. Through performance, self-evaluation, and peer feedback, we refine our ability to improvise with confidence, presence, and authenticity. We are no longer just playing notes — we are making music that communicates and connects. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● ● ●

MU:Pr4.1.HS.Ia: Perform music with technical accuracy, stylistic understanding, and appropriate expression. MU:Pr4.2.HS.Ia: Improvise melodies, variations, and accompaniments using understanding of harmonic structure, style, and expressive intent. MU:Pr6.1.HS.Ia:Perform expressively and with interpretation that demonstrates individuality and stylistic nuance. MU:Re9.1.HS.Ia: Evaluate performances and compositions, using criteria related to expressive intent, style, and musicianship. MU:Cn10.0.HS.Ia: Synthesize and relate knowledge and personal experiences to make music meaningful. MU:Cr3.1.HS.Ia: Evaluate and refine (selfreflection journal) MU:Cr3.2.HS.Ia: Share creative work (final performance project)

Transfer Goals ●

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Understandings ● ●

Improvisation is a form of personal and collective expression that connects theory, technique, and creativity. Ensemble performance in jazz requires active listening, interaction, and respect for each musician’s voice.

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Essential Questions

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How can we express our unique musical voice while contributing to something larger than ourselves? How do preparation, listening, and collaboration lead to confident and expressive performance?

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High School Rock, Blues, & Jazz Improvisation Unit 4 ●

Our most expressive improvisation happens when technical fluency and stylistic knowledge become invisible freeing us to focus entirely on communicating and connecting.

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Knowledge ●

Skills (Framed as Learning Targets)

The process of crafting an improvised solo that communicates musical ideas with intent and style. Techniques for expressive phrasing, emotional intensity, and dynamic control. The roles and responsibilities of each instrument in ensemble performance. How to balance individuality with group cohesion in musical interpretation. Methods for self-reflection and peer critique in performance improvement.

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Key Vocabulary: improvisation, expression, phrasing, dynamics, interaction, collaboration, listening, soloing, comping, trading fours, interpretation, stage presence, ensemble balance

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What's the relationship between technical skill and emotional expression in improvisation?

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I can create improvised solos that demonstrate harmonic understanding, stylistic accuracy, and expressive intent. I can make expressive choices in my improvisation that convey mood and personal voice. I can communicate and interact musically with ensemble members through active listening and responsive phrasing. I can maintain ensemble balance by adjusting my dynamics and listening to others in real time. I can evaluate and refine my improvisation based on self-assessment and peer feedback.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Final Performance Project: Students perform an improvised solo within an ensemble setting demonstrating personal voice, stylistic accuracy, and active ensemble interaction. Following the performance, students submit a written or verbal reflection identifying two specific choices they made — one about their individual expression and one about how they listened and responded to the ensemble — and explain how those choices shaped the performance.

Formative Assessment ● ● ● ● ●

Daily small-group improvisation sessions focused on expression and interaction. Peer feedback circles evaluating tone, phrasing, and ensemble awareness. Teacher-guided reflection discussions after each rehearsal or recording. Performance run-throughs with targeted focus (balance, dynamics, stage presence). Listening journals analyzing live or recorded professional jazz ensembles.

Criteria: ● ●

Creates an improvised solo demonstrating harmonic understanding, stylistic accuracy, and expressive intent Makes at least one identifiable expressive choice that conveys mood or personal

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voice Demonstrates active listening and responsiveness to ensemble members through dynamic adjustment and interactive phrasing Reflects on specific musical choices with reference to the performance rather than general impressions STAGE 3: LEARNING PLAN

First Topic: Developing Personal Voice through Improvisation

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can create improvised solos that demonstrate harmonic understanding, stylistic accuracy, and expressive intent. ● I can make expressive choices in my improvisation that convey mood and personal voice.

Essential Question: ● How can we express our unique musical voice while contributing to something larger than ourselves?

Learning Activities: ● Improvise short solos focusing on expressive intent (e.g., “play happy,” “play smooth,” “play tense”). ● Analyze contrasting solos by different jazz artists. ● Compose a short melodic idea and expand it through improvisation. ● Reflect in a journal about how stylistic choices reflect personal expression. Second Topic: Ensemble Communication and Interaction

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can communicate and interact musically with ensemble members through active listening and responsive phrasing. ● I can maintain ensemble balance by adjusting my dynamics and listening to others in real time.

Essential Questions: ● How do preparation, listening, and collaboration lead to confident and expressive performance?

Learning Activities: ● Group “trading fours” exercises to practice interactive phrasing. ● Play call-and-response improvisations between rhythm and melody instruments. ● Conduct “ensemble listening labs” where students identify cues and responses within recorded performances. ● Perform a group piece emphasizing dynamic balance and stylistic unity.

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High School Rock, Blues, & Jazz Improvisation Unit 4 Third Topic: Performance Preparation and Reflection

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can evaluate and refine my improvisation based on self-assessment and peer feedback.

Essential Question: ● What's the relationship between technical skill and emotional expression in improvisation?

Learning Activities: ● Record ensemble rehearsals and use playback for self-assessment. ● Practice stage entrances, visual connection, and expressive body language. ● Create a performance checklist (tuning, balance, dynamics, expression). ● Final performance for an audience or recording session with post-performance reflection.

146

High School Rock, Blues, & Jazz Improvisation Unit 5

Course Name: Grades 9-12 Rock, Blues, and Jazz Improvisation Unit 5 Title: Aural Skills, Transcription, and Application

Est. # of Lessons: 10

Unit Overview: To deepen our voices as improvisers, we turn to the tradition itself — learning directly from the masters of rock, blues, and jazz through careful listening and transcription. We train our ears to identify and imitate melodic and rhythmic ideas, transcribe phrases and solos, and analyze what makes great improvisation compelling. Transcription isn't just about copying — it's about absorbing vocabulary, internalizing style, and then making those ideas our own. By the end of this unit, we understand that our personal voice doesn't come from nowhere — it emerges from the tradition we inherit, absorb, and transform. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ● ● ●

MU:Pr4.2.HS.Ia: Improvise melodies, variations, and accompaniments demonstrating understanding of harmonic structure, style, and expressive intent. MU:Re7.2.HS.Ia: Analyze how the structure and context of varied musical works inform the response. MU:Re9.1.HS.Ia: Evaluate music and performances using criteria related to expressive intent and style. MU:Cn10.0.HS.Ia: Synthesize and relate knowledge and personal experiences to make music meaningful. MU:Cr1.1.HS.Ia: Generate melodic, rhythmic, and harmonic ideas that reflect personal and stylistic understanding. MU:Cr2.1.HS.Ia: Transcription involves selecting and developing ideas from others' work

Transfer Goals ●

●

Understandings ● ● ●

Improvisation is deeply rooted in listening, imitation, and the aural transfer of musical ideas. Transcription is both an analytical and creative process that enhances musical vocabulary and style. Every great improviser inherits a tradition our personal voice emerges from what we absorb, transform, and make our own.

● ● ●

How does the transcription deepen the way we listen, learn, and improvise? What's the relationship between imitating others and developing our own voice? What makes an improvisation sound authentic—and how do we learn that from listening to others?

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High School Rock, Blues, & Jazz Improvisation Unit 5 Knowledge ●

Skills (Framed as Learning Targets)

The process of active listening and focused aural analysis. The purpose and method of transcription in improvisation learning. Techniques for identifying pitch, rhythm, articulation, and phrasing by ear. How to apply transcribed ideas in improvisation practice. The connection between listening, memory, and creative expression.

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Key Vocabulary: aural skills, transcription, imitation, call and response, phrasing, articulation, swing feel, motif, lick, ear training, melodic dictation, rhythmic dictation, style vocabulary

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I can identify melodic and rhythmic patterns by ear. I can imitate short jazz phrases accurately on my instrument. I can transcribe short jazz phrases or solos using notation or by ear. I can analyze and describe the phrasing, articulation, and style of a recorded performance. I can select transcribed patterns or motifs that fit my personal style. I can develop transcribed ideas by modifying rhythm, contour, or harmony to create original phrases. I can apply transcribed vocabulary authentically in my own improvisation.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Transcription Project: Students select a short phrase or solo excerpt from a recording, transcribe it, and perform an improvised solo over a standard progression that incorporates ideas drawn from their transcription — modified, developed, and made their own. They submit a written or verbal reflection explaining what they transcribed, how they transformed it, and how this process influenced their personal improvisational voice. Criteria: ● ● ● ●

Formative Assessment ● ● ● ● ●

Daily listening and call-and-response exercises. Peer transcription checks comparing accuracy and interpretation. Small-group imitation drills (e.g., trading short melodic ideas). Teacher-led aural quizzes on rhythmic and melodic dictation. Reflection logs describing what students learned from each listening session.

Transcription accurately captures melodic and rhythmic patterns from the original recording Improvised solo demonstrates clear connection to transcribed material while moving beyond direct imitation Applies transcribed vocabulary in a way that fits the harmonic and stylistic context Reflection articulates specific connections between the transcription process and personal artistic development

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High School Rock, Blues, & Jazz Improvisation Unit 5 STAGE 3: LEARNING PLAN First Topic: Active Listening and Imitation

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify melodic and rhythmic patterns by ear. ● I can imitate short jazz phrases accurately on my instrument.

Essential Questions: ● How does the transcription deepen the way we listen, learn, and improvise?

Learning Activities: ● Daily “listen and play back” warm-ups using simple jazz licks or motifs. ● Imitate short phrases from recordings by ear without notation. ● Compare student performances to original recordings and discuss phrasing differences. Second Topic: Transcription as a Learning Tool

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can transcribe short jazz phrases or solos using notation or by ear. ● I can analyze and describe the phrasing, articulation, and style of a recorded performance. ● I can select transcribed patterns or motifs that fit my personal style.

Essential Question: ● What's the relationship between imitating others and developing our own voice?

Learning Activities: ● Step-by-step transcription of a 4–8 bar solo excerpt. ● Use software or playback tools to slow recordings for analysis. ● Class workshops comparing phrasing, note choice, and articulation in student transcriptions. Third Topic: Application and Personalization

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can develop transcribed ideas by modifying rhythm, contour, or harmony to create original phrases. ● I can apply transcribed vocabulary authentically in my own improvisation.

Essential Questions: ● What makes an improvisation sound authentic—and how do we learn that from listening to others?

Learning Activities: ● Improvise over a 12-bar blues or standard progression using motifs from a transcription. ● “Transform the lick” exercise: alter rhythm, contour, or harmony of a transcribed idea. ● Perform and record solos demonstrating the integration of transcribed vocabulary. ● Reflect in a journal on how transcription and imitation influenced personal style.

149

High School Music Theory Grades 9-12 Music Theory What is music, really — and how does it work? In Music Theory, we build the knowledge and skills to answer that question from the inside out. We learn to read and write the language of music, construct scales and key signatures, decode rhythm and meter, and understand the intervals and chords that give music its emotional character. By the end of this course, we don't just play music — we understand why it works, which makes us more fluent performers, more intentional creators, and more perceptive listeners. Unit 1: The Basics: Property of Sound and Basic Notation 8 Lessons

Unit 2: Scales: Chromatic and Diatonic Motion, Major and Minor 8 Lessons

Unit 3: Rhythms: Notate and Dictate 8 Lessons

Unit 4: Key Signatures: Major and Minor 8 -10 Lessons

Unit 5: Intervals 8 Lessons

Unit 6: Triads 8-10 Lessons

Our journey into music theory begins with a fundamental question: What transforms a simple vibration in the air into a piece of musical art? We start by exploring the physical properties of sound — the raw material from which all music is made. From there, we discover how musicians developed a visual language to capture something that exists only in the moment it's

With our notation skills in place, we turn to the question of how pitches are organized into meaningful patterns. Using the piano keyboard as our map, we explore half steps and whole steps — the building blocks of all melody and harmony. We then construct major and minor scales, discovering how a simple pattern of

Pitch tells us what to play. Rhythm tells us when — and how it feels. We investigate how beats are grouped, divided, and subdivided to create the pulse and energy that drives music forward. Through listening, performing, and notating rhythms in various meters, we sharpen our ability to internalize a steady pulse and

Building on our understanding of scales, we discover the shorthand composers use to set the tonal world of a piece before a single note is played: the key signature. Rather than writing accidentals throughout a score, a key signature tells us at a glance which scale we're working in — and through the circle of fifths, we

Scales and key signatures have given us a framework for understanding pitch organization. Now we zoom in on the fundamental relationship between any two notes: the interval. Intervals are the building blocks of both melody — notes in sequence — and harmony — notes sounding together. We learn to write, analyze, and hear

Our interval training now pays off as we stack intervals to build triads — the foundational chords of Western harmony. We learn to spell, hear, and play major, minor, diminished, and augmented triads, discovering how the quality of three notes sounding together can create warmth, tension, sadness, or unease. By connecting our 150

High School Music Theory heard. By learning to read and write basic notation for pitch and duration, we gain the tools to decode any piece of music — and to put our own musical ideas on the page for others to perform.

intervals determines whether music sounds bright and triumphant or dark and unsettled. By the end of this unit, we can build any scale from any starting pitch — and we begin to understand why the music we love sounds the way it does.

execute complex rhythmic figures with precision. By the end of this unit, we can hear a rhythm, write it down, and perform it accurately — skills that make us stronger musicians both alone and in an ensemble.

discover the elegant logic that connects all twenty-four keys. We practice identifying and writing all major and minor key signatures in treble and bass clef. By the end of this unit, we approach unfamiliar sheet music differently — the key signature is no longer a puzzle to solve, but a map we already know how to read.

intervals, developing our ear alongside our theoretical knowledge. By the end of this unit, we don't just see intervals on the page — we hear them, sing them, and feel their distinctive emotional character. This changes how we listen, how we tune, and how we perform.

written knowledge to keyboard performance and aural recognition, we begin to hear music not just as individual notes but as harmonic movement — which changes everything about how we listen, perform, and create.

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High School Music Theory Unit 1

Course Name: Grades 9-12 Music Theory Unit 1 Title: The Basics: Properties of Sound and Basic Notation

Est. # of Lessons: 8 Lessons

Unit Overview: Our journey into music theory begins with a fundamental question: What transforms a simple vibration in the air into a piece of musical art? We start by exploring the physical properties of sound — the raw material from which all music is made. From there, we discover how musicians developed a visual language to capture something that exists only in the moment it's heard. By learning to read and write basic notation for pitch and duration, we gain the tools to decode any piece of music — and to put our own musical ideas on the page for others to perform. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2b: When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation. MU:Pr5.1a: Read and perform from iconic and/or standard notation (e.g., treble clef, note values) with accuracy. MU:Cr2.1b: Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and simple harmonic musical ideas. MU:Re7.1a: Demonstrate and describe how knowledge of the elements of music (such as rhythm, pitch, and harmony) is used to describe and analyze musical works.

Transfer Goals ●

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Understandings ●

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All music originates from the physical properties of sound — pitch, dynamics, and timbre are simply human ways of organizing and naming what we hear. Notation is a visual language that solves a fundamental problem: how to capture something invisible and temporary so others can reproduce it. Every symbol in notation is an instruction — reading music means decoding a complete set of directions for how sound

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts)

Essential Questions ● ● ● ●

How do we transform a physical vibration in the air into a piece of musical art? What would be lost if music could only exist in the moment it was performed? How does a visual system successfully capture something invisible and temporary? How does the way we organize time in music tell us how a piece should feel?

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High School Music Theory Unit 1 should be produced.

Knowledge ●

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Sound as Vibration: The physical source of all music; the relationship between frequency, amplitude, and perceived musical elements (pitch, dynamics). Music as Organized Sound: The human effort to take the raw properties of sound and organize them into meaningful patterns using systems (music theory and notation). Aural vs. Visual: The difference between hearing music and seeing the instructions for music (notation). Fixed Pitch Representation: The use of the staff and clefs to assign absolute names and locations to notes. Pitch Relationships (Intervals): How the distance between two notes affects melody and harmony. Accidentals and Alteration: The temporary modification of a note's fixed pitch. Proportional Rhythm: The mathematical relationship between note values (e.g., a half note is twice as long as a quarter note). Beat and Meter: The underlying pulse and the organization of beats into recurring, measurable groups. Sound vs. Silence: The importance of rests in creating rhythmic structure.

Skills (Framed as Learning Targets) ●

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I can explain how the physical properties of sound — frequency, amplitude, and timbre — connect to musical elements like pitch, dynamics, and tone color. I can explain how notation developed to solve the problem of preserving and sharing music across time. I can identify and name pitches on the treble, alto, and bass clef staff. I can write clefs, notes, rests, and accidentals clearly and accurately. I can explain the proportional relationships between note values and identify how beats are organized using time signatures and bar lines.

Key Vocabulary: frequency, amplitude, timbre, duration, notes, rests, staff, clefs, dynamics, accidentals, chromatic, diatonic, elements of music duration STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Task: A two-part written assessment. ●

Part 1: Students to identify and write notation elements — pitches on treble and

Formative Assessment ● ●

Analyze two sound clips to identify the difference in frequency (pitch) and amplitude (dynamics). Students rapidly match vocabulary cards with

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High School Music Theory Unit 1

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bass clef, note and rest values, accidentals, and time signatures — demonstrating accuracy and understanding of proportional relationships. Part 2: Students respond to one shortanswer prompt: explain in your own words what problem musical notation was invented to solve and why that matters for musicians today.

Criteria: ● ● ● ●

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Identifies and writes pitches, note values, rests, and accidentals accurately Demonstrates understanding of proportional relationships between note values Correctly interprets time signatures and bar lines Explains the purpose of notation with specific reference to what would be lost without it

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their correct definitions. Use an exit ticket to explain one historical problem that the invention of notation solved. Display a staff with a clef and have students write the letter names for five random pitches. Show a short melodic segment with a pitch error and ask students to identify and apply the correct accidental. Call out five specific pitch names, and students draw the corresponding note heads on the staff. Perform a short rhythmic pattern (clap or speak) and have students immediately echo it back correctly. Complete a rhythmic arithmetic quiz (e.g., calculating how many eighth notes equal a whole note). Provide an incomplete measure and have students add the correct notes or rests to satisfy the time signature. Use a timed drill to draw and label a specific duration symbol (e.g., a rest or note) clearly.

STAGE 3: LEARNING PLAN First Topic: Properties of Sound

Estimated # of Lessons: 1-2 lessons

Learning Targets: Essential Questions: ● I can explain how the physical properties of ● How do we transform a physical vibration in sound — frequency, amplitude, and timbre the air into a piece of musical art? — connect to musical elements like pitch, dynamics, and tone color. Learning Activities: ● Lecture/discussion ● Demonstration of each property of sound ● Class discussion: “What are the properties being performed?” ● Demonstration and identification of each property in isolation and combination Second Topic: Development of Music Notation and Modern Standard Notation

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can explain how notation developed to

Essential Question: ● What would be lost if music could only exist

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High School Music Theory Unit 1

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solve the problem of preserving and sharing music across time. I can identify and name pitches on the treble, alto, and bass clef staff. I can write clefs, notes, rests, and accidentals clearly and accurately.

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in the moment it was performed? How does a visual system successfully capture something invisible and temporary?

Learning Activities: ● Lecture/discussion: Development of music notation ● Sheet Music Examples: Label notation (real music examples) ● Identify/write/define basic music notation. Third Topic: Duration Notation

Estimated # of Lessons: 1-2 lessons

Learning Targets: ● I can explain the proportional relationships between note values and identify how beats are organized using time signatures and bar lines.

Essential Question: ●

How does the way we organize time in music tell us how a piece should feel?

Learning Activities: ● Lecture/discussion: Write and define note and rest values ● Sheet Music Examples: How do composers use duration in real music? ● Identify/write/define basic duration notation.

155

High School Music Theory Unit 2

Course Name: Grades 9-12 Music Theory Unit 2 Title: Scales: Chromatic and Diatonic Motion, Major and Minor

Est. # of Lessons: 8 Lessons

Unit Overview: With our notation skills in place, we turn to the question of how pitches are organized into meaningful patterns. Using the piano keyboard as our map, we explore half steps and whole steps — the building blocks of all melody and harmony. We then construct major and minor scales, discovering how a simple pattern of intervals determines whether music sounds bright and triumphant or dark and unsettled. By the end of this unit, we can build any scale from any starting pitch — and we begin to understand why the music we love sounds the way it does. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Cr2.1a: Generate musical ideas for use in a simple composition, using standard notation to document pitch and rhythmic choices. MU:Cr3.2a: Present and describe refinements to a musical idea that improves its expressive intent using concepts like major/minor and step/leap motion. MU:Pr4.2b: Explain how knowledge of scales (e.g., major and minor) helps in accurately performing music. MU:Pr6.1a: Perform music from notation, demonstrating technical skill and accuracy in pitch, especially when encountering accidentals and scale patterns. MU:Re7.2a: Describe and categorize ways in which the elements of music (including pitch organization in scales) are manipulated to create a desired effect. MU:Re8.1a: Explain how the major and minor mode (determined by scale structure) influences the mood or character of a musical piece.

Transfer Goals ●

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Understandings ●

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The half step and whole step are the building blocks of all pitch organization — every scale, melody, and harmony is constructed from these two intervals. Major and minor scales are defined by

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

Essential Questions ● ●

How do two simple building blocks — the half step and whole step — generate all the complexity of melody and harmony? How does the mathematical pattern of a scale determine the emotional character of a piece

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High School Music Theory Unit 2

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specific, unchanging patterns of whole and half steps that can be constructed from any starting pitch. The choice of major or minor mode is the most fundamental decision shaping the emotional character of a piece of music.

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Knowledge ●

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The Equal-Tempered System: The understanding that the octave is divided into twelve equal half steps, making the half step the smallest measurable distance in music. Interval Construction: The idea that all melodic movement is built exclusively from the two primary units: the Half Step (adjacent keys) and the Whole Step (two half steps). Enharmonic Equivalence: The concept that a single physical pitch (key on the piano) can have two different notated names depending on its musical context or surrounding notes. Diatonic vs. Chromatic Motion: The distinction between using only the seven notes of a scale and using all twelve available pitches. Scales as Patterns (The Blueprint): The fundamental concept that Major and Minor scales are strictly defined by a specific, unchanging pattern of whole and half steps which allows for accurate construction and performance in any key. Mode and Mood: The concept that the specific structural pattern of a scale (Major mode vs. Minor mode) dictates the overall expressive quality or character of the music.

of music? How does understanding scale structure give both performers and composers a shared musical language?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can locate and name all notes on the piano keyboard and demonstrate half step and whole step movement. I can distinguish between chromatic and diatonic motion and identify enharmonic equivalents. I can construct any major scale from any starting pitch using the whole-whole-halfwhole-whole-whole-half pattern. I can construct natural, harmonic, and melodic minor scales from any starting pitch. I can use my knowledge of major scales to identify relative and parallel minors. I can explain how a composer's choice of major or minor mode shapes the emotional character of music.

Key Vocabulary: diatonic, chromatic, major scale, minor scale, half step, whole step, mode, mood STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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High School Music Theory Unit 2 Task: A three-part assessment. ●

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Part 1: Students construct a set of major and minor scales on staff paper from given starting pitches, demonstrating accurate use of whole and half step patterns. Part 2: Present five short musical excerpts — students identify each as major or minor and provide one piece of musical evidence supporting their answer. Part 3: Students perform one major and one minor scale of their choice on keyboard or their instrument.

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Keyboard spot checks Identify and write intervals on music paper that include: enharmonic, half/whole steps, chromatic/diatonic movement. Write major or minor scales given a specific starting note. Write major or minor scales given the order of sharps and flats. Given a major scale, write the parallel minors (natural, harmonic, melodic).

Criteria: ● ● ● ●

Constructs major and minor scales accurately using correct whole and half step patterns Identifies enharmonic equivalents and explains their function when spelling scales Distinguishes major from minor by ear using specific musical evidence rather than general impression Performs scales with accurate pitch and consistent application of the correct pattern STAGE 3: LEARNING PLAN

First Topic: Piano Keyboard Note Identification

Estimated # of Lessons: 1-2 lessons

Learning Targets: ● I can locate and name all notes on the piano keyboard and demonstrate half step and whole step movement. ● I can distinguish between chromatic and diatonic motion and identify enharmonic equivalents.

Essential Question: ● How do two simple building blocks — the half step and whole step — generate all the complexity of melody and harmony?

Learning Activities: ● Lecture/discussion ● Demonstration of notes on a piano keyboard ● Class discussion: Half Step and Whole Step movement ○ Diatonic and Chromatic movement ○ Enharmonic equivalents

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High School Music Theory Unit 2

Second Topic: Major Scale Construction

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can construct any major scale from any starting pitch using the whole-whole-halfwhole-whole-whole-half pattern.

Essential Questions: ● How does the mathematical pattern of a major scale determine the emotional character of a piece of music?

Learning Activities: ● Lecture/discussion: ● Demonstration of notes used to construct a diatonic scale ● Demonstration of notes used to construct a major scale ● Class discussion: Half Step and Whole Step movement used in major scales ○ Diatonic and Chromatic movement ○ Enharmonic equivalents ● Writing and identifying all fifteen major scales Third Topic: Minor Scale Construction

Estimated # of Lessons: 1-2 lessons

Learning Targets: ● I can construct natural, harmonic, and melodic minor scales from any starting pitch. ● I can use my knowledge of major scales to identify relative and parallel minors. ● I can explain how a composer's choice of major or minor mode shapes the emotional character of music.

Essential Question: ● ●

How does the mathematical pattern of a minor scale determine the emotional character of a piece of music? How does understanding scale structure give both performers and composers a shared musical language?

Learning Activities: ● Lecture/discussion: ● Demonstration of notes used to construct a minor scale ● Demonstration of notes used to construct a minor scale ● Class discussion: Half Step and Whole Step movement used in minor scales ○ Diatonic and Chromatic movement ○ Enharmonic equivalents ● Writing and identifying all fifteen minor scales ● Writing and identifying the three minor scale forms.

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High School Music Theory Unit 3

Course Name: Grades 9-12 Music Theory Unit 3 Title: Rhythms: Notate and Dictate

Est. # of Lessons: 8 Lessons

Unit Overview: Pitch tells us what to play. Rhythm tells us when — and how it feels. We investigate how beats are grouped, divided, and subdivided to create the pulse and energy that drives music forward. Through listening, performing, and notating rhythms in various meters, we sharpen our ability to internalize a steady pulse and execute complex rhythmic figures with precision. By the end of this unit, we can hear a rhythm, write it down, and perform it accurately — skills that make us stronger musicians both alone and in an ensemble. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

MU:Cr2.1: Organize and develop rhythmic ideas within given parameters. MU:Pr4.2: Demonstrate understanding of musical concepts (meter, rhythm, pulse) through accurate performance. MU:Re7.2: Analyze how rhythm and meter contribute to musical expression. MU:Cn10.0: Relate rhythmic concepts to patterns found in other disciplines (math, dance, poetry).

Transfer Goals ●

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Understandings ●

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Beat and meter organize time through patterns of strong and weak pulses that give music its sense of forward motion and groove.. Subdivisions and borrowed divisions create rhythmic complexity and expressive nuance — the way we divide the beat determines how music feels, not just how it sounds. Rhythmic notation is a precise visual representation of what we feel physically — reading and writing rhythm requires connecting the symbol to the bodily experience of pulse and subdivision.

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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How does music create the sense of time moving forward? How does the way we divide the beat change the character and feel of music? How do composers and performers use irregular or borrowed rhythms for expressive effect?

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High School Music Theory Unit 3 Knowledge ● ● ● ● ● ● ● ●

Define and apply terminology describing temporal aspects of music (beat, pulse, tempo, rhythm, syncopation, subdivision). Differentiate between simple and compound beat units through listening and performance. Divide and subdivide beats into regular, irregular, and borrowed divisions. Perform and notate rhythmic figures that demonstrate these divisions. Explain and identify meter concepts (measure, time signature, beat unit). Classify meters as simple, compound, or irregular. Determine beat units in any given meter. Accurately notate rhythms and perform rhythmic dictations in various meters. Apply meter awareness in ensemble settings for improved rhythmic precision.

Skills (Framed as Learning Targets) ●

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I can define and apply key rhythm terms — beat, pulse, tempo, rhythm, syncopation, and subdivision — and maintain a steady pulse while performing. I can identify syncopation and explain how it creates rhythmic interest. I can hear, explain, and perform the difference between simple meter and compound meter. I can notate and perform borrowed divisions like triplets and duplets and explain how they change the feel of music. I can interpret time signatures to identify the beat unit, classify meters as simple, compound, or irregular, and accurately notate rhythms in various meters. I can transcribe rhythms I hear through rhythmic dictation.

Key Vocabulary: beat, pulse, tempo, beat unit, division, subdivision, meter, simple meter, compound meter, Classifications: regular, irregular, borrowed STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Rhythmic Performance Assessment: A three-part assessment directly reflecting the unit's core skills. ●

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Part 1: Students notate a set of rhythms in various meters from given parameters, demonstrating accurate use of note values, rests, and time signatures. Part 2: Present four short rhythmic patterns performed by the teacher — students transcribe each one accurately. Part 3: Students perform a short rhythmic excerpt demonstrating steady pulse, accurate subdivision, and stylistic feel.

Formative Assessment ● ● ● ● ● ●

Criteria: ●

Notates rhythms accurately using correct

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Student A taps a steady pulse while Student B claps a provided rhythm. Swap roles and increase the tempo. Quick-fire verbal or written quiz on the relationship between beat, subdivision, and tempo. Students categorize signatures (e.g., 3/4, 6/8, 5/4) as Simple, Compound, or Irregular. Students identify which note value represents the "one" (e.g., the dotted quarter in $9/8). Listen to a clip (e.g., Jazz or Funk) and circle the syncopated beats on a provided score. Students rewrite a $6/8$ phrase in $2/4$ using borrowed divisions to maintain the same sound. Play a 2-measure phrase (in both simple and compound meters). Students must transcribe

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High School Music Theory Unit 3

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note values, rests, beaming, and time signatures Transcribes performed rhythms with accurate pitch duration and meter placement Identifies and classifies meters correctly including simple, compound, and irregular examples Performs with a steady pulse and accurate execution of subdivisions and borrowed divisions

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the rhythm with correct beaming and meter placement. Provide a written rhythm with one "mistake" compared to a played audio clip; students must find and correct the notation.

STAGE 3: LEARNING PLAN First Topic: Beat, Pulse, Tempo

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can define and apply key rhythm terms — beat, pulse, tempo, rhythm, syncopation, and subdivision — and maintain a steady pulse while performing. ● I can identify syncopation and explain how it creates rhythmic interest.

Essential Question: ● How does music create the sense of time moving forward?

Learning Activities: ● Define temporal terms; discuss and label rhythmic examples on the board. ● Listen to contrasting excerpts (slow vs. fast tempo, steady vs. rubato pulse). ● Metronome and body percussion activities to establish pulse. ● “Find the Beat” activity with diverse genres (classical, jazz, pop). ● Use rhythm cards or SmartMusic / Sight Reading Factory exercises to identify syncopation. ● Short writing or class discussion: How does rhythmic stability affect ensemble performance? Second Topic: Dividing the Beat Unit

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can hear, explain, and perform the difference between simple meter and compound meter. ● I can notate and perform borrowed divisions like triplets and duplets and explain how they change the feel of music.

Essential Question: ● How does the way we divide the beat change the character and feel of music?

Learning Activities: ● Compare recordings in simple vs. compound meters (e.g., marches vs. waltzes vs. 6/8 dances). ● Conduct in 2/4, 3/4, and 6/8 to internalize the difference in pulse. ● Use counting syllables (1 & 2 &, 1 la li 2 la li, etc.) to reinforce subdivisions.

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High School Music Theory Unit 3 ● ● ● ●

Perform rhythm echo and call-and-response activities using both simple and compound patterns. Practice triplets and duplets; write short rhythms that combine them. Write and perform short rhythmic etudes that demonstrate both simple and compound divisions. Peer performance and critique of rhythmic exercises.

Third Topic: Meter, Notation, and Ensemble Application

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can interpret time signatures to identify the beat unit, classify meters as simple, compound, or irregular, and accurately notate rhythms in various meters. ● I can transcribe rhythms I hear through rhythmic dictation.

Essential Questions: ●

How do composers and performers use irregular or borrowed rhythms for expressive effect?

Learning Activities: ● Review time signatures and how to determine the beat unit. Conduct and count patterns in various meters (2/4, 3/4, 6/8, 5/8, 7/8). ● Group work: analyze short rhythmic examples and classify their meters. ● The teacher sings short rhythmic patterns; students transcribe them. ● Practice notating rhythms accurately using music notation software or by hand. ● Apply learned rhythmic and metric skills in band repertoire or sight-reading material. ● Focus on entrances, cutoffs, and alignment within the group. ● Rhythmic composition or dictation test. ● Short performance assessment emphasizing rhythmic accuracy and meter awareness.

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High School Music Theory Unit 4

Course Name: Grades 9-12 Music Theory Unit 4 Title: Key Signatures: Major and Minor

Est. # of Lessons: 8-10

Unit Overview: Building on our understanding of scales, we discover the shorthand composers use to set the tonal world of a piece before a single note is played: the key signature. Rather than writing accidentals throughout a score, a key signature tells us at a glance which scale we're working in — and through the circle of fifths, we discover the elegant logic that connects all twenty-four keys. We practice identifying and writing all major and minor key signatures in treble and bass clef. By the end of this unit, we approach unfamiliar sheet music differently — the key signature is no longer a puzzle to solve, but a map we already know how to read. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Re7.1.HSI: Demonstrate understanding of relationships between music and context, including theoretical structures. MU:Re8: Interpretation and Analysis MU:Cr1.1.HSI: Generate and notate musical ideas using standard notation, including key signatures.

Transfer Goals ●

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Understandings ● ●

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A key signature is a composer's shorthand — it establishes the tonal world of a piece before a single note is played. The circle of fifths reveals the elegant logic connecting all twenty-four keys — every key signature follows a predictable pattern that can be understood and memorized systematically. Knowing the key before you play transforms your approach to a piece — the key signature is not a puzzle to decode but a map you already know how to read.

Essential Questions ● ● ●

Knowledge ● ●

Write key signatures in all major and minor keys in both treble and bass clefs. Identify key signatures in all major and

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

How do key signatures help musicians interpret and perform music accurately? How does the circle of fifths reveal the hidden logic connecting all keys? How does knowing the key before you play transform your approach to a piece of music?

Skills (Framed as Learning Targets) ● ●

I can explain what a key signature tells a performer before they play a single note. I can use the circle of fifths to understand the

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High School Music Theory Unit 4 minor keys in both treble and bass clefs. Understand the relationships between major and minor keys (relative minors/majors). Key Vocabulary: key signature, major key, minor key, relative major, relative minor, enharmonic keys

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order of sharps and flats in all major and minor keys. I can write all major and minor key signatures accurately in both treble and bass clef. I can identify relative major and minor relationships and explain how they share key signatures. I can determine whether a piece is in major or minor by combining key signature analysis with musical context clues.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Task: A two-part written assessment. ●

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Part 1: Students write all major and minor key signatures on staff paper in both treble and bass clef, demonstrating accurate placement of sharps and flats. Part 2: Present three short musical excerpts — students identify the key signature, name the key, determine whether the piece is in major or minor, and provide one specific musical clue beyond the key signature that supports their answer.

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Criteria: ●

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Writes all major and minor key signatures accurately with correct placement and order of sharps and flats in both clefs Identifies key signatures correctly in both treble and bass clef contexts Correctly identifies relative major and minor relationships Determines major or minor mode using both key signature analysis and specific musical evidence from the excerpt

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The Sharp/Flat Trick: Give students a signature. Have them name the key using the "Half-step up from the last sharp" or "Secondto-last flat" rules. Order of Accidentals: A "Speed Quiz" to write out FCGDAEB (Sharps) and BEADGCF (Flats) from memory. Neighbor Map: Given a key (e.g., G Major), students must identify its "neighbors" to the left and right on the circle and the number of accidentals each has. Relative Minors: Match a Major key signature to its Relative Minor. Enharmonic Check: Identify the three "bottom" keys that share the same sound but different names. Cleaner Scores: Provide a melody with "accidental clutter" (sharps/flats next to every note). Students must rewrite it using a proper key signature at the start. Using Actual Famous Music: Identify the key signature based on the accidentals provided and the music to be performed.

STAGE 3: LEARNING PLAN First Topic: Introduction to Key Signatures

Estimated # of Lessons: 1-2 lessons

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High School Music Theory Unit 4 Learning Targets: ● I can explain what a key signature tells a performer before they play a single note.

Essential Question: ● How do key signatures help musicians interpret and perform music accurately?

Learning Activities: ● Teacher-led demonstrations of key signatures on staff paper and piano/keyboard. ● Interactive games (flashcards or digital apps) for recognizing key signatures. ● Guided practice: identifying key signatures in sheet music excerpts. Second Topic: Writing Key Signatures

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can use the circle of fifths to understand the order of sharps and flats in all major and minor keys. ● I can write all major and minor key signatures accurately in both treble and bass clef.

Essential Question: ● How does the circle of fifths reveal the hidden logic connecting all keys?

Learning Activities: ● Step-by-step instruction using the circle of fifths to understand sharps/flats. Worksheets for writing key signatures from given key names. ● Partner drills for quick identification and writing. ● Interactive whiteboard exercises to reinforce correct placement of sharps/flats. Third Topic: Identifying Key Signatures in Music Context

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify relative major and minor relationships and explain how they share key signatures. ● I can determine whether a piece is in major or minor by combining key signature analysis with musical context clues.

Essential Question: ● How does knowing the key before you play transform your approach to a piece of music?

Learning Activities: ● Sight-reading exercises using short melodies in different keys. ● Analysis of excerpts from real music pieces (classical, jazz, pop). ● Quick quizzes or “key signature races” for reinforcement. ● Homework: identifying and writing the key signatures of assigned pieces.

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High School Music Theory Unit 5

Course Name: Grades 9-12 Music Theory Unit 5 Title: Intervals

Est. # of Lessons: 8-10

Unit Overview: Scales and key signatures have given us a framework for understanding pitch organization. Now we zoom in on the fundamental relationship between any two notes: the interval. Intervals are the building blocks of both melody — notes in sequence — and harmony — notes sounding together. We learn to write, analyze, and hear intervals, developing our ear alongside our theoretical knowledge. By the end of this unit, we don't just see intervals on the page — we hear them, sing them, and feel their distinctive emotional character. This changes how we listen, how we tune, and how we perform STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

MU:Pr4.1.HSI: Perform with technical accuracy, including accurate use of intervals in reading and performance. MU:Pr5.1.HSI: Apply understanding of intervals to perform music expressively and accurately. MU:Re7.1.HSI: Analyze how intervals structure melodies and harmonies. MU:Re8.1.HSI: Interpret the effect of intervals on tonality and musical character. MU:Cr1.1.HSI: Notate musical ideas using intervals accurately. MU:Cn11.0.HSI: Recognize patterns in intervals and relate them to scales, key signatures, and harmonic structures.

Transfer Goals ●

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Understandings ●

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Intervals are the building blocks of both melody and harmony — every scale, chord, and melodic line is constructed from specific intervallic relationships. Each interval has a distinctive emotional quality that musicians learn to recognize by ear — developing aural interval awareness transforms how we listen, tune, and perform. Understanding intervals connects our visual knowledge of notation to our physical experience of sound, strengthening every aspect of musicianship.

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Essential Questions

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How do intervals shape the sound and structure of music? How do intervals serve as the DNA of both melody and harmony? What gives each interval its distinctive emotional quality or character?

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High School Music Theory Unit 5 Knowledge ●

Skills (Framed as Learning Targets)

Names of all intervals (minor, major, perfect, augmented, diminished). How intervals are measured in steps and half steps. How to locate intervals on the staff in treble and bass clefs. How intervals function melodically and harmonically. Techniques for identifying intervals aurally (singing, solfege, comparison to reference pitches).

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Key Vocabulary: interval, perfect, major, minor, augmented, diminished, doubly augmented, doubly diminished, solfege

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I can use my knowledge of key signatures to measure and classify intervals as major, minor, perfect, augmented, or diminished. I can write any interval above or below a given note in treble or bass clef. I can identify and label intervals in both melodic and harmonic contexts. I can identify intervals by ear and describe the characteristic sound quality of each interval type. I can sing any interval up or down from a given pitch. I can apply aural interval skills to improve intonation and ensemble tuning.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ●

Formative Assessment

Written Test: write, name, and analyze intervals on the staff. Aural Test: identify intervals by ear in isolation and in melodic/harmonic context. Performance Assessment: sight-read melodies and demonstrate correct interval recognition. Composition Task: create a short melody using a variety of intervals.

Criteria: ● ● ● ●

● ● ● ● ●

Interval identification flashcards (visual and aural). Written exercises labeling intervals in excerpts. In-class dictation exercises (singing or playing intervals). Peer quizzes and games for rapid interval recognition. Quick exit tickets analyzing intervals in short music examples.

Measures and classifies intervals accurately using correct quality and number names Writes intervals accurately in both treble and bass clef with correct note placement Identifies melodic and harmonic intervals correctly in a score context Identifies intervals by ear accurately and describes their characteristic sound quality with specific musical language STAGE 3: LEARNING PLAN

First Topic: Writing Intervals on the Staff

Estimated # of Lessons: 2-3 lessons

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High School Music Theory Unit 5 Learning Targets: ● I can use my knowledge of key signatures to measure and classify intervals as major, minor, perfect, augmented, or diminished. ● I can write any interval above or below a given note in treble or bass clef.

Essential Question: ● How do intervals shape the sound and structure of music?

Learning Activities: ● Teacher-led demonstration of intervals on staff paper and keyboard. ● Worksheets for writing intervals given a starting note. ● Interactive exercises: “Interval construction race” with flashcards. ● Peer review of interval-writing exercises for accuracy. Second Topic: Analyzing Intervals in Music Scores

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify and label intervals in both melodic and harmonic contexts.

Essential Question: ● How do intervals serve as the DNA of both melody and harmony?

Learning Activities: ● Worksheet exercises: write intervals above/below given notes. ● Score analysis: identify intervals in excerpts from band repertoire. ● Group activity: map interval patterns in a short ensemble piece. ● Mini-composition: create a 4–8 measure melodic line focusing on intervals. Third Topic: Aural Recognition and Interval Listening

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can sing any interval up or down from a given pitch. ● I can apply aural interval skills to improve intonation and ensemble tuning.

Essential Question: ● What gives each interval its distinctive emotional quality or character?

Learning Activities: ● Aural drills: teacher plays or app generates intervals; students identify quality and number. ● Singing exercises: students sing intervals up and down from a given pitch. ● Ensemble listening: students listen for interval relationships in a short excerpt or passage (e.g., in chords or melodic lines) and discuss what they hear. ● Interval games: “call and response” or small group challenges to identify intervals by sound. ● Reflection: students describe interval qualities (e.g., “the major third sounds bright, the minor third sounds sad”) and relate to their instrument.

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High School Music Theory Unit 6

Course Name: Grades 9-12 Music Theory Unit 6 Title: Triads

Est. # of Lessons: 8-10

Unit Overview: Our interval training now pays off as we stack intervals to build triads — the foundational chords of Western harmony. We learn to spell, hear, and play major, minor, diminished, and augmented triads, discovering how the quality of three notes sounding together can create warmth, tension, sadness, or unease. By connecting our written knowledge to keyboard performance and aural recognition, we begin to hear music not just as individual notes but as harmonic movement — which changes everything about how we listen, perform, and create. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● ●

MU:Pr4.1.HS.Ia: Perform music with accuracy and expression. MU:Re7.1.HS.Ia: Apply knowledge of triad structures to select or analyze musical excerpts for specific harmonic purposes, justifying choices by citing the specific intervals and chord qualities found in the music. MU:Re8.1.HS.Ia: Explain and support interpretations of the expressive intent and meaning of musical works. MU:Pr4.2.HS.Ia: Apply knowledge of chords and triads in performance and composition. MU:Cr1.1.HSI: Generate musical ideas using triads) MU:Cr2.1.HSI: Compose or arrange using triads)

Transfer Goals ●

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Understandings ●

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Triads are built from the intervals we've studied — stacking a third on a third creates the foundational chord of Western harmony, and the quality of those intervals determines everything about how the chord sounds. The quality of a triad — major, minor, diminished, or augmented — produces a distinctive emotional effect that musicians can learn to recognize, write, and perform. Understanding triads transforms how we

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers)

Essential Questions ● ● ●

How do three notes stacked together create the foundation of all Western harmony? What makes a chord sound happy, sad, tense, or mysterious? How does understanding triads change the way we hear and perform music?

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High School Music Theory Unit 6 hear music — we begin to perceive harmonic movement rather than just individual notes, which changes everything about how we listen, perform, and create. Knowledge ● ● ● ● ●

Structure of major, minor, diminished, and augmented triads. Role of root, third, and fifth in a triad. Intervallic relationships that determine triad quality. Methods for spelling triads in any key. Aural characteristics of each triad type.

Key Vocabulary: triad, root, third, fifth, major, minor, diminished, augmented, inversion (root position, first inversion, second inversion), harmony, interval

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can connect my visual, aural, and physical understanding of triads through performance. I can identify the root, third, and fifth in any triad and explain how the intervals between them determine triad quality. I can spell major, minor, diminished, and augmented triads from any root in root position and inversions. I can identify triad quality by ear and describe the characteristic sound of each triad type. I can sing the root, third, and fifth of a triad after hearing it played. I can play major, minor, diminished, and augmented triads on the keyboard in root position and inversions.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Written Exam: students spell triads on staff given root notes. Keyboard Performance: play triads in various keys and inversions. Aural Test: identify triad quality by listening.

Criteria: ● ● ● ●

Formative Assessment ● ● ● ●

Daily spelling exercises and quizzes. Peer and teacher checks during keyboard drills. Quick listening drills (identify triads played by teacher). Exit tickets: “Write or identify a triad from this root.”

Spells triads accurately in root position and inversions with correct identification of root, third, and fifth Classifies triad quality correctly by explaining the intervallic relationships that determine it Identifies triad quality by ear accurately and describes characteristic sound quality with specific musical language Performs triads on keyboard with accurate

171

High School Music Theory Unit 6 pitch and correct application of interval relationships STAGE 3: LEARNING PLAN First Topic: Writing and Spelling Triads

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can connect my visual, aural, and physical understanding of triads through performance. ● I can identify the root, third, and fifth in any triad and explain how the intervals between them determine triad quality. ● I can spell major, minor, diminished, and augmented triads from any root in root position and inversions.

Essential Question: ● How do three notes stacked together create the foundation of all Western harmony?

Learning Activities: ● Introduce and review intervals that build triads. ● Work through examples of triads in root position and inversions. ● Guided worksheets: students spell triads from random roots. ● Small group activity: identify missing notes in partially written triads. Second Topic: Aural Recognition of Triads

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify triad quality by ear and describe the characteristic sound of each triad type. ● I can sing the root, third, and fifth of a triad after hearing it played.

Essential Question: ● What makes a chord sound happy, sad, tense, or mysterious?

Learning Activities: ● Listening drills: teacher or app plays triads; students identify quality. ● Singing exercises: sing root, third, and fifth of played triads. ● Compare and contrast activity: students describe sound qualities (bright, sad, tense, dissonant). ● Interval review: reinforce recognizing intervals within triads aurally. Third Topic: Keyboard Application of Triads

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Question:

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High School Music Theory Unit 6 ●

I can play major, minor, diminished, and augmented triads on the keyboard in root position and inversions.

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How does understanding triads change the way we hear and perform music?

Learning Activities: ● Demonstrate triads in root position and inversions on keyboard. ● Guided practice: students play triads in all keys. ● Chord mapping: locate triads across the keyboard and practice transitions. ● Ensemble keyboard activity: play triads in patterns while listening to others for harmonic accuracy.

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Chorus

Grades 4-12

174

Grades 4-5 Chorus Grades 4-5 Chorus Ready, Set, Sing! 7-8 Lessons

Step Into the Spotlight! 6-7 Lessons

Concert Time: Finishing Strong! 20 Lessons

We begin the year by becoming a strong, confident choir. We learn to care for our music, follow the conductor, and sing with healthy, expressive voices. Together, we blend, keep a steady beat, and make every song come alive — sharing our music with each other and our community.

With our foundation in place, we focus on becoming confident, expressive performers. We sing independently and with accompaniment, memorize music, and bring every song to life. Together, we explore songs from many cultures, match our expression to the style, and discover what it means to share music with an audience.

At the end of the year, we bring everything together as skilled performers. We tackle challenging melodies, complex rhythms, and harmonies across multiple languages — singing with control, expression, and precision. We present ourselves with confidence and celebrate what we have built together as a choir.

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Grades 4-5 Chorus Unit 1

Course Name: Grades 4-5 Chorus Unit 1 Title: Ready, Set, Sing

Est. # of Lessons: 8-9

Unit Overview: We begin the year by becoming a strong, confident choir. We learn to care for our music, follow the conductor, and sing with healthy, expressive voices. Together, we blend, keep a steady beat, and make every song come alive — sharing our music with each other and our community. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ● ●

Pr4.2.4a: Demonstrate understanding of the structure and elements of music (such as rhythm, pitch, and expression) while performing. Pr4.3.4a: Demonstrate how expressive qualities (dynamics, phrasing, articulation) are used in performance. Pr5.1.4a: Apply teacher-provided and collaboratively developed criteria for rehearsing music. Pr6.1.4a: Perform music with expression and technical accuracy appropriate to the repertoire. Re9.1.4a: Evaluate musical works and performances using teacher-provided criteria.

Transfer Goals ●

●

Understandings ● ● ● ●

Singing in a choir means listening and working together. Good posture and breathing help singers produce a healthy, strong sound. Following the conductor helps the choir stay together. Dynamics and expression help singers bring music to life.

Essential Questions ● ● ●

Knowledge ●

A choir works best when singers listen,

How do singers work together to sound like one choir? What helps singers produce their best sound? How do singers bring music to life?

Skills (Framed as Learning Targets) ●

I can follow class expectations and

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Grades 4-5 Chorus Unit 1

● ● ● ● ●

collaborate, and support each other. Healthy singing uses good posture, breathing, and relaxed vocal technique. Following a conductor helps the ensemble stay together in tempo and expression. Music notation and symbols help singers understand rhythm, pitch, and expression. Singing expressively helps communicate the feeling and meaning of a song. Choirs share music with others as a way to connect with their community.

Key Vocabulary: posture, breath, tone, unison, canon, steady beat, tempo, dynamics, articulation, vowel shape, conductor, ensemble, rehearsal, expression

● ● ● ● ● ● ● ●

contribute positively. I can take care of my music and practice independently. I can read and follow my vocal part using music notation, symbols, and signs. I can follow the conductor and keep a steady beat with the group. I can demonstrate proper singing posture and use healthy vocal technique. I can sing in unison, simple canon, and blend my voice with the group. I can sing expressively using dynamics, articulation, and vowel shape. I can listen, collaborate, and learn my part with others. I can sing to engage with the community.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Rehearsal Performance: Students sing selected repertoire demonstrating healthy posture, steady beat, following the conductor, blending voices, and following their music using notation. Ensemble Participation: Students contribute positively during rehearsal by listening, collaborating, and supporting the ensemble sound. Reflection: Students identify one thing they did well as a singer and one way they helped the choir sound unified.

Formative Assessment ●

● ●

Posture Check: Students demonstrate correct singing posture while the class quickly identifies what looks “ready to sing.” Echo & Blend Check: Small groups echo a short sung phrase while focusing on matching pitch and blending tone. Follow the Conductor: Students respond to simple conducting cues (start, stop, louder, softer) while singing a familiar pattern. Music Tracking: Students silently track their place in the music while the teacher points to symbols or measures. Beat & Ensemble Check: Students clap or step the steady beat while singing to demonstrate ensemble timing.

STAGE 3: LEARNING PLAN First Topic: What It Means to Be a Chorus

Estimated # of Lessons: 2

Learning Targets: ● I can follow class expectations and contribute positively.

Essential Questions: ● How do singers work together to sound like one choir?

177

Grades 4-5 Chorus Unit 1 ● ● ●

I can take care of my music and practice independently. I can follow the conductor and keep a steady beat with the group. I can listen, collaborate, and learn my part with others.

Learning Activities: ● Ensemble norms discussion and goal-setting ● Call-and-response listening exercises ● Follow the conductor games ● Vocal warm-ups and focus exercises Second Topic: Building Healthy Vocal Technique

Estimated # of Lessons: 3-4

Learning Targets: ● I can demonstrate proper singing posture and use healthy vocal technique. ● I can sing expressively using dynamics, articulation, and vowel shape.

Essential Questions: ● What helps singers produce their best sound?

Learning Activities: ● Posture and breathing exercises/games (balloons, bubbles, etc) ● Vocal warm-ups focusing on resonance and support ● Vowel shape activities Third Topic: Listening Across the Ensemble

Estimated # of Lessons: 2-3

Learning Targets: ● I can read and follow my vocal part using music notation, symbols, and signs. ● I can follow the conductor and keep a steady beat with the group. ● I can sing in unison, simple canon, and blend my voice with the group. ● I can sing expressively using dynamics, articulation, and vowel shape. ● I can listen, collaborate, and learn my part with others. ● I can sing to engage with the community.

Essential Questions: ● How do singers work together to sound like one choir? ● How do singers bring music to life?

Learning Activities: ● Balance and blend tuning exercises ● Peer guidance (chorus buddies, etc.) ● Musical form exercises (find the measure, road map ramble) ● School sing-alongs and/ or community performances

178

Grades 4-5 Chorus Unit 2

Course Name: Grades 4-5 Chorus Unit 2 Title: Step Into the Spotlight

Est. # of Lessons: 6-8

Unit Overview: With our foundation in place, we focus on becoming confident, expressive performers. We sing independently and with accompaniment, memorize music, and bring every song to life. Together, we explore songs from many cultures, match our expression to the style, and discover what it means to share music with an audience. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Pr4.3.4a: Demonstrate how expressive qualities (such as dynamics, phrasing, and articulation) are used in performance. Pr5.1.4a: Apply teacher-provided and collaboratively developed criteria for rehearsing music. Pr6.1.4a: Perform music with expression and technical accuracy appropriate to the repertoire. Re9.1.4a: Evaluate musical works and performances using teacher-provided criteria. Cn11.0.4a: Demonstrate understanding of relationships between music and the cultures in which it is created.

Transfer Goals ●

●

Understandings ● ● ● ●

Confident performers prepare and stay focused while sharing music. Expression and stage presence help singers communicate the feeling of a song. Musicians grow by reflecting on performances and learning from mistakes. Songs carry the stories, languages, and traditions of the cultures they come from.

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply self-reflection to grow as musicians (SelfDirected Learners, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, Self-Directed Learners) Essential Questions

● ● ● ●

What helps singers perform with confidence? How do singers show the feeling of a song? What can we learn from performing for others? How does music reflect or connect to areas outside of music?

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Grades 4-5 Chorus Unit 2 Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Singers show performer behavior by standing tall, focusing on the conductor, and staying engaged. Memorizing music helps singers focus on expression and communication. Choirs sometimes sing with accompaniment and sometimes a cappella. Facial expression and body language help singers communicate the style and feeling of a song. Music from different cultures may have different sounds, languages, and styles. Mistakes are part of performing, and singers learn to recover and keep going.

Key Vocabulary: performance, audience, expression, accompaniment, a cappella, memorize, style, culture, confidence, focus, recovery, reflection

● ● ● ● ● ● ● ● ● ●

I can demonstrate proper performer behaviors I can memorize a piece of vocal music I can sing my part independently I can sing along with an accompaniment I can sing songs from many different cultures I can reflect on my performance and identify something I did well. I can sing accapella I can recover and keep going if I make a mistake. I can match my facial and body expression to the style of the song I can perform with confidence and purpose.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Performance Demonstration: Students perform selected repertoire showing confident singing, expressive facial and body language, and the ability to sing independently with or without accompaniment.

●

Stage Presence: Students demonstrate performer behaviors such as focus, posture, and purposeful movement that match the style of the music.

●

Reflection: Students identify one performance strength and one goal for future performances.

● ●

Expression Mirror: Students sing a short phrase while matching facial expression and body language to the style of the music. Memory Check: Students sing one memorized section without looking at the music. A Cappella Check: Students continue singing after the accompaniment stops to maintain pitch and tempo. Mistake Recovery Drill: Students intentionally restart in the middle of a song and practice continuing confidently. Confidence Circle: Small groups sing a short passage for classmates while practicing performer posture and focus.

STAGE 3: LEARNING PLAN First Topic: Preparing to Perform — memorization strategies and performance posture

Estimated # of Lessons: 1-2

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Grades 4-5 Chorus Unit 2 Learning Targets: ● ● ● ● ● ● ●

I can demonstrate proper performer behaviors I can memorize a piece of vocal music I can sing my part independently I can sing along with an accompaniment I can sing accapella I can recover and keep going if I make a mistake. I can perform with confidence and purpose.

Essential Questions: ● ●

What helps singers perform with confidence? What can we learn from performing for others?

Learning Activities: ● Rehearsing new repertoire ● Review of familiar repertoire ● Spotlight solo volunteers ● Compare verse and chorus sections and identify musical differences. Second Topic: Expressive Performance — matching facial and body expression to musical style

Estimated # of Lessons: 2-3

Learning Targets: ● I can demonstrate proper performer behaviors ● I can match my facial and body expression to the style of the song

Essential Questions: ● How do singers show the feeling of a song? ● How does music reflect or connect to areas outside of music?

Learning Activities: ● Music expression games (human crescendo, level up, radio game) ● Videos of other chorus groups (turn and talk, compare and contrast) Third Topic: Music from Many Cultures — exploring cultural context of repertoire, singing with stylistic awareness

Estimated # of Lessons: 2-3

Learning Targets: ● I can demonstrate proper performer behaviors ● I can sing songs from many different cultures ● I can reflect on my performance and identify something I did well.

Essential Questions: ● What helps singers perform with confidence? ● How do singers show the feeling of a song? ● What can we learn from performing for others? ● How does music reflect or connect to areas outside of music?

181

Grades 4-5 Chorus Unit 2 Learning Activities: ● Videos of other chorus groups (turn and talk, compare and contrast) ● School sing-alongs and/or community performances ● Classroom discussion

182

Grades 4-5 Chorus Unit 3 Course Name: Grades 4-5 Chorus Unit 3 Title: Concert Time: Finishing Strong!

Est. # of Lessons: 20

Unit Overview: At the end of the year, we bring everything together as skilled performers. We tackle challenging melodies, complex rhythms, and harmonies across multiple languages — singing with control, expression, and precision. We present ourselves with confidence and celebrate what we have built together as a choir. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

●

Pr4.2.5a: Demonstrate understanding of the structure and elements of music while performing. Pr4.3.5a: Demonstrate how expressive qualities (dynamics, phrasing, articulation) contribute to musical interpretation. Pr5.1.5a: Apply teacher-provided and collaboratively developed criteria to refine musical performances. Pr6.1.5a: Perform music with expression and technical accuracy appropriate to the repertoire. Re9.1.5a: Evaluate musical works and performances using teacher-provided criteria and appropriate musical vocabulary. Cn11.0.5a: Demonstrate understanding of relationships between music and the cultures in which it is created.

Transfer Goals ●

●

Understandings ● ● ● ●

Choral singing requires control, accuracy, and teamwork. Harmony allows singers to create richer and more interesting music together. Careful preparation helps performers share music confidently with an audience. Songs from different cultures and languages invite singers to approach music with curiosity and respect.

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (SelfDirected Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, Self-Directed Learners) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

● ● ● ● ● ●

How do singers improve and grow through practice? What does it take to tackle more challenging music? How do singers work together to create harmony? What does it mean to listen and hold your own part at the same time? What makes a choir performance successful? How do we present ourselves and our

183

Grades 4-5 Chorus Unit 3 music with confidence? Knowledge ● ●

● ● ●

Skills (Framed as Learning Targets)

Controlled breathing helps singers sustain longer phrases. Accurate pitch and rhythm help singers perform more challenging music. Harmony means different musical parts sounding together. Choirs may sing music in different languages and cultural styles. Performers show respect for the music and the audience through focused and appropriate presentation. Strong performances come from practice, teamwork, and attention to detail.

● ● ● ● ● ●

I can sing with controlled breath through longer phrases. I can sing with accurate pitch in challenging melodies. I can perform rhythms in more complex music. I can perform challenging choral music in multiple languages with accuracy and expression. I can present myself appropriately for a formal performance I can experience and perform different types of harmony

Key Vocabulary: phrase, breath control, pitch, rhythm, harmony, part singing, language, expression, performance, presentation, ensemble, rehearsal STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Ensemble Performance: Students perform more challenging repertoire demonstrating accurate pitch, rhythm, breath control, and participation in harmony or part singing.

●

Performance Presentation: Students present themselves appropriately for a formal performance and contribute to the overall ensemble sound.

●

Reflection: Students describe how the choir improved throughout the year and how they contributed to the final performance.

●

● ●

Harmony Check: Sections briefly sing their part while the rest of the class listens for balance and blend. Breath & Phrase Check: Students sing a longer phrase focusing on controlled breathing and sustained tone. Language Spotlight: Students speak or sing a short phrase from a foreign-language piece focusing on pronunciation. Rhythm Precision Check: Students clap or chant a challenging rhythm before singing it. Final Polish Run: Students perform a short excerpt and identify one ensemble improvement for the next rehearsal.

STAGE 3: LEARNING PLAN First Topic: Building Toward the Concert — tackling challenging melodies and rhythms

Estimated # of Lessons: 7-8

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Grades 4-5 Chorus Unit 3 Learning Targets: ● ● ●

I can sing with controlled breath through longer phrases. I can sing with accurate pitch in challenging melodies. I can perform rhythms in more complex music.

Essential Questions: ● How do singers improve and grow through practice?

Learning Activities: ● Breathing exercises ● Solfege in place of letter names of notation ● Body percussion Second Topic: Part Singing and Harmony — developing part independence and listening across sections

Estimated # of Lessons: 7-8

Learning Targets:

Essential Questions ● How do singers improve and grow through practice? ● How do singers work together to create harmony?

● ●

I can experience and perform different types of harmony. I can perform challenging choral music in multiple languages with accuracy and expression.

Learning Activities: ● Solfege in place of letter names of notation ● Audiation exercices ● Singing canon and rounds Third Topic: Final Preparation — precision, polish, and presenting with confidence

Estimated # of Lessons: 3-4

Learning Targets:

Essential Questions: ● How do singers improve and grow through practice? ● What makes a choir performance successful?

● ●

I can present myself appropriately for a formal performance. I can sing with controlled breath, accurate pitch, and confident expression in concert repertoire.

Learning Activities: ● Class discussion (glows and grows, turn and talk, etc.) ● Audio links ● Run through challenges ● Final rehearsal in venue

185

Grade 6 Chorus

Grade 6 Chorus In Chorus 6, we grow as singers and musicians by exploring the stories music tells. From building our ensemble sound together to diving into jazz, American popular music, and songs from around the world, each unit asks us to listen more carefully, perform with greater skill, and connect music to the people and cultures that created it. This is a course about developing your voice — and discovering what it can do. Building an Ensemble 7-8 Lessons

Jazz 6-7 Lessons

American Popular 20 Lessons

Global Influences 20 Lessons

We begin our year learning what it means to be part of a middle school chorus. From our first sounds to our first songs, we explore how posture, breath, and teamwork help us sing together. Each rehearsal brings new skills as we learn to read music, produce a resonant tone, and listen across the ensemble. Along the way, we continue building confidence, expression, and ensemble awareness.

With our ensemble voice taking shape, we step into one of music's most exciting traditions. Jazz is built on feel, teamwork, and a little bit of freedom — and it asks us to listen differently than we have before. We dive into the roots of Jazz music, try out improvisation, and develop the skills to perform jazz with energy and style.

From jazz, we turn to the music that has always reflected what people care about — the songs that capture a moment, tell a story, or bring everyone together. We look at what makes popular music connect, and develop our skills performing a range of styles, from musical theatre and country to pop and seasonal favorites.

Having explored music that is close to home, we now turn outward. Music from around the world tells the story of the people who created it — and it asks us to listen with new ears. From sacred songs to folk styles, we encounter music from different cultures and languages, and practice performing it with care, curiosity, and expression.

186

Grade 6 Chorus Unit 1

Course Name: Grade 6 Chorus Unit Title: Building an Ensemble

Est. # of Lessons: 20-25

Unit Overview: We begin our year learning what it means to be part of a middle school chorus. From our first sounds to our first songs, we explore how posture, breath, and teamwork help us sing together. Each rehearsal brings new skills as we learn to read music, produce a resonant tone, and listen across the ensemble. Along the way, we continue building confidence, expression, and ensemble awareness. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Pr6.1.E: Sing with proper posture, breath control, tone, and ensemble awareness. Pr5.1.E: Develop foundational vocal and rehearsal technique. Pr4.2.E: Read and interpret basic music notation in an ensemble setting. Cn10.0.E: Build ensemble identity through shared habits, listening, and teamwork.

Transfer Goals ●

●

Understandings ●

● ●

Healthy vocal technique is essential for individual and ensemble success. Effective ensembles depend on listening, cooperation, and shared responsibility. Music literacy allows singers to rehearse efficiently and perform with confidence. Ensemble identity is built through consistent habits, trust, and collective musical goals.

Essential Questions ● ● ● ●

Knowledge ●

Vocal anatomy related to posture and breath support

What does it mean to sing as part of an ensemble rather than as an individual? What am I paying attention to as I sing? How is this impacting my performance? What adjustments might I need to make? Why is listening across the ensemble essential for balance, blend, and intonation? How do teamwork and shared responsibility contribute to musical success? Skills (Framed as Learning Targets)

●

I can sing with proper posture and healthy breath support.

187

Grade 6 Chorus Unit 1 ● ● ● ● ● ●

Tone production and resonance Ensemble balance, blend, and intonation Basic music notation (pitch, rhythm, key, meter) How music reading supports independence and musical accuracy Rehearsal expectations and ensemble roles Non-verbal communication in ensemble performance

Key Vocabulary: posture, breath support, part independence, resonance, tone quality, intonation, blend, balance, intonation, diction, ensemble, score, sight-reading, rehearsal etiquette

● ● ● ● ● ● ●

I can produce a resonant, supported vocal tone. I can read and perform basic rhythmic and melodic notation. I can listen across the ensemble to adjust balance and blend. I can sing independently while maintaining ensemble awareness. I can identify what I need to work on and apply specific strategies to improve my performance. I can demonstrate the focus and teamwork habits that help our ensemble succeed. I can sing my part independently in two- or three-part harmony with increased accuracy.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Ensemble Performance Assessment: Students demonstrate proper posture, breath, tone, music reading, and ensemble listening in a selected choral work. Music Literacy Check: Individual or small-group sight-reading assessment evaluating pitch and rhythm accuracy.

● ● ● ● ●

Teacher observation using vocal technique and ensemble rubrics Exit tickets on rehearsal goals or listening focus Sectional performance checks Peer feedback on posture, tone, and ensemble balance Informal sight-reading exercises

Self-Reflection or Written Response: Students reflect on their growth in ensemble skills and personal contribution to the choir. STAGE 3: LEARNING PLAN First Topic: What It Means to Be a Chorus

Estimated # of Lessons: 3-5

Learning Targets: ● I can demonstrate the focus and teamwork habits that help our ensemble succeed.

Essential Questions: ● What does it mean to sing as part of an ensemble rather than as an individual?

Learning Activities: ● Ensemble norms discussion and goal-setting ● Call-and-response listening exercises ● Group singing activities emphasizing balance and blend ● Reflection on ensemble identity and expectations

188

Grade 6 Chorus Unit 1 Second Topic: Building Healthy Vocal Technique

Estimated # of Lessons: 3-5

Learning Targets: ● I can sing with proper posture and healthy breath support. ● I can produce a resonant, supported vocal tone. ● I can identify what I need to work on and apply specific strategies to improve my performance.

Essential Questions: ● What am I paying attention to as I sing? How is this impacting my performance? What adjustments might I need to make?

Learning Activities: ● Posture and breathing exercises ● Vocal warm-ups focusing on resonance and support ● Mirror and peer feedback activities ● Guided reflection on vocal habits Third Topic: Reading Music and Listening Across the Ensemble

Estimated # of Lessons: 3-5

Learning Targets: ● I can read and perform basic rhythmic and melodic notation. ● I can listen across the ensemble to adjust balance and blend. ● I can sing independently while maintaining ensemble awareness. ● I can sing my part independently in two- or three-part harmony with increased accuracy.

Essential Questions: ● Why is listening across the ensemble essential for balance, blend, and intonation? ● How do teamwork and shared responsibility contribute to musical success?

Learning Activities: ● Sight-reading practice with solfege or numbers ● Sectional rehearsals with ensemble re-integration ● Listening maps and score study ● Balance and blend tuning exercises

189

Grades 7-8 Chorus Grades 7-8 Chorus In grades 7 and 8, we build on the foundation you brought from sixth grade chorus. This year we deepen our ensemble sound, develop stylistic range across jazz, popular, and folk traditions, and eventually take on music from cultures around the world. The goal is to grow from capable ensemble singers into independent musicians who perform with intention, curiosity, and respect — for the music, for each other, and for the traditions we represent. Finding the Choral Sound 20-25 Lessons

Voices in Harmony: Jazz and the Art of Listening 20-25 Lessons

Music That Moves Us: Popular and Folk Traditions 20-25 Lessons

Own Your Voice: Singing the World 20-25 Lessons

We begin the year by strengthening the skills that allow a chorus to sound unified and expressive. Together we refine posture, breath support, tone production, and ensemble listening while developing greater independence within our vocal parts. As we rehearse and reflect, we focus on how balance, blend, and shared responsibility shape a confident ensemble sound.

With our ensemble voice established, we explore music that depends on careful listening and rhythmic energy. Jazz singing asks performers to feel groove, shape phrasing, and respond to each other in real time. Through rehearsal and performance of jazz-influenced repertoire, we develop independence within harmony parts while learning how style, rhythm, and ensemble awareness bring this music to life.

Music often reflects the stories and experiences of the people who create it. In this unit, we explore popular and folk traditions that have shaped the musical landscape—from spirituals and protest songs to contemporary popular styles. As we rehearse and analyze these pieces, we focus on how lyrics, musical structure, and vocal expression work together to communicate meaning and connect with audiences.

In our final unit, we step forward as more independent musicians. As we rehearse music from different cultures and traditions, we take greater responsibility for our parts and musical expression. Along the way, we explore opportunities for solo lines and small featured moments within the ensemble. As we discover new sounds, languages, and styles, we listen closely, shape expression, and make thoughtful musical decisions together. By the end of the unit, we perform with greater confidence and independence, celebrating how singing connects people across cultures.

190

Grades 7-8 Chorus Unit 1

Course Name: Grades 7-8 Chorus Unit Title: Finding the Choral Sound

Est. # of Lessons: 20-25

Unit Overview: We begin the year by strengthening the skills that allow a chorus to sound unified and expressive. Together we refine posture, breath support, tone production, and ensemble listening while developing greater independence within our vocal parts. As we rehearse and reflect, we focus on how balance, blend, and shared responsibility shape a confident ensemble sound. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● ●

Pr4.2.E.7a: Demonstrate understanding of the structure and context of varied musical works through prepared performances. Pr4.3.E.7a: Demonstrate understanding of expressive qualities (such as dynamics, phrasing, articulation, and style) through performance. Pr5.1.E.7a: Rehearse to refine technical accuracy and expressive qualities using self-assessment and feedback from others. Pr6.1.E.7a: Perform with expression and technical accuracy a varied repertoire of music. Re7.2.E.7a: Analyze how musical elements influence the listener’s response. Re9.1.E.7a: Evaluate musical works and performances using appropriate criteria and musical vocabulary.

Transfer Goals ●

●

Understandings ● ● ● ●

A strong choral ensemble depends on listening, balance, and shared responsibility. Healthy vocal technique supports a clear and blended ensemble sound. Singers contribute to the ensemble by maintaining independence while listening across the group. Rehearsal is a process where musicians listen, adjust, and improve together. Knowledge

Essential Questions ● ● ● ●

What does it mean to sing as part of an ensemble? How do singers balance independence with listening to others? How do posture, breath, and tone contribute to ensemble sound? How do musicians improve through rehearsal?

Skills (Framed as Learning Targets)

191

Grades 7-8 Chorus Unit 1 ● ● ● ● ● ● ●

Vocal resonance and vowel shaping Ensemble blend and tonal alignment Part independence in harmony Dynamic contrast and expressive phrasing Articulation and diction clarity Ensemble listening and balance Conductor cues and ensemble response

Vocabulary: vowel shape, phrasing, dynamics, articulation, harmony, part independence, phrasing, diction, resonance, ensemble balance

Fundamental ● ● ● ● ●

I can sing with consistent posture, breath support, and clear tone. I can read and follow my vocal part in up to four-part music. I can maintain my part while listening across the ensemble. I can adjust my tone and volume to improve ensemble balance and blend. I can describe strengths and areas for improvement in my singing.

Advanced ● ● ● ● ●

I can adjust vowel shape, tone color, and breath support to improve ensemble blend. I can maintain independence within more complex harmony. I can interpret phrasing, dynamics, and articulation within my vocal part. I can demonstrate leadership within my section to strengthen ensemble sound. I can evaluate ensemble performance and suggest strategies for improvement.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● ● ● ● ●

Full ensemble performance of selected repertoire demonstrating posture, tone, and ensemble awareness Section or small-group singing check demonstrating independence within harmony Music-following task where students track their vocal line while singing or listening Conductor cue response check observed during rehearsal Short spoken or written reflection on ensemble contribution

Formative Assessment ● ● ● ●

Posture & Breath Check: Students reset posture and demonstrate a supported breath before singing a short phrase together. Echo Pitch Check: Teacher sings a short melodic pattern; students echo it using correct vowel shape and tone. Conductor Cue Check: Students enter together on a silent conductor cue and sustain a unison pitch. Ensemble Balance Check: Sections sing one at a time, then together, adjusting volume to maintain balance and blend.

Criteria:

192

Grades 7-8 Chorus Unit 1 ● ● ● ● ● ● ●

Demonstrates healthy singing posture and supported breath Produces a clear, resonant tone with appropriate vowel shape Performs accurate rhythm and pitch appropriate to beginning multi-part repertoire Follows conductor cues for entrances, releases, and tempo Listens across the ensemble to adjust balance and blend Maintains an independent vocal line while remaining aware of the ensemble Demonstrates rehearsal focus and positive ensemble teamwork STAGE 3: LEARNING PLAN

First Topic: Building a Unified Ensemble Sound

Estimated # of Lessons: 3-5

Learning Targets:

Essential Questions: ● What does it mean to sing as part of an ensemble? ● How do singers balance independence with listening to others?

Fundamental ● ● ●

I can maintain my part while listening across the ensemble. I can adjust my tone and volume to improve ensemble balance and blend. I can describe strengths and areas for improvement in my singing.

Advanced ● ● ●

I can adjust vowel shape, tone color, and breath support to improve ensemble blend. I can demonstrate leadership within my section to strengthen ensemble sound. I can evaluate ensemble performance and suggest strategies for improvement.

Learning Activities: ● ●

Unified Tone Exploration: Students sing sustained vowels as a full ensemble and adjust tone and volume to match neighboring voices and create a blended sound. Listening Across the Ensemble: Students sing short passages while focusing on hearing other sections and adjusting their volume to maintain balance.

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Grades 7-8 Chorus Unit 1 ● ● ●

Section Balance Check: Individual sections sing while the rest of the ensemble listens and identifies moments where balance or blend can improve. Vowel Matching Practice: Students practice shaping vowels consistently within their section to improve ensemble blend. Performance Reflection: After a run-through, students briefly describe strengths in ensemble sound and identify one area for improvement.

Second Topic: Vocal Technique and Tone Production

Estimated # of Lessons: 3-5

Learning Targets:

Essential Questions: ● How do posture, breath, and tone contribute to ensemble sound?

Fundamental ● ●

I can sing with consistent posture, breath support, and clear tone. I can describe strengths and areas for improvement in my singing.

Advanced ● ●

I can adjust vowel shape, tone color, and breath support to improve ensemble blend. I can interpret phrasing, dynamics, and articulation within my vocal part.

Learning Activities: ● ● ● ● ●

Posture and Breath Awareness: Students practice correct singing posture and breathing exercises to support healthy tone production. Tone Matching Exercise: Students sing short phrases and adjust vowel shape and tone color to match their section and improve ensemble blend. Breath Support Practice: Students sustain tones and phrases while focusing on steady airflow and consistent vocal tone. Phrase Shaping Practice: Students sing musical phrases while experimenting with dynamics and articulation to support musical expression. Self-Evaluation Check: Students reflect briefly on their tone, posture, and breath support and identify one area to improve in their singing.

Third Topic: Part Independence and Ensemble Listening

Estimated # of Lessons: 3-5

Learning Targets:

Essential Questions: ● How do singers balance independence with listening to others? ● How do musicians improve through

Fundamental

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Grades 7-8 Chorus Unit 1

● ● ●

I can read and follow my vocal part in up to four-part music. I can maintain my part while listening across the ensemble. I can describe strengths and areas for improvement in my singing.

rehearsal?

Advanced ● ● ●

I can maintain independence within more complex harmony. I can interpret phrasing, dynamics, and articulation within my vocal part. I can demonstrate leadership within my section to strengthen ensemble sound.

Learning Activities: ● ● ● ● ●

Part-Reading Practice: Students rehearse short passages focusing on following their vocal line while maintaining steady rhythm and pitch. Independent Line Exercise: Sections sing their parts individually while other sections listen for balance and harmony. Layered Ensemble Singing: Sections enter one at a time to practice maintaining independence while listening across the ensemble. Section Leadership Moments: Advanced singers model phrasing, tone, and articulation for their section and help guide rehearsal of difficult passages. Rehearsal Reflection: After a run-through, students briefly identify strengths in ensemble independence and suggest one strategy to improve balance or accuracy.

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Grades 9-12 Concert Choir Grades 9-12 Concert Choir We build on the ensemble foundation developed in middle school and raise the standard for what our singing can achieve. We deepen technical control, develop stylistic range across jazz, American, and global traditions, and grow into more independent and expressive musicians. By the end of the year, singers perform with greater interpretive confidence and a deeper sense of what it means to belong to an ensemble with a shared artistic identity. The Art of Ensemble Singing 20-25 Lessons

Jazz, Groove, and Vocal Style 20-25 Lessons

Voice and Story in American Music 20-25 Lessons

Global Voices and Choral Identity 20-25 Lessons

We begin the year refining the skills that allow a choir to perform with precision and artistry. We deepen our control of breath, tone, vowel shaping, and balance while developing greater independence within harmony parts. As we rehearse challenging repertoire, we focus on musical interpretation, expressive phrasing, and the shared responsibility that shapes a mature ensemble sound.

Building on earlier experiences with jazz singing, we explore the musical language of swing, groove, and vocal phrasing. Through rehearsal and performance of jazz-influenced repertoire, singers develop stylistic awareness, rhythmic precision, and expressive flexibility. We study how harmony, articulation, and rhythmic feel create the energy that defines jazz performance.

American music has long reflected the stories and experiences of the people who created it. In this unit, we explore choral repertoire rooted in spirituals, folk traditions, musical theatre, and contemporary popular styles. As we rehearse these works, we examine how composers and performers use lyrics, harmony, and musical structure to communicate powerful ideas and connect with audiences.

In our final unit, we turn outward to explore music from around the world. Performing repertoire from different cultures and languages invites us to approach music with curiosity, respect, and deeper cultural awareness. As singers take greater responsibility for interpretation and expression, we refine our ability to perform with independence, confidence, and a strong sense of ensemble identity.

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Grades 9-12 Concert Choir Unit 1

Course Name: Grades 9-12 Concert Choir Unit Title: The Art of Ensemble Singing

Est. # of Lessons: 20-25

Unit Overview: We begin the year refining the skills that allow a choir to perform with precision and artistry. We deepen our control of breath, tone, vowel shaping, and balance while developing greater independence within harmony parts. As we rehearse challenging repertoire, we focus on musical interpretation, expressive phrasing, and the shared responsibility that shapes a mature ensemble sound. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Pr4.2.E.HSI: Demonstrate understanding of the structure and context of varied musical works through prepared performances. Pr4.3.E.HSI: Demonstrate understanding of expressive qualities and technical accuracy in performance. Pr5.1.E.HSI: Rehearse to refine technical accuracy and expressive qualities, using peer and teacher feedback. Pr6.1.E.HSI: Perform varied repertoire with technical accuracy, stylistic interpretation, and expressive intent. Re9.1.E.HSI: Evaluate musical works and performances using established criteria and appropriate vocabulary.

Transfer Goals ●

●

Understandings ●

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The most precise individual technique means nothing if it doesn't serve the ensemble — and the strongest ensemble is built from singers who each take full responsibility for their part. Listening across the ensemble isn't a passive act — it's an active musical decision that shapes every note a singer produces. Rehearsal is where a choir learns to think together — transforming individual preparation into shared artistic intention. The paradox of ensemble singing is that the more independent each singer becomes, the more unified the group can

● ● ● ●

What does it mean to perform with artistic intention rather than just technical accuracy? How does a choir develop a shared musical voice from many individual ones? What does genuine independence within an ensemble actually sound like — and feel like? How does rehearsal change not just what we sing but how we think about music?

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Grades 9-12 Concert Choir Unit 1 sound. Knowledge ● ● ● ● ● ● ●

Tone color and resonance shaping Advanced intonation within harmony Harmonic texture and ensemble balance Expressive phrasing and dynamic shaping Diction and text clarity Conductor gesture and interpretive cues Ensemble precision and musical timing

Key Vocabulary: tone color, resonance, intonation, phrasing, articulation, diction, texture, ensemble precision, interpretation, conductor gesture

Skills (Framed as Learning Targets) Fundamental ● ● ● ●

I can sing with consistent tone, breath support, and accurate intonation across a wide range. I can read and perform complex vocal parts independently. I can maintain balance and blend within advanced choral textures. I can respond to conductor gestures and ensemble listening to refine musical precision.

Advanced ● ● ● ●

I can shape tone, resonance, and vowel alignment to achieve a unified ensemble sound. I can maintain independence within complex harmonic textures. I can interpret phrasing, dynamics, and text meaning to support artistic performance. I can refine ensemble sound through active listening and musical adjustment.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessments: ● Students will perform a selected 32–64 measure excerpt of a Grade 3 or 4 choral work in a quartet or octet (one or two singers per part). The performance must be sung without piano assistance (a cappella) or with minimal accompaniment to demonstrate true vocal and harmonic independence. ● Individual or small-group sight-reading assessment evaluating pitch and rhythm accuracy. ● Students reflect on their growth in ensemble skills and personal contribution

Formative Assessment ● ● ● ●

Unified Vowel Check: Students sustain a chord and adjust vowel shape to improve ensemble blend. Independent Entry Check: Sections enter separately on conductor cues while maintaining pitch accuracy. Score Tracking Check: Students silently follow their vocal line in the score while another section sings. Chord Tuning Check: Ensemble sustains a chord and adjusts pitch through active listening across the ensemble.

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Grades 9-12 Concert Choir Unit 1 to the choir. Criteria: ● Focus on vocal resonance (tall vowels), rhythmic precision during independent entries, and active listening to maintain chordal intonation. ● Accuracy in major/minor intervals, dotted rhythms, and the ability to maintain the tonic (do) without accompaniment. ● Analysis of vocal registration, evaluation of the section's tonal blend, and an explanation of how expressive markings were used to convey the text's emotion. STAGE 3: LEARNING PLAN First Topic: Building a Unified Ensemble Sound

Estimated # of Lessons: 3-5

Learning Targets:

Essential Question: ● What does it mean to perform with artistic intention rather than just technical accuracy?

Fundamental ●

I can sing with consistent tone, breath support, and accurate intonation across a wide range.

Advanced ●

I can shape tone, resonance, and vowel alignment to achieve a unified ensemble sound.

Learning Activities: ● Students use a "physical resistance" exercise. While singing a descending five-note scale on a lip trill or "ng" sound, they wrap a resistance band around their lower ribs. ● Use a "Vowel Ladder" exercise. Students sing a single pitch on a wide range of vowels focusing on maintaining a high, arched soft palate. ● Teacher sets a sustained "pedal point" or drone (using a tuner app or piano) on the tonic note. Students sing arpeggios or melodic leaps against the drone. Second Topic: Harmonic Independence and Ensemble Listening

Estimated # of Lessons: 3-5

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Grades 9-12 Concert Choir Unit 1 Learning Targets: Fundamental ● ●

I can read and perform complex vocal parts independently. I can maintain balance and blend within advanced choral textures.

Essential Questions: ● How does a choir develop a shared musical voice from many individual ones? ● What does genuine independence within an ensemble actually sound like — and feel like?

Advanced ● ●

I can maintain independence within complex harmonic textures. I can interpret phrasing, dynamics, and text meaning to support artistic performance.

Learning Activities: ● Students stand in a "mixed formation" (S-A-T-B) rather than their usual sections. They are tasked with singing a rhythmically dense or harmonically dissonant passage without piano support. ● Students must keep their "eyes on the stick" and respond instantly to changes in $subito$ dynamics, rubato, or fermatas. ● Achieving a "straight tone" or "blended vibrato" that creates a single, unified choral "organ" sound. Third Topic: Interpretive Decision-Making and Musical Leadership

Estimated # of Lessons: 3-5

Learning Targets:

Essential Questions: ● How does rehearsal change not just what we sing but how we think about music?

Fundamental ●

I can respond to conductor gestures and ensemble listening to refine musical precision.

Advanced ●

I can refine ensemble sound through active listening and musical adjustment.

Learning Activities: ● Students practice "locking" their pitch despite the physical "beats" created by the dissonance. ● Students must decide which technical tools—such as breathy tone, sharp "t" consonants, or elongated vowels—best convey the subtext. ● Students must listen across the room to ensure the melody is never "buried" by the harmony. ● Students take ownership of the phrasing rather than just following the conductor's beat.

200

Grades 9-12 Chamber Choir

Grades 9-12 Chamber Choir Chamber Choir represents the highest level of choral musicianship in our program. In this smaller, auditioned ensemble, singers take greater artistic ownership of the music we perform. We refine advanced vocal technique, explore challenging repertoire from jazz, American, and global traditions, and develop the independence needed to sustain complex harmony and nuanced interpretation. Singers contribute ideas, shape ensemble decisions, and deepen their understanding of the cultural traditions behind the music. By the end of the year, chamber choir members perform with artistic maturity, expressive depth, and the confidence to lead within a shared musical vision. The Chamber Ensemble: Precision and Musical Leadership 20-25 Lessons

Jazz, Groove, and Vocal Improvisation 20-25 Lessons

American Voices: Story, Style, and Interpretation 20-25 Lessons

Global Voices: Independence and Artistic Expression 20-25 Lessons

In Chamber Choir, we carry significant musical responsibility as individuals and as an ensemble. In this unit, we refine the precision, listening, and leadership that a small ensemble demands. We develop greater independence within harmony parts while shaping tone, balance, and phrasing collaboratively. Rehearsals focus on advanced

Jazz singing demands rhythmic precision, stylistic flexibility, and confident individual musicianship. In this unit, we explore the musical language of swing, groove, and contemporary vocal jazz. Through rehearsal and performance of jazz repertoire, we develop advanced harmony skills, experiment with vocal improvisation, and refine stylistic

American vocal traditions offer powerful opportunities for expressive storytelling. In this unit, we explore repertoire rooted in spirituals, folk traditions, musical theatre, and contemporary choral writing. Working in a smaller ensemble allows us to go deeper into interpretive work — examining how text, harmony, and musical structure communicate

In our final unit, we engage deeply with choral music from different cultures and traditions. Performing in multiple languages and stylistic contexts challenges us to approach music with curiosity, respect, and advanced musical awareness. We take a leading role in shaping interpretation, refining phrasing, and supporting the ensemble

201

Grades 9-12 Chamber Choir musicianship — refined intonation, expressive phrasing, and musical decision-making — and we each contribute actively to the interpretation and energy of the group, helping shape a unified and expressive ensemble sound.

phrasing. We learn to interact musically in real time — responding to groove, harmony, and ensemble texture — while maintaining clarity and expressive intent.

meaning, and shaping performances that reflect both technical precision and emotional depth.

sound. We bring together the independence, collaboration, and artistry that define what this ensemble has become.

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Grades 9-12 Chamber Choir Unit 1

Course Name: Grades 9-12 Chamber Choir Unit 1 Title: The Chamber Ensemble: Precision and Musical Leadership

Est. # of Lessons: 20-25

Unit Overview: In Chamber Choir, we carry significant musical responsibility as individuals and as an ensemble. In this unit, we refine the precision, listening, and leadership that a small ensemble demands. We develop greater independence within harmony parts while shaping tone, balance, and phrasing collaboratively. Rehearsals focus on advanced musicianship — refined intonation, expressive phrasing, and musical decision-making — and we each contribute actively to the interpretation and energy of the group, helping shape a unified and expressive ensemble sound. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

Pr4.2.E.HSII: Demonstrate and explain how structural and contextual elements inform performance decisions. Pr4.3.E.HSII: Demonstrate refined expressive qualities and stylistic interpretation in performance. Pr5.1.E.HSII: Rehearse with independence and leadership to refine technical accuracy and expressive interpretation. Pr6.1.E.HSII: Perform complex repertoire with artistic intent, stylistic authenticity, and expressive nuance. Re7.2.E.HSII: Analyze how musical structure, text, and context influence meaning and listener interpretation. Re9.1.E.HSII: Evaluate musical works and performances with detailed criteria and sophisticated musical vocabulary.

Transfer Goals ●

●

Understandings ● ● ● ●

Chamber ensembles require each singer to function as an independent and responsible musician. Artistic interpretation emerges through deep listening, collaboration, and shared musical vision. Small ensemble singing demands flexibility, leadership, and musical responsiveness. The highest level of ensemble performance

Essential Questions ● ● ● ●

How do individual singers shape the sound and direction of a chamber ensemble? How does deep listening influence musical interpretation? What responsibilities do musicians have when performing in a small ensemble? How do ensembles develop a shared artistic vision?

203

Grades 9-12 Chamber Choir Unit 1 comes from intentional artistic decisionmaking. Knowledge ● ●

Skills (Framed as Learning Targets)

Chamber ensemble listening and leadership Vocal tone alignment and resonance matching Harmonic transparency and balance Interpretive phrasing and musical nuance Ensemble communication and responsiveness Independent musicianship within small ensemble texture

●

Key Vocabulary: chamber ensemble, tonal alignment, harmonic texture, interpretive decision, ensemble leadership, phrasing nuance, artistic interpretation

●

● ● ● ●

● ● ●

I can refine tone, resonance, and breath support to achieve a unified chamber ensemble sound. I can maintain complete independence within complex harmonic textures. I can balance and adjust my voice within a small ensemble without relying on conductor cues. I can contribute to interpretive decisions about phrasing, tone, and musical direction. I can demonstrate leadership and musical responsibility within the ensemble.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Full ensemble performance demonstrating refined tone, balance, and stylistic awareness ● Small ensemble or one-per-part singing check demonstrating independent musicianship ● Music literacy check including independent score-following or sight-reading ● Sectional Leadership Practicum: Students lead a 15-minute rehearsal segment, evaluated via a structured protocol on their ability to diagnostically listen (identify a specific pitch, rhythm, or blend error), prescribe a technical fix (provide a vocal or rhythmic strategy), and demonstrate measurable improvement in the ensemble's sound. ● Written or spoken reflection on ensemble interpretation and decision-making

Formative Assessment ● ● ● ●

Chord Tuning Check: Students sustain a chord and refine pitch through ensemble listening and vowel alignment. Independent Line Check: One singer per part performs a short passage to demonstrate independence within harmony. Conductor Response Check: Students respond to subtle conductor gestures for tempo, phrasing, or cutoff. Blend Adjustment Check: Ensemble experiments with vowel shape and tone color to refine balance and blend.

Criteria: ● Demonstrates highly controlled vocal tone with flexible resonance and unified vowels

204

Grades 9-12 Chamber Choir Unit 1 ● ● ● ● ● ●

Performs accurately and independently within complex harmonic textures Sustains pitch and musical line without external support Listens across the ensemble to shape balance, tuning, and phrasing Interprets conductor gestures and musical intent with precision Demonstrates leadership in rehearsal preparation and musical problem-solving Articulates artistic decisions using appropriate musical vocabulary STAGE 3: LEARNING PLAN

First Topic: Building a Unified Ensemble Sound

Estimated # of Lessons: 3-5

Learning Targets: ● I can refine tone, resonance, and breath support to achieve a unified chamber ensemble sound.

Essential Questions: ● How do individual singers shape the sound and direction of a chamber ensemble?

Learning Activities: ● Vowel Formant Matching: In a circle, a "model" singer sustains a pitch on a specific vowel (e.g., [o]); each ensemble member enters one by one, adjusting their soft palate height and tongue position until all individual voices "disappear" into a single, unified frequency. ● The "Silent Intake" Synchronization: The ensemble performs a series of staggered entrances; members must synchronize their diaphragmatic expansion and inhalation speed without a conductor, using only the sound of a collective "catch breath" to trigger a perfectly timed, supported onset. ● Staggered Breathing "Seams": In a long, sustained phrase, students map out individual "breath points" to ensure no two singers in a section breathe at the same time, practicing the tapered release and seamless re-entry required to maintain a constant, unbroken wall of sound. Second Topic: Harmonic Independence and Ensemble Listening

Estimated # of Lessons: 3-5

Learning Targets: ● I can maintain complete independence within complex harmonic textures. ● I can balance and adjust my voice within a small ensemble without relying on conductor cues.

Essential Questions: ● How does deep listening influence musical interpretation?

Learning Activities: ● The "Deconstructed" Mixed Formation: Students perform a polyphonic work (e.g., a Renaissance motet or modern 8-part harmony) standing in a randomized "scrambled" formation where no two people singing the same part are within 10 feet of each other.

205

Grades 9-12 Chamber Choir Unit 1 ● ● ●

The "Blind" Dynamic Shift: The ensemble sings a sustained, complex chord with their eyes closed; individual singers must decide, based purely on ensemble listening, to "swell" or "fade" their specific voice part to bring out moving inner lines or "guide tones." Attacking the "Dissonance" Interval: In pairs, students perform a "Tension-Release" drill where they sustain a major/minor second interval. The "Pulse-Lead" Rotation: Small groups perform a rhythmically independent work where the "leadership" for the tempo and breath shifts from one voice part to another every 4 measures, requiring instant non-verbal cues and physical "breathing together."

Third Topic: Interpretive Decision-Making and Musical Leadership

Estimated # of Lessons: 3-5

Learning Targets: Essential Questions: ● I can contribute to interpretive decisions ● What responsibilities do musicians have about phrasing, tone, and musical direction. when performing in a small ensemble? ● I can demonstrate leadership and musical ● How do ensembles develop a shared artistic responsibility within the ensemble. vision? Learning Activities: ● The "Interpretive Pitch": Small groups prepare the same phrase with two opposing "emotional maps", justifying their choice of dynamic shaping and vowel color to the ensemble before a final vote. ● Democratic Phrasing: Students use "pencil-free" rehearsals to negotiate the climax of a phrase and the duration of fermatas using only non-verbal cues, forcing collective responsibility for the musical arc. ● Sectional "Masterclass" Rotation: Each student leads a 5-minute "deep dive" into a specific vocal challenge (e.g., vibrato rate or consonant placement), providing diagnostic feedback to their peers. ● Score Advocacy: Students choose one "expressive marking" in the score and present a technical plan to achieve it.

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Band

Grades 4-12

207

Grade 4 Band Instrumental Lessons Grade 4 Band Instrumental Lessons Unit 1: The Journey Begins: Instrument Introductions 10-15 Lessons

Unit 2: The Key to Unlock Independent Musicianship: Reading Music Notation 10-15 Lessons

Unit 3: Finding Your Voice: Instrument Technique and Comfort 10-15 Lessons

Our band journey starts with trying different instruments and choosing the one that feels right for us. Once we select our instrument, we learn how to hold it correctly, take care of it, and make our first sounds. We discover that playing an instrument takes practice and patience—our skills grow a little more each time we play. Through regular practice at home and in class, we develop the habits and responsibility we need to become confident musicians.

Now that we can make sounds on our instruments and are in the beginning stages of reading our first 5 notes, we learn to expand reading music notation so we can play on our own. We continue to practice recognizing the first five notes on the staff, while beginning to expand the range. We read simple rhythms and play from our method books. As we become more comfortable with these foundational skills, we begin to see how the symbols on the page connect to the sounds we make. Learning to read music opens up a whole new world of songs and melodies.

With our reading skills growing stronger, we now focus on technique—the skills that help us sound our best. We work on hand and finger placement, breath support, and producing a clear tone. Through scales, exercises, and focused practice, we begin to tackle important challenges specific to our instruments. Developing these foundational techniques helps us play with more confidence and control.

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Grade 4 Band Instrumental Lessons Unit 1

Course Name: Grade 4 Band Instrumental Lessons Unit 1 Title: The Journey Begins: Instrument Introductions

Est. # of Lessons: 10-15 Lessons

Unit Overview: Our band journey starts with trying different instruments and choosing the one that feels right for us. Once we select our instrument, we learn how to hold it correctly, take care of it, and make our first sounds. We discover that playing an instrument takes practice and patience—our skills grow a little more each time we play. Through regular practice at home and in class, we develop the habits and responsibility we need to become confident musicians. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.E.4a: Demonstrate understanding of the structure and elements of music by reading and performing notated music. MU:Pr4.3.E.4a: Identify and apply teacherprovided criteria to rehearse, refine, and determine when the music is ready to perform. MU:Pr5.1.E.4a: Apply teacher-provided and established criteria and feedback to evaluate the accuracy and expressiveness of ensemble and individual performances. MU:Pr6.1.E.4a: Perform music with expression and technical accuracy appropriate to the level of the music and performance.

Transfer Goals ●

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Understandings ● ● ● ●

When we stay calm, organized, and focused, we can learn together. Taking care of our instruments and setting them up correctly shows responsibility and keeps them working well. The way we hold our bodies, mouths, and instruments affects the sounds we can make. Short, focused practice sessions help our muscles and brains remember what to do, and listening carefully—to ourselves and others—helps us know what's going well and what needs more work.

Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry. (Effective Communicators, Information Analysts) Essential Questions

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What does it mean to become a musician? How does taking care of my instrument and my habits help me grow as a musician? How does listening — to myself and others — help me improve?

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Grade 4 Band Instrumental Lessons Unit 1 ● ● ● ●

Musicians develop skill through consistent, focused practice — not just time spent playing. How a musician holds their body and instrument directly shapes the quality of sound they can produce. Caring for an instrument is part of musical identity and responsibility. Listening carefully — to ourselves and others — is how musicians know what to keep and what to improve. Knowledge

● ● ● ● ● ●

Different instruments have distinct sounds, techniques, and physical requirements that suit different students. Proper posture and playing position differ by instrument but affect tone quality for all. Instruments require regular care and maintenance to function properly. Musical skill develops through consistent, focused practice — not just repetition. Short, targeted practice sessions are more effective than long, unfocused ones. Listening to oneself and others is a core musician skill, not just a classroom behavior.

Key Vocabulary: instrument, posture, embouchure/stick grip, fingering, technique, care/maintenance, practice, responsibility, confidence

Skills (Framed as Learning Targets) Personal Responsibility & Setup: ● ● ● ●

I can demonstrate rehearsal readiness by arriving prepared and staying focused. I can keep my instrument and music organized. I can open my instrument case safely and correctly. I can put my instrument together step-by-step. I can sit or stand with good posture while playing.

Playing Position & First Sounds: ● ● ● ●

I can form my embouchure (mouth shape) correctly for my instrument. I can hold my instrument in the correct playing position. I can make a steady, controlled sound on my instrument. I can start each note with a clear beginning.

Playing the First 5 Notes: ● ● ●

I can play my first 5 notes with correct fingerings. I can keep a steady beat while playing. I can play simple melodies using letter names before reading notation.

Practice & Listening: ● ●

I can listen to my playing and notice what sounds good. I can listen to others and give helpful

210

Grade 4 Band Instrumental Lessons Unit 1

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feedback. I can practice at home in short, focused sessions. I can set a practice goal and work toward it.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

● ●

● ● ●

Formative Assessment

Setup Demonstration: Each student demonstrates opening, assembling, and holding the instrument correctly without assistance. Instrument Care Quiz: Short checklist or oral questions about proper handling, care, and organization of instrument and music. Performance Check: Student plays a set of long tones or simple notes for the teacher, demonstrating correct embouchure, posture, and clear attacks. Checklist Assessment: Teacher scores students on posture, embouchure, tone steadiness, and note attacks. Mini Performance: Student plays a short melody from the “Sloth Packet” (a packet of 4 lessons with exercises and songs with labeled notation using the first 5 notes) showing accurate fingerings and steady beat. Letter-Name Assessment: Student plays a simple melody using letter names and transitions cleanly between notes. Practice Portfolio: Student submits 1–2 weeks of practice logs with goals and reflections. Listening & Feedback Assessment: Teacher evaluates student’s ability to give specific, constructive feedback to peers.

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Observation Checklist: Teacher checks students during setup for posture, organization, and correct assembly. Partner Check: Students verify each other’s instrument setup and posture. Quick Self-Reflection: Students rate themselves on readiness/preparedness at the start of rehearsal. Mirror/Teacher Observation: Check embouchure, instrument hold, and posture during warm-ups. Mouthpiece Buzz or Long-Tone Check: Observe control and clarity of first sounds. Call and Response Drills: Teacher plays note; student echoes with clean start. Sloth Packet Practice: Teacher observes accuracy of fingers, rhythm, and note transitions. Flashcard or Note Drill: Quick checks on individual notes. Rhythm Games: Observe steady beat during short exercises. Peer Feedback: Students give each other specific, kind feedback after playing. Practice Journal Check: Students record short home practice sessions and note one goal per session. Self-Reflection Prompts: After class, students note what went well and what to improve.

STAGE 3: LEARNING PLAN First Topic: Personal Responsibility and Set-Up

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can demonstrate rehearsal readiness by

Essential Question: ● What does it mean to become a musician?

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Grade 4 Band Instrumental Lessons Unit 1

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arriving prepared and staying focused. I can keep my instrument and music organized. I can open my instrument case safely and correctly. I can put my instrument together step-bystep. I can sit or stand with good posture while playing.

●

How does taking care of my instrument and my habits help me grow as a musician?

Learning Activities: ● Classroom Tour & Safety Roleplay: Practice entering, exiting, and navigating the music room safely. ● Organization: Practice keeping all music and folders on the music stands and instrument cases under chairs to allow for foot space. ● Opening cases: “Cases flat on the floor with latches facing you, not upside down.” ● Instrument Setup Relay: In teams, students race to (carefully!) set up instruments step-by-step. ● Posture Mirror Work: Students use mirrors or partners to check and adjust playing posture. Second Topic: Playing Position & First Sounds:

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● What does it mean to become a musician?

● ● ● ●

Learning Activities: ● Mirror Check: Students shape their mouth correctly while looking in a mirror. ● Mouthpiece Buzzing: Practice buzzing on just the mouthpiece to reinforce embouchure shape. ● Statue Hold: Students hold their instrument in playing position while the teacher checks posture. ● Partner Check: Students observe each other and give feedback on hand position and instrument angle. ● Long-Tone Exercise: Play a single note for 4, focusing on even sound. ● Airflow Practice: Practice blowing steady air through the instrument without making a note (or on the mouthpiece). ● Tongue Syllables: Use “too” to start each note cleanly. ● Call and Response: Teacher plays a note; students echo, emphasizing a crisp start. Third Topic: Playing the First 5 Notes

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can play my first 5 notes with correct fingerings.

Essential Questions: ● What does it mean to become a musician? ● How does listening — to myself and others —

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Grade 4 Band Instrumental Lessons Unit 1 ● ●

I can keep a steady beat while playing. I can play simple melodies using letter names before reading notation.

help me improve?

Learning Activities: ● ● ● ● ●

Stepwise Scale Practice: Play the five notes up and down slowly, focusing on correct fingers or slide positions. Tap and Play: Tap the beat while playing notes to reinforce rhythm. Use a Metronome or Tapping: Play notes along with a steady click or tap your foot while playing. Letter-Name Songs: Use short familiar songs (e.g., “Hot Cross Buns”) and have students play by rote. Playing Labeled Notes: Students practice and play the “Sloth Packet.”

FourthTopic: Practice & Listening

Estimated # of Lessons: 4-6 lessons

Learning Targets: Essential Questions: ● I can listen to my playing and notice what ● How does listening — to myself and others — sounds good. help me improve? ● I can listen to others and give helpful ● How does taking care of my instrument and feedback. my habits help me grow as a musician? ● I can practice at home in short, focused sessions. ● I can set a practice goal and work toward it. Learning Activities: ● Thumb Check: After playing a note or short exercise, give a thumbs-up if it sounds good, thumbs sideways if it needs work. ● Partner Feedback: Give one positive comment and one suggestion to a partner after they play. ● Thumbs & Notes: While a peer plays, give a thumbs-up for good parts and note one thing to improve. ● Mini Practice: Focus on one skill (first 5 notes, steady beat) for 5–10 minutes. ● Practice Log: Write down what you practiced and what went well. ● Goal Card: Write one specific goal for your practice (e.g., “play C–D smoothly”). ● Check & Reflect: At the start of class, report if you met your goal and what you’ll try next.

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Course Name: Grade 4 Instrumental Lessons Est. # of Lessons: 10-15 Unit 2 Title: The Key to Unlock Independent Musicianship: Reading Music Notation Unit Overview: Now that we can make sounds on our instruments and can play our first 5 notes, we learn to read music notation so we can play on our own. We practice recognizing the first five notes on the staff, while beginning to expand the range. We read simple rhythms and play from our method books. As we become more comfortable with these foundational skills, we begin to see how the symbols on the page connect to the sounds we make. Learning to read music opens up a whole new world of songs and melodies. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.E.4a: Demonstrate understanding of the structure and elements of music by reading and performing notated music. MU:Pr5.1.E.4a: Apply teacherprovided criteria and feedback to evaluate and refine the accuracy and expressiveness of performances. MU:Pr6.1.E.4a: Perform music with expression and technical accuracy appropriate to the level of the music and performance.

Transfer Goals ●

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Understandings ●

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Music notation is a language that helps us play independently. When we learn to identify notes and rhythms on the staff, we can play music we've never heard before. The more we practice reading, the more confident and expressive we become, both when playing alone and with others in our ensemble. Reading music independently opens the door to learning new music without relying on a teacher or recording — it is the foundation of

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How do the symbols on the page become the music we play? How does reading music help me play independently and discover new music? What happens when I combine what I see on the page with what I hear in my head?

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Grade 4 Band Instrumental Lessons Unit 2 musical self-sufficiency. Knowledge ● ● ● ● ● ●

Music is written on a staff of 5 lines and 4 spaces. Notes are named using letter names A through G and placed on specific lines and spaces. Rhythmic values (whole, half, quarter, and eighth notes and rests) indicate how long each sound lasts. Mnemonics help musicians memorize note names on the staff. Musical phrases are groups of notes that form a complete musical idea. Repeated patterns in music can be recognized and used to read more efficiently.

Key Vocabulary: notation, staff, whole note, half note, quarter note, eighth note, rest, treble clef, measure, bar line, time signature, rhythm, phrase, melody, tempo, repeat sign, double bar line, mnemonic.

Skills (Framed as Learning Targets) Reading the Staff: ● ● ●

I can identify the 5 lines and 4 spaces on the music staff. I can name notes on the lines and spaces using mnemonics (memory tricks). I can find notes on the staff accurately.

Reading & Playing Rhythms: ● ● ●

I can clap and count rhythms from written music. I can play whole notes, half notes, quarter notes, and eighth notes. I can follow rests and keep a steady pulse.

Reading Phrases & Patterns: ● ● ● ●

I can read and play short phrases from my method book. I can recognize repeated patterns in music. I can use my note and rhythm knowledge together when I read music. I can play simple melodies by reading the music (not from memory).

Music Reading in Performance: ● ●

I can follow basic tempo markings while reading. I can play with others by reading my part from the music.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Written Quiz: Students identify and label notes on a blank staff. Play & Identify: Student points to a note on the staff and plays it correctly on their instrument. Rhythm Performance Test: Student claps

Formative Assessment ● ●

Flashcard Check: Show a note and ask the student to name it quickly. Staff Labeling: Students label blank staves with line and space names.

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Grade 4 Band Instrumental Lessons Unit 2

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or plays a short rhythm exercise with correct note/rest values. Instrument Rhythm Check: Student plays a short passage including rests and varied note lengths on their instrument while keeping a steady pulse. Method Book Performance: Students play a short melody from the book, demonstrating correct note reading, rhythm, and attention to repeated patterns. Performance Rubric: Teacher scores accuracy of notes, rhythm, and ability to integrate note and rhythm reading. Ensemble Performance: Students perform a piece with the class, demonstrating correct tempo and the ability to follow their part from the music. Performance Rubric: Assess tempo accuracy, coordination with others, and independent music reading.

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Partner Quiz: Students quiz each other on note names using mnemonics. Rhythm Clap Practice: Students clap rhythms while counting aloud. Peer Rhythm Check: Partners take turns clapping and checking each other’s accuracy. Quick Beat Drill: Play short exercises using rests and notes; teacher observes steady pulse. Phrase Spotlight: Teacher selects a short phrase; students practice and perform it in class. Pattern Hunt: Students identify repeated patterns in their music before playing. Note & Rhythm Combo Drill: Teacher checks if students play short phrases accurately with correct notes and rhythm. Section Play-Along: Students play a passage with the teacher, focusing on tempo and ensemble. Tempo Check: Students play short exercises while the teacher adjusts tempo for practice, observing consistency.

STAGE 3: LEARNING PLAN First Topic: Reading the Staff

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify the 5 lines and 4 spaces on the music staff. ● I can name notes on the lines and spaces using mnemonics (memory tricks). ● I can find notes on the staff accurately.

Essential Questions: ● How do the symbols on the page become the music we play?

Learning Activities: ● ● ● ● ●

Staff Labeling: Give students a blank staff and have them write “lines” and “spaces” or number them 1–5/1–4. Mnemonic Drill: Teach phrases like “Every Good Boy Does Fine” or “Grizzly Bears Don’t Fear Anything” for lines and “FACE” or “All Cows Eat Grass” for spaces. Have students say the mnemonic aloud as they point to each line/space. Daily Staff Practice: Students participate in a call-and-response activity identifying the “5 lines and 4 spaces” of the music staff to reinforce staff structure and note placement. Flashcard Game: Show a note card and students shout the note name using their mnemonic to help recall. Memory Match: Match note names to their position on a staff diagram.

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Grade 4 Band Instrumental Lessons Unit 2 ● ●

Point & Play: Teacher points to a note on the staff and students find it on their instrument. Note Hunt: Give a short staff exercise and have students circle or highlight specific notes. Quick Quiz: Call out a note, and students place a marker or finger on the correct spot on a staff diagram.

Second Topic: Reading and Playing Rhythms

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can clap and count rhythms from written music. ● I can play whole notes, half notes, quarter notes, and eighth notes. ● I can follow rests and keep a steady pulse.

Essential Questions: ● How do the symbols on the page become the music we play? ● How does reading music help me play independently and discover new music?

Learning Activities: ● ● ● ● ● ● ● ●

Rhythm Clap & Count: Students clap a rhythm while saying the beat aloud (e.g., “1-2-3-4”). Call and Response: Teacher claps a short rhythm; students echo it back accurately. Rhythm Cards: Show cards with different note patterns; students clap and count each one. Note Value Drill: Practice clapping or playing each note type slowly, naming the value aloud. Rhythm Relay: Students play or clap a sequence of mixed note values in order. Instrument Practice: Play short exercises focusing on correct duration of each note type. Silent Beat Game: Students tap or count the beat while the teacher “plays” rests in the rhythm. Play & Rest Practice: Students play a short rhythm that includes notes and rests, keeping the beat steady. Metronome Match: Students practice exercises along with a metronome, making sure notes and rests line up with the pulse.

Third Topic: Reading Phrases & Patterns

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● How does reading music help me play independently and discover new music? ● What happens when I combine what I see on the page with what I hear in my head?

● ● ● ●

Learning Activities: ● ● ● ●

Phrase Spotlight: Teacher selects a short phrase; students play it slowly together, then increase speed as accuracy improves. Teacher Echo: Teacher plays a short phrase, and students echo it on their instruments. Pattern Hunt: Students look through their method book and circle repeated note/rhythm patterns. Clap the Pattern: Clap rhythms before playing them on the instrument.

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Grade 4 Band Instrumental Lessons Unit 2 ● ● ● ● ● ● ● ● ● ● ●

Note + Rhythm Drill: Students point to each note while counting the rhythm out loud before playing. Stepwise Play: Play one measure at a time, emphasizing both correct notes and rhythms. Peer Check: Students watch a partner to see if they play both notes and rhythms accurately. Sight-Read Challenge: Students play a short, unfamiliar melody from the book without prior practice. Line-by-Line Play: Break the melody into small sections; play each section slowly, then connect the lines. Tempo Practice: Play the melody at a slow tempo first, then gradually increase to match the indicated tempo marking. Tempo Matching: Students play exercises while following the teacher’s tempo or a metronome. Speed Up/Slow Down: Practice the same phrase at different tempos to internalize steady timing. Conducted Play: Teacher conducts at the marked tempo while students follow along. Section Play-Along: Students play in small groups, following their parts while listening to each other. Full Lesson Practice: Students read and play their parts together with the class, focusing on timing, notes, and coordination.

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Grade 4 Band Instrumental Lessons Unit 3

Course Name: Grade 4 Instrumental Lessons Unit 3 Title: Finding Your Voice: Instrument Technique and Comfort

Est. # of Lessons: 10-15 Lessons

Unit Overview: With our reading skills growing stronger, we now focus on technique—the skills that help us sound our best. We work on hand and finger placement, breath support, and producing a clear tone. Through scales, exercises, and focused practice, we begin to tackle important challenges specific to our instruments. Developing these foundational techniques helps us play with more confidence and control. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr5.1.E.4a: Apply teacher-provided criteria and feedback to evaluate and refine the accuracy and expressiveness of performances. MU:Pr4.2.E.4a: Demonstrate understanding of the structure and elements of music by reading and performing notated music. MU:Pr4.3.E.4a: Identify and apply teacherprovided criteria to rehearse, refine, and determine when the music is ready to perform. MU:Cn10.0.E.4a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Transfer Goals ●

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Understandings ● ●

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Developing strong technique on our instruments requires focused practice on tone, breath support, and hand position. When we practice scales, exercises, and specific techniques regularly, we build the skills we need to play with confidence and control. Growing technical skill opens the door to more expressive and musical performances.

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How does developing technique help us find our musical voice? What does it mean to play with control — and why does control actually give us more freedom as musicians? How do I know when my technique is getting in the way of the music, and what do I do about it?

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Grade 4 Band Instrumental Lessons Unit 3 ●

Technique is not the goal — it is what frees us to express musical ideas with confidence and intention.

Knowledge ● ● ● ● ●

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Skills (Framed as Learning Targets)

Tone quality is affected by embouchure, Tone Production: breath support, and instrument position. ● I can make a clear, steady tone on my Each instrument family has specific hand instrument. and finger placement requirements. ● I can use correct embouchure (mouth shape) Scales are sequences of notes in a key that and breath support. build finger dexterity and tonal familiarity. ● I can play notes that sound full and Articulation (tongued vs. slurred notes) controlled. changes the character and style of music. Instrument-specific techniques vary by Hand Position & Fingerings: instrument family (e.g., clarinet register break, flute alternate fingerings, brass valve ● I can keep my hands and fingers in the and slide patterns, percussion stroke correct position. technique). ● I can play scales with accurate fingerings. Breath support and air control are ● I can move my fingers smoothly and steadily. foundational to tone production for all wind players. Instrument-Specific Techniques:

Key Vocabulary: technique, embouchure, breath support, tone, resonance, scale, articulation, slur, tonguing, control, register, fingering, dynamics

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I can play instrument-specific techniques (such as clarinet break notes, flute alternate fingerings, or brass tonguing patterns). I can use proper breathing techniques for my instrument. I can play with different articulations (tongued and slurred notes).

Musical Application: ● ●

I can play scales and exercises with a steady tempo. I can use my technique to play short musical pieces.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

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Grade 4 Band Instrumental Lessons Unit 3 Summative Assessment ●

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Formative Assessment

Tone Check Performance: Student plays a series of sustained notes for the teacher, demonstrating steady tone, correct embouchure, and full sound. Rubric Scoring: Teacher scores clarity, control, and consistency of tone. Scale Test: Students perform assigned scales with correct fingerings, smooth movement, and consistent tempo. Hand Position Observation: Teacher evaluates posture and hand/finger correctness using a checklist. Technique Performance: Students play a short passage that includes instrumentspecific techniques, proper breath support, and varied articulation. Rubric Evaluation: Teacher scores accuracy of techniques, articulation, and breathing. Performance of a Short Piece: Students perform a short piece demonstrating steady tempo, proper technique, and musical expression. Rubric Scoring: Teacher scores tone quality, technique accuracy, rhythm, and musicality.

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Long-Tone Observation: Teacher listens to students play sustained notes, noting steadiness and tone quality. Peer Feedback: Students listen to each other’s tone and describe what sounds good. Mouthpiece Buzz or Air Exercise: Check embouchure and airflow without the full instrument. Finger Drill Practice: Teacher observes students playing scales or short exercises, checking finger position and smooth transitions. Partner Check: Students watch each other’s hand position and fingerings. Slow Scale Practice: Students play scales slowly, focusing on smooth finger movement. Technique Mini-Drills: Practice specific techniques in short exercises; teacher observes for accuracy. Articulation Practice: Students alternate tongued and slurred notes while teacher checks clarity. Breathing Checks: Students demonstrate proper breath support during exercises. Tempo Practice: Students play scales or exercises with a metronome or teacherconducted beat. Piece Practice Checks: Teacher observes students applying tone, fingerings, and articulation in short pieces. Peer Review: Students listen and give feedback on each other’s technique in a short piece.

STAGE 3: LEARNING PLAN First Topic: Tone Production

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can make a clear, steady tone on my instrument. ● I can use correct embouchure (mouth shape) and breath support. ● I can play notes that sound full and controlled.

Essential Questions: ● How does developing technique help us find our musical voice? ● What does it mean to play with control — and why does control actually give us more freedom as musicians?

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Grade 4 Band Instrumental Lessons Unit 3 Learning Activities: ● ● ● ● ● ● ●

Long-Tone Practice: Play one note for several beats (start with 4–8), focusing on a steady, consistent sound. Teacher Echo: Teacher plays a note; students match it in tone and length. “Hold & Listen” Game: Students sustain a note while listening carefully to keep it even and steady. Mirror Check: Students form their embouchure while looking in a mirror and adjust to match a model. Mouthpiece Buzzing: Practice buzzing on the mouthpiece alone to strengthen embouchure and control airflow. Note Ladder: Play the first five notes of the instrument one at a time, holding each note steady before moving to the next. Peer Listening: Students play a note while a partner listens and gives feedback on fullness and control.

Second Topic: Hand Positions & Fingerings

Estimated # of Lessons: 2-4 lessons

Learning Targets: ● I can keep my hands and fingers in the correct position. ● I can play scales with accurate fingerings. ● I can move my fingers smoothly and steadily.

Essential Questions: ● How does developing technique help us find our musical voice? ● What does it mean to play with control — and why does control actually give us more freedom as musicians?

Learning Activities: ● ● ● ● ● ● ● ● ●

Hand Mirror Check: Students hold their instrument in playing position in front of a mirror to verify correct hand/finger placement. Partner Watch: Students pair up and observe each other’s hand position while playing short exercises. “Freeze” Game: Students hold their hands in position without moving for 5–10 seconds while the teacher checks form. Slow Scale Practice: Play scales one note at a time, saying note names aloud and focusing on correct fingers. Scale Step Drill: Play scales in small steps (two or three notes at a time) to reinforce accurate fingerings. Flashcard Challenge: Teacher shows a note card; students play it correctly and then move to the next note in the scale sequence. Finger Ladders: Play scale patterns ascending and descending slowly, focusing on even, smooth transitions between fingers. Rhythm & Fingers Drill: Play scales or exercises in different rhythms (e.g., long-short patterns) to practice controlled finger movement. Metronome Practice: Students play scales along with a metronome to maintain steady finger movement and tempo.

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Grade 4 Band Instrumental Lessons Unit 3 Third Topic: Instrument-Specific Techniques

Estimated # of Lessons: 3–4 lessons

Learning Targets: ● I can play instrument-specific techniques (such as clarinet break notes, flute alternate fingerings, or brass tonguing patterns). ● I can use proper breathing techniques for my instrument. ● I can play with different articulations (tongued and slurred notes).

Essential Questions: ● What does it mean to play with control — and why does control actually give us more freedom as musicians? ● How do I know when my technique is getting in the way of the music, and what do I do about it?

Learning Activities: ●

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Technique Mini-Drills: Focus on one specific technique at a time (e.g., clarinet break note exercises, flute alternate fingerings, or tonguing drills for brass) for 2–3 minutes. Spotlight Practice: Highlight a short passage from the method book that includes the technique; students play it slowly, then gradually increase speed. Peer Demonstration: Students demonstrate the technique for a partner, explaining what they are doing to reinforce understanding. Breath Awareness Exercise: Take deep, supported breaths and play a long tone, focusing on steady airflow. Silent Air Practice: Blow air through the instrument or mouthpiece without producing a sound to strengthen breath control. Breath-Count Drill: Play a short phrase, then pause and take a controlled breath at the correct place, practicing timing and support. Tongue/Slur Drill: Alternate between tongued (“ta”) and slurred notes on short exercises or scales. Articulation Echo: Teacher plays a short pattern with a specific articulation; students echo exactly the same articulation. Phrase Variation: Take a short passage and play it multiple times, each time using a different articulation pattern (all tongued, all slurred, mixed).

Fourth Topic: Musical Application

Estimated # of Lessons: 1-2

Learning Targets: ● I can play scales and exercises with a steady tempo. ● I can use my technique to play short musical pieces.

Essential Questions: ● How does developing technique help us find our musical voice? ● How do I know when my technique is getting in the way of the music, and what do I do about it?

Learning Activities: ● ●

Metronome Practice: Play scales or exercises along with a metronome at a slow tempo, gradually increasing speed while maintaining accuracy. Stepwise Tempo Drill: Start the scale slowly, then speed up one step at a time, focusing on keeping the beat steady.

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Grade 4 Band Instrumental Lessons Unit 3 ● ● ● ●

Clap & Play: Clap the rhythm or count aloud before playing the scale/exercise to internalize the tempo. Segmented Practice: Break a short piece into small sections (2–4 measures) and practice each, focusing on tone, fingerings, and articulation. Technique Spotlight: Identify a technical challenge in the piece (e.g., tonguing pattern, dynamic change) and isolate it for focused practice. Play-Along Practice: Students play the piece with the teacher or a recording to reinforce tempo, technique, and musicality.

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Grade 4 Band Ensemble Grade 4 Band Ensemble Unit 1: Making the Band! Second Half of Year

This is where our band journey begins! We work through our "Making the Band Checklist" to officially join the school band ensemble, building on the fundamentals we learned in 4th-grade instrumental lessons. From the first sounds to our first songs, we discover how teamwork makes the music happen. We learn what it means to be part of a rehearsal—how to listen, follow along, and contribute positively. Each class helps us build the foundation for a lifelong musical journey.

Unit 2: From Rehearsal to Stage Spring (After Joining Band)

Now that we've made the band, we experience our first full ensemble performances! We prepare for the Spring Concert and end-of-year Pep Rally. We focus on the basics of playing together: blending our sounds into the large group, keeping a steady pulse, and staying with the ensemble. Through rehearsal and teamwork, we turn notes into music and feel the pride of contributing to something larger than ourselves.

Unit 3: Jazz & Improvisation Integrated Throughout

We develop our ears and become comfortable playing without notation. We explore the roots of blues, jazz, and rock styles. We learn to play the roots of the 12-bar blues form, developing an ear for how the chords change. We discover the difference between swing and straight eighth notes. We begin connecting what we play to the popular music we know and love.

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Grade 4 Band Ensemble Unit 1

Course Name: Grade 4 Band Ensemble Unit Title 1: Making the Band!

Est. # of Lessons:

14-20

Unit Overview: This is where our band journey begins! We work through our "Making the Band Checklist" to officially join the school band ensemble, building on the fundamentals we learned in 4th-grade instrumental lessons. From the first sounds to our first songs, we discover how teamwork makes the music happen. We learn what it means to be part of a rehearsal—how to listen, follow along, and contribute positively. Each class helps us build the foundation for a lifelong musical journey. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Pr5.3.E.5a : Use self-reflection and peer feedback to refine individual and ensemble performances Pr6.1.E.5a : Perform with expression and technical accuracy a varied repertoire of music Pr5.3.E.4a: Use self-reflection and peer feedback to refine individual and ensemble performances. Pr6.1.E.4a: Perform with expression and technical accuracy a varied repertoire of music.

Transfer Goals ●

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Understandings ● ● ● ●

Making music in a band requires listening, cooperation, and shared responsibility. Individual preparation and focus directly affect the success of the entire ensemble. Rehearsals are purposeful spaces where musicians practice skills, solve problems, and grow together. Being part of a band means contributing positively—musically and behaviorally—to a team effort.

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How do we set ourselves up to make music together? How does following the conductor help us succeed as a group? How does listening help us stay together and sound better? What does it mean to contribute to the success of a band?

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Grade 4 Band Ensemble Unit 1 Knowledge ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Instrument Care and Assembly Rehearsal Space Navigation and Safety Posture and Playing Position Conductor Cues and Visual Signals Rehearsal Etiquette and Expectations Steady Beat and Basic Rhythm Values Ensemble Listening, Blend, and Balance Individual Contribution and Group Success Self-Reflection and Peer Feedback

Key Vocabulary: ensemble, conductor, cue, focus, listening, blend, balance, steady beat, rhythm, quarter note, eighth note, melody

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I can move safely in the rehearsal space. I can get my instrument and materials ready. I can take care of my instrument. I can use good posture. I can follow the conductor’s signals. I can stay focused in rehearsal. I can contribute positively to the group. I can keep a steady beat. I can play rhythms correctly. I can listen and adjust my sound. I can play simple melodies with the group. I can blend my sound with others. I can reflect on my progress and role in the ensemble.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ●

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Formative Assessment

Ready-to-Play Check: Students demonstrate proper setup, posture, and instrument care. Short Excerpt Performance: Students perform while being evaluated on following conductor signals, focus, attentiveness, and blending within the group. Full Ensemble Performance: Teacher evaluates: ○ Accuracy of melody and rhythm ○ Dynamics, phrasing, and style ○ Blend and responsiveness to conductor ○ Reflection / Glows and Grows: one strength and one area to improve

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Setup & Posture: Teacher observes proper setup, posture, and instrument readiness. Peer and self-check: “Did I have everything ready to play today?” Cue & Focus: Teacher observes response to conductor signals and attentiveness. Mini-reflection: “How well did I follow the conductor today?” Rhythm & Blend: Teacher observes steady beat, rhythm accuracy, and volume adjustments. Peer feedback: “Did we blend and stay together?” Reflection & Growth: Students answer: “What part did I play? How did I help the group?” Glows and Grows: Students identify one strength, one area to improve.

STAGE 3: LEARNING PLAN First Topic: Preparing to Contribute to the Ensemble (space, materials, posture, instrument care)

Estimated # of Lessons: 3-4 lessons

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Grade 4 Band Ensemble Unit 1 Learning Targets: ● I can move safely in the rehearsal space. ● I can get my instrument and materials ready. ● I can take care of my instrument. ● I can use good posture.

Essential Questions: ● How do we set ourselves up to make music together?

Learning Activities: ● Navigate Safely: Practice moving to and from seats with instruments, using guided pathways and obstacle awareness. ● Organize Materials: Use checklists and timed set-up exercises to prepare music, instruments, and accessories efficiently. ● Instrument Care & Assembly: Demonstrate and practice proper assembly, cleaning, and storage; rotate through care stations. ● Posture & Tone: Check posture using mirrors or peer feedback; compare sound quality with correct vs. incorrect posture. Second Topic: Rehearsal Etiquette and Following Visual Cues

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can follow the conductor’s signals. ● I can stay focused in rehearsal. ● I can contribute positively to the group.

Essential Questions: ● How does following the conductor help us succeed as a group?

Learning Activities: ● Follow the Conductor: Practice starting, stopping, and changing dynamics or tempo by watching the conductor’s gestures. ● Focus Drills: Play short exercises while the teacher introduces distractions; practice staying attentive and on-task. ● Positive Contribution: Role-play or discuss rehearsal behaviors; practice listening, supporting peers, and following classroom expectations. Third Topic: Listening, Steady Beat, and Adjusting Sound in the Ensemble

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can keep a steady beat. ● I can play rhythms correctly. ● I can blend my sound with the group.

Essential Questions: ● How does listening help us stay together and sound better?

Learning Activities: ● Steady Beat Practice: Clap, tap, or play exercises along with a metronome or teacher to maintain a consistent tempo. ● Rhythm Drills: Practice playing or clapping simple rhythms (whole, half, quarter, eighth notes/rests) in isolation and with the group. ● Section Listening: Play short passages while focusing on listening to your section and the

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Grade 4 Band Ensemble Unit 1

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ensemble; adjust volume, tone, or timing as needed. Balance Exercises: Rotate between melody and accompaniment lines to practice blending and supporting the overall ensemble sound.

Fourth Topic: Playing Together: First Sounds and Songs

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can play simple melodies with the group. ● I can follow the conductor. ● I can reflect on my progress and role in the ensemble.

Essential Questions: ● What does it mean to contribute to the success of a band?

Learning Activities: ● Melody Practice: Play simple ensemble melodies together, focusing on accurate notes and rhythm. ● Blending Exercises: Practice matching tone and volume with peers to create a balanced ensemble sound. ● Conductor Following: Respond to the conductor’s cues for starting, stopping, and dynamics during group performance. ● Reflection Activities: Discuss or journal about personal progress and how each student contributes to the ensemble.

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Grade 4 Band Ensemble Unit 2

Course Name: Grade 4 Band Ensemble Unit Title 2: From Rehearsal to Stage: Honing the Ensemble

Est. # of Lessons:

10-15 Lessons

Unit Overview: Now that we've made the band, we experience our first full ensemble performances! We prepare for the Spring Concert and end-of-year Pep Rally. We focus on the basics of playing together: blending our sounds into the large group, keeping a steady pulse, and staying with the ensemble. Through rehearsal and teamwork, we turn notes into music and feel the pride of contributing to something larger than ourselves. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ● ● ●

Pr4.3.E.5a : Demonstrate understanding of expressive qualities through performance Pr5.1.E.5a : Apply rehearsal strategies and feedback to refine technical accuracy and expressive qualities Pr5.3.E.5a : Use self-reflection and peer feedback to refine performances Pr6.1.E.5a : Perform with expression and technical accuracy Re9.1.E.5a : Apply teacher-provided criteria to evaluate musical works or performances Pr4.3.E.4a: Demonstrate understanding of expressive qualities through performance. Pr5.1.E.4a: Apply rehearsal strategies and feedback to refine technical accuracy and expressive qualities. Pr5.3.E.4a: Use self-reflection and peer feedback to refine performances. Pr6.1.E.4a: Perform with expression and technical accuracy. Re9.1.E.4a: Apply teacher-provided criteria to evaluate musical works or performances.

Transfer Goals ●

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Understandings ● ●

Expressive performances require intentional choices in dynamics, articulation, and phrasing. Rehearsal, feedback, and reflection help musicians improve and prepare for performance.

Essential Questions ● ● ●

How do musicians work together to turn notes into music and contribute to a successful performance? How do dynamics, style, and phrasing bring music to life? How does listening help us turn notes into

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Grade 4 Band Ensemble Unit 2 ● ●

Working together as an ensemble means listening, adjusting, and taking shared responsibility for the group's sound. A meaningful performance communicates something to the audience — it goes beyond playing the right notes.

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Knowledge ● ● ● ● ● ● ● ● ●

Dynamics, Phrasing, and Articulation Musical Markings and Symbols Style and Interpretation Conductor Cues and Beat Patterns Ensemble Roles: Melody, Harmony, and Accompaniment Ensemble Listening and Balance Rehearsal Strategies and Goal Setting Stage Presence and Performance Etiquette Self-Reflection and Peer Feedback

Key Vocabulary: balance, dynamics, expression, crescendo, diminuendo, staccato, legato, accent, marcato, phrase, melody, accompaniment, subdivision, style, performance, conductor, beat pattern

music? What does it take to be ready to perform?

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ● ●

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I can identify and play dynamics (loud/soft) in a musical phrase. I can interpret the style of a piece (march, concert band rock, blues, etc.) while performing. I can shape phrases to make the music expressive. I can demonstrate understanding of musical markings and symbols in my part. I can listen to my section and the whole ensemble while playing. I can adjust my volume, tone, or timing to blend with others. I can help the ensemble stay together by following the conductor and section leaders. I can stay focused and attentive during rehearsal. I can follow rehearsal expectations and contribute positively to the ensemble. I can respond appropriately to the conductor’s cues to start, stop, or change playing. I can describe my personal progress and contributions to the ensemble. I can identify areas where I and the group can improve. I can give and receive feedback respectfully to support growth. I can reflect on how dynamics, style, and phrasing affect the music we perform.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

Ready-to-Play Performance Check: Students demonstrate proper setup,

Formative Assessment ●

Warm-Up & Sectional Checks: Observe posture, focus, and readiness during daily warm-ups and sectionals.

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Grade 4 Band Ensemble Unit 2

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posture, focus, and instrument readiness. Ensemble Cue Performance: Students perform a short excerpt while being evaluated on following conductor signals accurately, maintaining focus and attention, and contributing positively to the group (playing on time, blending).

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Ensemble Balance Performance: Students perform a short excerpt while being evaluated on steady beat maintenance, rhythm accuracy, dynamic control (loud/soft) and phrasing, and the ability to adjust volume/tone to blend with the ensemble. Full Ensemble Performance: Students perform their first full piece together while being evaluated on accuracy of melody and rhythms, blending with other part, following conductor cues, and expressive elements included (dynamics, phrasing, style). Post-Performance Reflection: Students write or verbally reflect on personal contribution to the ensemble, how dynamics, style, and phrasing affected the music, and areas for improvement and next steps.

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Dynamics & Style Practice: Teacher monitors students shaping phrases, playing loud/soft, and representing the style (march, blues, concert band rock). Ensemble Listening Check: Students adjust volume, tone, and timing to blend with their section and the full ensemble. Call-and-Response / Spotlight Checks: Students respond to peers’ phrases or rhythms; “down the row” play-throughs check pulse, rhythm, and blend. Conductor Cue Check: Teacher observes if students follow start, stop, and tempo changes accurately. Peer Feedback Circles: Students give and receive constructive feedback on melody, phrasing, blend, and dynamics. Self-Reflection Journals / Checklists: Students describe progress, contributions, and areas for improvement. Teacher Coaching Moments: Short, informal guidance during expressive or tricky passages.

STAGE 3: LEARNING PLAN First Topic: Interpreting the Music: Dynamics, Style, and Phrasing

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify and play dynamics (loud/soft) in a musical phrase. ● I can interpret the style of a piece (march, concert band rock, blues, etc.) while performing. ● I can shape phrases to make the music expressive. ● I can demonstrate understanding of musical markings and symbols in my part.

Essential Questions ● How do musicians work together to turn notes into music and contribute to a successful performance? ● How do dynamics, style, and phrasing bring music to life?

Learning Activities: ● Dynamic Practice: Play familiar pieces while emphasizing soft/loud passages and

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crescendos/decrescendos. Style Exploration: Compare different musical styles (e.g., march vs. lyrical) and practice playing to match the character. Phrase Shaping: Break music into short phrases; practice shaping beginnings and endings for expressiveness. Combine Elements: Play excerpts focusing on blending rhythm, pitch, and dynamics for musical effect.

Second Topic: Listening & Adjusting Sound in the Ensemble

Estimated # of Lessons: 2-4 lessons

Learning Targets: ● I can listen to my section and the whole ensemble while playing. ● I can adjust my volume, tone, or timing to blend with others. ● I can help the ensemble stay together by following the conductor and section leaders.

Essential Question: ● How does listening help us turn notes into music?

Learning Activities: ● Steady Pulse Drills: Clap or play with a metronome or teacher to maintain consistent tempo. ● Section Listening: Practice playing while focusing on how your part fits with the section and ensemble. ● Balance Exercises: Alternate playing melody vs. accompaniment lines to practice blending and volume control. Conductor Response: Follow cues for starting, stopping, and changes in tempo or dynamics. Third Topic: Preparing for Performance: Posture, Focus, and Rehearsal Etiquette

Estimated # of Lessons: 2-3 lessons (timed with concert performance)

Learning Targets: ● I can stay focused and attentive during rehearsal. ● I can follow rehearsal expectations and contribute positively to the ensemble. ● I can respond appropriately to the conductor’s cues to start, stop, or change playing.

Essential Question: ● What does it take to be ready to perform?

Learning Activities: ● Instrument Care Stations: Practice assembly, disassembly, and cleaning of instruments. ● Posture Checks: Use mirrors or peer feedback to maintain proper playing position. ● Focus Drills: Play short exercises while managing distractions and staying attentive. Role-Play Rehearsal Etiquette: Practice entering, exiting, and responding to the conductor appropriately. ● Cue Games: Respond to start, stop, and tempo/dynamics changes signaled by the conductor.

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Grade 4 Band Ensemble Unit 2 Fourth Topic: Reflecting and Responding to Music & Ensemble Performance

Estimated # of Lessons: 1-2 lessons (timed with concert performance)

Learning Targets: ● I can describe my personal progress and contributions to the ensemble. ● I can identify areas where I and the group can improve. ● I can give and receive feedback respectfully to support growth. ● I can reflect on how dynamics, style, and phrasing affect the music we perform.

Essential Questions: ● How do musicians work together to contribute to a successful performance?

Learning Activities: ● Self-Reflection Journals: Write or discuss personal progress after rehearsal or performance. ● Peer Feedback Circles: Give and receive constructive feedback on playing and ensemble contributions. ● Improvement Identification: Listen to recordings or live performances to identify areas for personal and group improvement. ● Expressive Analysis: Discuss how dynamics, phrasing, and style impact the overall performance.

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Grade 4 Band Ensemble Unit 3

Course Name: Grade 4 Ensemble Unit Title 3: Jazz & Improvisation: Exploring Creativity & Style

Est. # of Lessons:

8-10 Lessons

Unit Overview: We develop our ears and become comfortable playing without notation. We explore the roots of blues, jazz, and rock styles. We learn to play the roots of the 12-bar blues form, developing an ear for how the chords change. We discover the difference between swing and straight eighth notes. We begin connecting what we play to the popular music we know and love. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Cr1.1.E.5a : Generate musical ideas within given parameters Re7.2.E.5a : Identify and describe how context and genre influence musical works Cr1.1.E.4a: Generate musical ideas within given parameters. Re7.2.E.4a: Identify and describe how context and genre influence musical works.

Transfer Goals ●

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Understandings ● ● ● ●

Improvisation is using creativity with a musical structure. Blues and jazz have patterns that make their style recognizable. Playing with others helps me grow as a musician. Blues and jazz influence the popular music we know today.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ● ●

Blues Scale and Pentatonic Scale 12-Bar Blues Form Swing vs. Straight Eighth Notes Call-and-Response Style Characteristics of Blues, Jazz, and Rock Cultural Roots of Blues and Jazz

How do the notes we play create the sound of blues? How do rhythms, like swing and straight eighths, change the feel of music? How do melodies, rhythms, and background parts work together to make a complete performance? How did blues and jazz shape the music we listen to now? Skills (Framed as Learning Targets)

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I can play the Bb pentatonic blues scale. I can play the root notes of a 12-bar blues. I can hear the 12-bar blues form in music. I can hear and play swing and straight eighthnote rhythms. I can keep a steady beat while playing jazz rhythms. I can try simple improvisation using the Bb pentatonic notes. I can create short rhythms using jazz patterns.

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Grade 4 Band Ensemble Unit 3

Key Vocabulary: Bb pentatonic blues scale, 12-bar blues, swing, straight eighth notes, call-andresponse, rhythm, root notes, background licks

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I can respond to other students’ musical ideas. I can add simple background notes (licks) to support the ensemble. I can perform a piece combining roots, rhythms, and background parts. I can listen to others and make my part fit with the group.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ●

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Performance: Play a short piece with roots, 12-bar blues structure, rhythms, and optional background notes. Reflection: Answer simple questions: ○ What did I learn about roots and rhythms? ○ How did I contribute to the ensemble? ○ What do I want to try next? Name one song you know today that uses blues or jazz elements and explain how you hear it.

Formative Assessment ● ● ● ●

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Scale Practice: Play Bb pentatonic scale correctly. Root Note Check: Identify and play the roots of the 12-bar blues. Rhythm Clap & Play: Clap or play swing and straight eighth-note rhythms accurately. Steady Beat Check: Maintain a steady beat while playing rhythms. Call-and-Response Check: Respond to teacher or peer phrases (melody, rhythm, or improvisation). Quick Improvisation: 2–4 beat phrases in pairs or small groups using Bb pentatonic notes. Background Lick Practice: Try simple background licks to support the ensemble. Peer Feedback: Give and receive simple feedback on playing, rhythm, improvisation, and ensemble contributions. Listening & Analysis: Listen to recordings or peers and identify 12-bar blues form, rhythms, phrasing, or style. Self-Reflection Journals: Write or discuss what I did well, what I tried, and what I want to improve. Ensemble Awareness: Adjust volume, tone, and timing to blend with the group. Ensemble Listening Check: During rehearsal or small-group practice, teacher observes students listening to others and adjusting their volume, tone, or timing to blend with the group. Peer Feedback Circles: Students tell each other, “I noticed you listened and adjusted

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Grade 4 Band Ensemble Unit 3

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your part” or suggest ways to improve ensemble balance. Self-Reflection Journals: Students answer, “Did I listen to others? How did I adjust my playing to fit with the group?”

STAGE 3: LEARNING PLAN First Topic: 12-Bar Blues & Bb Concert Pentatonic Blues Scale

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can play the Bb pentatonic blues scale. ● I can play the root notes of a 12-bar blues. ● I can hear the 12-bar blues form in music.

Essential Questions: ● How do the notes we play create the sound of blues?

Learning Activities: ● ● ● ●

Warm-Up Practice: Play the Bb pentatonic scale together as a group Call-and-Response Exercises: Practice using 12-bar blues root notes. Root Note Exploration: Identify and play the root notes with a simple chord progression. Listening & Analysis: Hear the 12-bar blues form in recordings and notice the structure.

Second Topic: Jazz Rhythms

Estimated # of Lessons: 2-3 lessons

Learning Targets: ● I can hear and play swing and straight eighth-note rhythms. ● I can keep a steady beat while playing jazz rhythms.

Essential Questions ● How do rhythms, like swing and straight eighths, change the feel of music?

Learning Activities: ● Rhythm Call-and-Response (Syllables): Call and respond to rhythms using syllables. ● Rhythm Call-and-Response (Notes): Call and respond using notes from the Bb concert pentatonic scale. ● Partner Rhythm Practice: One student plays a rhythm pattern while the other copies or responds. Third Topic: Create and Respond: Using the Bb Concert Pentatonic Notes with Jazz Rhythms

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can try simple improvisation using the Bb pentatonic notes. ● I can create short rhythms using jazz patterns.

Essential Questions: ●

How can I use what I know to create and improvise music?

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Grade 4 Band Ensemble Unit 3 ●

I can respond to other students’ musical ideas.

Learning Activities: ● Background Lick Practice: Learn simple background licks to support others. ● Ensemble Performance: Combine roots, rhythms, and licks in small group or full ensemble. ● Listening & Comparison: Compare student performances to classic blues examples. ● Reflection & Discussion: Talk about how improvisation and background notes help the music sound complete. Fourth Topic: Add Background Licks / Putting it All Estimated # of Lessons: 2 lessons Together! Learning Targets: Essential Questions: ● I can add simple background notes (licks) to ● How do melodies, rhythms, and background support the ensemble. parts work together to make a complete ● I can perform a piece combining roots, performance? rhythms, and background parts. ● How did blues and jazz shape the music we ● I can listen to others and make my part fit listen to now? with the group. ● I can describe how blues and jazz connect to music I know today.

Learning Activities: ● Background Lick Practice: Learn simple background licks to support others. ● Ensemble Combination: Combine roots, rhythms, and licks in a small group or full ensemble performance. ● Listening & Comparison: Compare student performances to classic blues examples. ● Reflection & Discussion: Discuss how improvisation and background notes help the music sound complete.

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Grade 5 Band Instrumental Lessons Grade 5 Band Instrumental Lessons Unit 1: The Journey Continues: Building on Our Foundation 10-15 Lessons

Unit 2: Expanding Our Musical Language: Advanced Music Reading 10-15 Lessons

Unit 3: Refining Our Craft: Advanced Technique and Expression 10-15 Lessons

Building on what we learned last year, we return to our instruments with new goals and challenges. We review proper care, setup, and playing position, then push ourselves to expand our skills. As we return to making music together, we notice how rhythm, pitch, and dynamics work together to create the sounds we want. As we grow more independent, we take greater responsibility for our practice and progress. This year, we focus on playing with more control, listening more carefully, and contributing more confidently to our combined sound.

With the basics of music reading under our belts, we're ready to expand our skills. We explore new pitches, different keys, and more complex rhythms. We practice reading longer phrases, recognizing patterns, and following dynamic and articulation markings. As our reading becomes more fluent, we can tackle more challenging music with greater independence and confidence. As we grow more confident reading music, we begin to notice expressive markings like dynamics and articulation that help us play with more feeling. We also discover how reading music helps us play better together.

After establishing our technical foundation last year, we're ready to refine our skills and take on more advanced challenges. We work on expanding our range, improving tone quality across all registers, and mastering instrumentspecific techniques like alternate fingerings, lip slurs, and articulation variations. Through careful practice and listening, we develop the control and confidence needed to express ourselves fully through our music.

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Grade 5 Band Instrumental Lessons Unit 1

Course Name: Grade 5 Band Instrumental Lessons Unit 1 Title: The Journey Continues: Building on Our Foundation

Est. # of Lessons:

10-15

Unit Overview: Building on what we learned last year, we return to our instruments with new goals and challenges. We review proper care, setup, and playing position, then push ourselves to expand our skills. As we return to making music together, we notice how rhythm, pitch, and dynamics work together to create the sounds we want. As we grow more independent, we take greater responsibility for our practice and progress. This year, we focus on playing with more control, listening more carefully, and contributing more confidently to our combined sound. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.E.5a (Novice): Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, and dynamics) in music selected for performance. MU:Pr4.3.E.5a (Novice): Identify and apply teacher-provided criteria to rehearse, refine, and determine when the music is ready to perform. MU:Pr5.1.E.5a: Apply teacher-provided and established criteria and feedback to evaluate the accuracy and expressiveness of ensemble and individual performances. MU:Pr6.1.E.5a: Perform music, alone or with others, with expression and technical accuracy.

Transfer Goals

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Understandings ● ● ●

How we set up, sit, and breathe isn't separate from making music — it shapes every sound we produce. Musicians develop skill through consistent, focused practice rather than simply spending time with their instruments. Listening carefully — to ourselves and to others — is how we know what's working and what needs attention.

Essential Questions ● ● ●

How do our habits and preparation shape our growth as musicians? What makes music effective and meaningful? How do we listen, respond, and work together to create a shared musical experience?

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Grade 5 Band Instrumental Lessons Unit 1 Knowledge ●

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Different instruments require specific setup procedures and safe handling to prevent damage and ensure proper function. Musicians must organize their materials and prepare calmly so rehearsal time can be used efficiently. Proper posture and playing position support good breathing, comfort, and tone production on all instruments. Embouchure, breath support, and articulation work together to create a clear, steady, controlled sound. Musicians read music by understanding the relationship between notes on the staff, fingerings, and rhythms. Rhythm symbols, rests, and a steady beat help performers play music accurately and together. Musical symbols such as slurs, ties, repeat signs, and double bar lines communicate how music should be performed. Individual parts combine to create the overall sound of the ensemble, requiring careful listening and balance. Musicians improve by listening critically to their own playing and the playing of others. Goal-setting and consistent practice help musicians develop confidence, control, and musical expression.

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ●

I can assemble my instrument correctly and be ready to play at the start of class. I can sit or stand with good posture and hold my instrument in correct playing position. I can produce a steady, controlled tone using correct embouchure and breath support. I can start each note with a clear, precise articulation. I can read and perform rhythms including whole, half, quarter, and eighth notes and rests. I can play notes with correct fingerings and maintain a steady beat. I can listen to my own playing and identify one thing that sounds good and one thing to improve. I can contribute confidently to the combined sound of the ensemble.

Key Vocabulary: staff, note, rhythm, rest, slur, tie, repeat sign, double bar line, embouchure, articulation, tone, fingering, posture, ensemble, practice, feedback, expression STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

Case Independence: Students safely open and close their instrument case on their own.

Formative Assessment ● ●

Rehearsal Observation: Monitor focus, engagement, and calm behavior during class. Organization Check: Quick visual check of

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Grade 5 Band Instrumental Lessons Unit 1 ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Instrument Assembly: Students assemble their instrument correctly without guidance. Posture & Position Check: Teacher evaluates posture and playing position during performance. Tone Assessment: Students produce a steady, controlled tone on their instrument. Articulation Check: Students demonstrate clear note beginnings while playing. Note Identification: Students play or point to notes accurately on the staff. Fingering Demonstration: Students show correct fingerings for target notes. Rhythm Performance: Students play rhythms including whole, half, quarter, and eighth notes/rests. Slur Practice: Students perform passages with smooth, connected notes. Tied Notes: Students hold tied notes for the correct duration. Bar Lines & Repeats: Students respond correctly to double bar lines and repeat signs. Steady Beat: Students maintain a consistent tempo while performing. Peer Evaluation: Students provide structured feedback on a partner’s performance. Self-Reflection: Students describe strengths and areas for improvement in their playing. Practice Log Review: Teacher reviews evidence of consistent home practice. Goal Reflection: Students assess progress toward a personal practice goal. Performance Evaluation: Students demonstrate overall musical growth in a concert or assessment.

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instruments and music materials. Case & Assembly Practice: Students open, close, and assemble instruments safely. Posture Check: “Freeze and fix” moments for posture and playing position. Tone Monitoring: Long tones and echo playing to assess embouchure, breath support, and articulation. Note & Fingering Checks: Students identify notes on the staff and demonstrate correct fingerings. Rhythm Practice: Clap, echo, or play rhythms including whole, half, quarter, and eighth notes/rests. Music Symbol Recognition: Identify ties, repeats, and double bar lines during practice. Ensemble Feedback: Observe steady beat and adherence to musical directions in group playing. Peer Listening: Students give constructive feedback to a partner. Self-Reflection: Answer questions about strengths and areas for improvement. Practice & Goal Setting: Discuss short, focused home practice and set achievable practice goals.

STAGE 3: LEARNING PLAN First Topic: Personal Responsibility & Setup

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions:

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I can assemble my instrument correctly and

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How do our habits and preparation shape our

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Grade 5 Band Instrumental Lessons Unit 1 be ready to play at the start of class.

growth as musicians?

Learning Activities: ● ● ● ● ● ●

Ready Position Check: Students assume a focused, calm stance at the start of class. Organization Checklist: Students use a checklist to organize music and instrument materials. Partner Setup Check: Students observe each other’s setup and provide feedback. Guided Case & Assembly Practice: Teacher leads step-by-step practice opening the case and assembling the instrument. Independent Assembly Practice: Students assemble their instrument independently while the teacher circulates. Posture Check: Quick checks at the start of playing to ensure proper posture and positioning.

Second Topic: Playing Position & Tone

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions:

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I can sit or stand with good posture and hold my instrument in correct playing position. I can produce a steady, controlled tone using correct embouchure and breath support. I can start each note with a clear, precise articulation.

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How do our habits and preparation shape our growth as musicians? What makes music effective and meaningful?

Learning Activities: ● ● ● ● ● ●

Mirror Modeling: Teacher demonstrates correct posture and embouchure for students to observe and imitate. Long Tone Exercises: Students play sustained notes to develop a steady sound and strong breath control. Articulation Echo: Teacher plays short phrases with clear beginnings; students echo the articulation on their instruments. Position Demonstration: Teacher models correct hand and instrument placement for students to follow. Tone Circles: Small groups of students play and give peer feedback on tone, posture, and embouchure. Freeze and Fix: During rehearsal, students stop playing to correct posture, hand position, or embouchure before continuing.

Third Topic: Reading & Playing Notes

Estimated # of Lessons: 4-6 lessons

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Grade 5 Band Instrumental Lessons Unit 1 Learning Targets: ● ●

I can read and perform rhythms including whole, half, quarter, and eighth notes and rests. I can play notes with correct fingerings and maintain a steady beat.

Essential Questions: ● ●

How do our habits and preparation shape our growth as musicians? What makes music effective and meaningful?

Learning Activities: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Point & Play Drill: Teacher points to a note on the staff; students locate it quickly on their instrument and play it. Note Scavenger Hunt: Students receive a short excerpt and highlight specific notes before playing them. Timed Flash Drill: Show a series of notes on the board; students play them in order as quickly and accurately as possible. Partner Check: One student plays a note or short phrase while the partner checks finger placement. Finger Ladder Exercise: Ascend and descend scales using different rhythms to reinforce smooth finger movement. Rhythm Clap & Count: Students clap a short mixed rhythm passage while counting aloud, then play it on their instrument. Rest Awareness Drill: Play exercises with notes and rests; students tap or count the beat while observing rests. Rhythm Challenge Game: Teacher claps or plays a pattern; students clap/play it back accurately and in time. Tongue vs. Slur Drill: Alternate playing the same passage tongued and slurred to reinforce clarity and connection. Phrase Practice: Identify short phrases in a method book and play them slurred while counting the beat. Tie Detective: Students circle or highlight tied notes in an exercise before playing. Sustain Practice: Play tied notes with a metronome, holding them the correct combined duration. Call & Response: Teacher plays tied notes; students echo, counting the full duration accurately. Music Map: Students mark repeats and endings on a passage before playing. Play-Through Drill: Practice a short excerpt while observing all repeats and stopping at double bar lines. Metronome Practice: Play exercises with a metronome, gradually increasing tempo while keeping the beat steady. Ensemble Check: Play in small groups or pairs, focusing on synchronizing beats with others.

FourthTopic: Practice, Listening & Ensemble Skills

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions:

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I can listen to my own playing and identify one thing that sounds good and one thing

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How do our habits and preparation shape our growth?

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to improve. I can contribute confidently to the combined sound of the ensemble.

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How do we listen, respond, and work together to create a shared musical experience?

Learning Activities: ● Record & Reflect: Students record themselves playing a short passage and listen back, noting one thing that sounds good and one thing to improve. ● Tone Check Drill: Play a long tone or scale and evaluate clarity, steadiness, and tone quality. ● Peer Feedback Circles: Students play a short exercise or phrase while a partner listens and provides one Glow and one Grow. ● Listening Logs: Students listen to a classmate’s performance and write down one strong ● Mini Practice Challenges: Assign a 5–10 minute focused task (e.g., first 5 notes, tonguing, rhythm) to practice at home. ● Practice Tracker: Students record what they practiced, for how long, and one observation about their progress. ● Goal Card: Students write one specific, measurable goal for their home practice or class rehearsal. ● Progress Check: At the next lesson, students reflect on their goal—whether they met it and what they will try next.

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Grade 5 Band Instrumental Lessons Unit 2

Course Name: Grade 5 Instrumental Lessons Est. # of Lessons: Unit 2 Title: Expanding Our Musical Language: Advanced Music Reading

10-15

Unit Overview: With the basics of music reading under our belts, we're ready to expand our skills. We explore new pitches, different keys, and more complex rhythms. We practice reading longer phrases, recognizing patterns, and following dynamic and articulation markings. As our reading becomes more fluent, we can tackle more challenging music with greater independence and confidence. As we grow more confident reading music, we begin to notice expressive markings like dynamics and articulation that help us play with more feeling. We also discover how reading music helps us play better together. STAGE 1: DESIRED RESULTS Established Goals ●

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MU:Pr4.2.E.5a: Demonstrate understanding of the structure and elements of music by reading and performing notated music. MU:Pr4.3.E.5a: Identify and apply teacherprovided criteria to rehearse, refine, and determine when the music is ready to perform. MU:Pr5.1.E.5a: Apply teacher-provided and established criteria and feedback to evaluate the accuracy and expressiveness of ensemble and individual performances. MU:Pr6.1.E.5a: Perform music, alone or with others, with expression and technical accuracy.

Transfer Goals ●

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Understandings ● ● ● ●

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How does reading music help us become independent musicians?

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Grade 5 Band Instrumental Lessons Unit 2 ●

Individual parts combine to create the overall sound of the ensemble — each musician's preparation and listening affects everyone. Knowledge

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Music can extend beyond the first five notes, with new pitches and keys. Complex rhythms, longer phrases, and repeated patterns shape musical structure. Dynamics and articulation affect musical expression and interpretation. Fluent music reading allows independent performance of more challenging pieces. Reading music accurately supports expressive playing and ensemble performance.

Key Vocabulary: Pitch, Key, Rhythm, Phrase, Pattern, Dynamics, Articulation, Expression, Ensemble

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can identify and name notes on all lines and spaces of my clef, including ledger lines. I can locate and play notes accurately on my instrument from written notation. I can clap, count, and play rhythms using whole, half, quarter, and eighth notes and rests with a steady pulse. I can read and play short phrases, recognizing repeated patterns before playing. I can sight-read a short passage without prior practice. I can follow dynamic and articulation markings while reading and performing music. I can play my part accurately with others by reading from the music.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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Grade 5 Band Instrumental Lessons Unit 2 ● ● ● ●

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Written Quiz: Identify and label notes on a blank staff (including ledger lines). Instrument Performance Test: Student locates and plays a series of notes correctly on their instrument. Rhythm Performance Test: Students clap or play a short rhythm passage, demonstrating accurate counting, note durations, and rests. Instrument Rhythm Assessment: Students perform a passage containing mixed note values and rests with a steady pulse. Method Book Performance: Students perform a short phrase or excerpt from their book, demonstrating accurate notes, rhythm, and pattern recognition. Rubric Scoring: Teacher evaluates the student’s accuracy, rhythmic stability, and ability to combine note and rhythm knowledge. Ensemble Performance: Students play a full piece with the group, demonstrating correct tempo, dynamics, and note accuracy. Performance Rubric: Teacher scores accuracy of notes, rhythms, tempo, dynamics, and ensemble contribution.

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Flashcard Drill: Show individual notes; students name them aloud using mnemonics. Staff Point & Play: Teacher points to notes on a staff; students locate and play them on their instrument. Ledger Line Spotting: Students identify and circle notes on ledger lines in short exercises. Clap & Count: Students clap short rhythm patterns while counting aloud. Rhythm Echo: Teacher claps a rhythm; students clap it back accurately. Rest Awareness: Students tap a steady beat while observing rests in a passage. Phrase Spotlight: Students practice a short phrase from the method book and perform it for the teacher. Pattern Hunt: Students identify repeated patterns in their music before playing. Tempo & Dynamics Check: Teacher conducts a short passage; students follow tempo and dynamics. Partner Play: Students play a passage together, giving each other feedback on timing and dynamics.

STAGE 3: LEARNING PLAN First Topic: Reading the Staff – Lines, Spaces, and Notes

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify and name notes on all lines and spaces of my clef, including ledger lines. ● I can locate and play notes accurately on my instrument from written notation.

Essential Questions: ● How does reading music help us become independent musicians?

Learning Activities:

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Grade 5 Band Instrumental Lessons Unit 2

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Staff Speed Challenge: Students point to and name line and space notes on a projected staff as quickly as possible. The class tries to beat their previous time. Mnemonic Ladder: Students say the mnemonic phrase while pointing to each line or space, then translate each word into the correct note name. Point and Play: Teacher points to a note on the board; students find and play it immediately on their instrument. Note Mapping: Students receive a short staff exercise and circle or highlight specific notes before playing the passage. Ledger Line Detective: Students identify and label notes that appear above or below the staff in short music examples. Extension Notes Practice: Students practice short exercises that include ledger line notes commonly used for their instrument (e.g., high D for flute, low E for clarinet, etc.).

Second Topic: Reading and Performing Rhythms

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions:

●

I can clap, count, and play rhythms using whole, half, quarter, and eighth notes and rests with a steady pulse.

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How does reading music help us become independent musicians?

Learning Activities: ● ● ● ● ● ● ● ●

Mixed Rhythm Clap Drill: Students clap a short rhythm exercise that combines whole, half, quarter, and eighth notes while counting aloud. Echo Rhythm Challenge: Teacher claps a rhythm with mixed note values; students clap it back accurately. Rhythm Mapping: Students write the counts under notes in a short passage before clapping or playing it. Instrument Rhythm Drill: Students play a short exercise using one note on their instrument containing a mix of all note types, focusing on correct duration and steady beat. Rhythm Ladder: Break a rhythmic pattern into small segments; practice each slowly, then combine for full performance. Silent Beat Drill: Students tap or count a steady beat while a partner plays the rhythm, including rests. Rest Detective: Teacher points to a note or rest in a passage; students identify whether to play or stay silent while maintaining the beat. Metronome Play: Students play a rhythm exercise along with a metronome, making sure notes and rests line up with the pulse.

Third Topic: Reading Phrases & Patterns

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions:

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Grade 5 Band Instrumental Lessons Unit 2

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I can read and play short phrases, recognizing repeated patterns before playing. I can sight-read a short passage without prior practice.

●

How does reading music help us become independent musicians?

Learning Activities: ● ● ● ●

Phrase Spotlight: Practice a short phrase from the method book, then perform it. Pattern Hunt: Find repeated note or rhythm patterns and play them. Note + Rhythm Drill: Point and count notes while playing the passage. Sight-Reading Challenge: Play a short passage from the music without prior practice.

Fourth Topic: Music Reading in Performance

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions:

● ●

I can follow dynamic and articulation markings while reading and performing music. I can play my part accurately with others by reading from the music.

●

How does reading music help us become independent musicians?

Learning Activities: ● ● ●

Tempo Matching: Play short passages while following the teacher’s tempo or a metronome. Dynamic Practice: Play a passage using the indicated loud and soft markings. Ensemble Play-Along: Play your part with others, focusing on timing, dynamics, and accuracy.

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Grade 5 Band Instrumental Lessons Unit 3

Course Name: Grade 5 Instrumental Lessons Est. # of Lessons: Unit 3 Title: Refining Our Craft: Advanced Technique and Expression

10-15

Unit Overview: After establishing our technical foundation last year, we're ready to refine our skills and take on more advanced challenges. We work on expanding our range, improving tone quality across all registers, and mastering instrument-specific techniques like alternate fingerings, lip slurs, and articulation variations. Through careful practice and listening, we develop the control and confidence needed to express ourselves fully through our music. STAGE 1: DESIRED RESULTS Established Goals

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MU:Pr4.1.E.5a: Apply teacher-provided and established criteria and feedback to evaluate the accuracy and expressiveness of ensemble and individual performances. MU:Pr4.2.E.5a: Demonstrate understanding of the structure and elements of music by reading and performing notated music. MU:Pr4.3.E.5a: Identify and apply teacherprovided criteria to rehearse, refine, and determine when the music is ready to perform. MU:Pr6.1.E.5a: Perform music, alone or with others, with expression and technical accuracy. MU:Re7.2.E.5a: Analyze how the structure and context of varied musical works inform the response. MU:Re9.1.E.5a: Apply established criteria to evaluate the accuracy and expressiveness of ensemble and individual performances. MU:Cn10.0.E.5a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. Understandings

Transfer Goals

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Essential Questions

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Grade 5 Band Instrumental Lessons Unit 3

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Technique is not the goal — it is what gets out of the way so musical expression can come through. Control across the full range of an instrument comes from understanding how breath, embouchure, and fingers work together, not from practicing each in isolation. The difference between playing notes and making music lies in the intentional choices a musician makes about tone, dynamics, and articulation.

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Knowledge ● ● ●

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Expanding range improves musical versatility across all registers. Tone quality can be refined through consistent practice and proper technique. Instrument-specific techniques such as alternate fingerings, lip slurs, and articulation variations enhance musical performance. Careful practice and listening develop control, confidence, and expressive playing. Technical skill supports musical expression and communication.

Key Vocabulary: range, register, tone, technique, alternate fingering, lip slur, articulation, control, expression

How does developing technique help us express ourselves through music?

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can produce a clear, steady, and expressive tone across my full range using correct embouchure and breath support. I can adjust my tone to sound full and controlled in both high and low registers. I can maintain correct hand and finger position while playing scales and fast passages with smooth transitions. I can perform instrument-specific techniques (e.g., clarinet break notes, flute alternate fingerings, brass lip slurs) accurately. I can play with different articulations — tongued, slurred, legato, staccato — and apply dynamics with control. I can apply tone, fingerings, articulation, and dynamics together to perform a short piece expressively. I can evaluate my own playing, describe what needs improvement, and set a specific goal for growth.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

Solo or small-group performance demonstrating technical skill, tone, and control.

Formative Assessment ●

Daily warm-up exercises, scales, and technical drills.

252

Grade 5 Band Instrumental Lessons Unit 3 ● ●

Rubric assessing accuracy of fingerings, tone quality, articulation, and application of advanced techniques. Reflection on growth in instrument mastery and areas for continued improvement.

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Observation of posture, hand/finger placement, embouchure, and tone production. Peer and teacher feedback during practice or small-group sessions. Short reflections on progress in mastering instrument-specific techniques.

STAGE 3: LEARNING PLAN First Topic: Tone Production

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions:

● ●

I can produce a clear, steady, and expressive tone across my full range using correct embouchure and breath support. I can adjust my tone to sound full and controlled in both high and low registers.

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How does developing technique help us express ourselves through music?

Learning Activities: ● ● ● ● ●

Long-Tone Practice: Play sustained notes across low, middle, and high registers. Mirror & Model: Check embouchure and posture while producing tone. Dynamic Practice: Play the same note softly and loudly with control. Register Challenge: Move smoothly between low and high notes while keeping tone steady. Peer Listening: Play tones or scales while partners give feedback on sound quality.

Second Topic: Hand Position & Fingerings

Estimated # of Lessons: 2-4 lessons

Learning Targets:

Essential Questions:

●

I can maintain correct hand and finger position while playing scales and fast passages with smooth transitions.

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How does developing technique help us express ourselves through music?

Learning Activities: ● ● ● ●

Hand Check: Students maintain proper hand and finger position while playing exercises. Scale Practice: Play scales slowly, focusing on correct fingerings and smooth transitions. Finger Drills: Move fingers quickly and evenly through scales or short exercises. Partner Spot Check: Students observe each other’s hands and provide feedback on position and movement.

253

Grade 5 Band Instrumental Lessons Unit 3 ●

Rhythmic Finger Challenge: Play scales or patterns in varied rhythms to practice finger control and accuracy.

Third Topic: Instrument Specific Techniques

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions:

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I can perform instrument-specific techniques (e.g., clarinet break notes, flute alternate fingerings, brass lip slurs) accurately. I can play with different articulations — tongued, slurred, legato, staccato — and apply dynamics with control.

●

How does developing technique help us express ourselves through music?

Learning Activities: ● ● ● ●

Technique Drill: Students practice advanced techniques (e.g., clarinet break notes, flute alternate fingerings, brass lip slurs) in short, focused exercises. Breath Support Exercise: Students play long phrases while focusing on steady airflow and sustaining notes through dynamic changes. Articulation Practice: Students alternate tongued, slurred, legato, and staccato patterns to reinforce accurate articulation. Dynamic Exploration: Students play passages at varying volumes, focusing on control and even tone in both soft and loud dynamics.

Fourth Topic: Musical Application

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

● ●

I can apply tone, fingerings, articulation, and dynamics together to perform a short piece expressively. I can evaluate my own playing, describe what needs improvement, and set a specific goal for growth.

●

How does developing technique help us express ourselves through music?

Learning Activities: ●

Steady Tempo Practice: Students play scales, exercises, and short pieces with a metronome to maintain consistent tempo.

254

Grade 5 Band Instrumental Lessons Unit 3 ● ● ● ●

Expressive Performance: Students apply tone, fingerings, articulations, and dynamics to perform short musical excerpts with musical expression. Self-Evaluation: Students record themselves playing and reflect on what sounds good, what needs improvement, and set goals for their next practice. Peer Feedback: Students perform for a partner or small group and give each other constructive feedback on tone, rhythm, and expression. Goal-Oriented Practice: Students select a target skill from their piece (tone, dynamics, articulation) and practice focused mini-exercises to improve it.

255

Grade 5 Ensemble

Grade 5 Band Ensemble Unit 1: Leading the Ensemble Fall: Veterans Day & Winter Celebrations

Unit 2: Growing Together Spring: Mentoring & Spring Concert

Unit 3: Jazz & Improvisation Integrated Throughout

We return to ensemble as experienced musicians ready to lead. From the first day, we begin preparing patriotic music for our schools' Veterans Day Assemblies.

When 4th graders join the band in the second half of the year, we take on a new role: helping integrate newer musicians while maintaining our own growth.

We take our jazz and improvisation skills to the next level. We learn pentatonic scales and use them to create our own musical ideas.

We refine our skills through ensemble cohesion—learning to listen across sections, balance our sound with other instrument groups, and play expressively.

We prepare for the Spring Concert together, modeling concert-ready behavior and supporting younger players. We have opportunities for solo and small group performances.

In November, we prepare and perform music for Winter Celebrations, continuing to develop our musicianship and stage presence.

Select students may audition for the allelementary jazz band and all-star band, extending their musical journey beyond our classroom.

Through call-and-response exercises, riffs, and grooves, we develop the confidence to improvise short solos. We perform eighth notes in the correct style—swung for jazz, straight for rock. We become confident musical creators who can share ideas and respond to others, connecting our playing to the music we love.

256

Grade 5 Ensemble Unit 1

Course Name: Grade 5 Band Ensemble Unit 1 Title: Veterans Day & Winter Performances

Est. # of Lessons:

16-20

Unit Overview: We return to ensemble as experienced musicians ready to lead. From the first day, we begin preparing patriotic music for our schools' Veterans Day Assemblies. We refine our skills through ensemble cohesion—learning to listen across sections, balance our sound with other instrument groups, and play expressively. In November, we prepare and perform music for Winter Celebrations, continuing to develop our musicianship and stage presence. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Pr5.3.E.5a : Use self-reflection and peer feedback to refine individual and ensemble performances Pr6.1.E.5a : Perform with expression and technical accuracy a varied repertoire of music Pr5.1.E.5a: Apply teacher-provided and collaboratively-developed criteria and feedback to evaluate accuracy and expressiveness of ensemble and personal performances

Transfer Goals ●

●

Understandings

● ● ●

When each musician listens and adjusts, individual parts become something greater than any one player can create alone. Preparation is an act of respect — for the music, for fellow musicians, and for the audience. Expressive performance requires more than correct notes; it requires deliberate choices about how to communicate the

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How do musicians work together to create something none of them could create alone? What does it mean to prepare music for an audience? How do the choices we make as musicians — in tone, dynamics, articulation — shape what a listener feels? What does it mean to lead from within an

257

Grade 5 Ensemble Unit 1 mood and meaning of the music.

ensemble?

Knowledge ● ● ● ● ●

Playing in an ensemble requires listening carefully, adjusting to others, and working cooperatively. Individual tone, rhythm, articulation, and preparation directly impact the overall ensemble sound. Rehearsals are purposeful spaces where musicians refine skills, interpret music expressively, and support each other. Performing music successfully depends on personal responsibility, focus, and contributing positively to the group. Musical expression comes from combining accurate notes, rhythms, dynamics, and articulations to convey mood and style.

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

Key Vocabulary: ensemble, section, blend, balance, active listening, tone, articulation, dynamics, posture, stage presence, musical readiness, accuracy, expression, interpretation, repertoire, responsibility

I can listen across sections and adjust my volume to create a unified ensemble sound. I can play with accurate notes, rhythms, and articulations in our performance repertoire. I can produce a clear, steady tone that matches the style of the music. I can apply dynamic markings and articulation (staccato, legato, accent) to enhance musical expression. I can follow the expressive intent of a piece — shaping phrases and conveying mood through my playing. I can demonstrate focused preparation during rehearsal, arriving ready to contribute. I can perform with confidence and proper posture in front of an audience.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ● ● ●

Performance of Piece: Students perform a full piece accurately with correct notes, rhythms, and articulation. Tone & Dynamics Assessment: Teacher evaluates tone quality and dynamic control in performance. Expressive Performance: Students demonstrate musical expression (articulation, phrasing, style) in a piece. Ensemble Contribution: Teacher assesses how well students play with and support the group. Stage & Performance Readiness: Students demonstrate posture, confidence, and

Formative Assessment ● ● ●

●

Rehearsal Observation: Teacher monitors focus, engagement, and cooperation during class. Tone & Articulation Checks: Students play short phrases or long tones for feedback on tone and note starts. Rhythm & Note Practice: Students clap, echo, or play short rhythms and notes for teacher feedback. Posture & Setup Check: Quick checks of posture, instrument assembly, and music organization. Peer Feedback: Students give or receive constructive feedback during rehearsal.

258

Grade 5 Ensemble Unit 1 preparedness during a concert or performance.

Self-Reflection & Goal Setting: Students reflect on progress and set practice goals.

STAGE 3: LEARNING PLAN First Topic: Ensemble Skills & Listening

Estimated # of Lessons: 4-5 lessons

Learning Targets:

Essential Questions:

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I can listen across sections and adjust my volume to create a unified ensemble sound.

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How do musicians work together to create something none of them could create alone?

Learning Activities: ● ● ● ● ●

Blend & Balance Practice: Students play with their section while adjusting volume to match other parts and create a unified sound. Section Awareness Drills: Students practice short passages in time with their section, focusing on synchronization and rhythm. Active Listening Exercises: Students listen to the ensemble, identify when their part fits or needs adjustment, and make changes in real time. Call-and-Response Listening: Teacher plays or directs a section, and students respond by matching dynamics, articulation, or timing to improve cohesion. Peer Observation: Students observe a partner or another section, giving feedback on how well they blend and stay in sync.

Second Topic: Expressive Playing & Dynamics

Estimated # of Lessons: 4-5 lessons

Learning Targets:

Essential Questions:

● ● ●

I can produce a clear, steady tone that matches the style of the music. I can apply dynamic markings and articulation (staccato, legato, accent) to enhance musical expression. I can follow the expressive intent of a piece — shaping phrases and conveying mood through my playing.

●

How do the choices we make as musicians — in tone, dynamics, articulation — shape what a listener feels?

Learning Activities: ● ●

Tone Control Practice: Students play long tones and short phrases, focusing on producing a steady, clear sound that fits the style of the music. Articulation Drills: Students practice tongued, slurred, staccato, and legato notes through echo

259

Grade 5 Ensemble Unit 1

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exercises or short passages. Dynamic Awareness Exercises: Students rehearse passages emphasizing soft, loud, and changing dynamics, adjusting volume to match expressive markings. Teacher Modeling: Teacher demonstrates tone, articulation, and dynamics; students imitate and refine their sound. Peer Feedback: Students listen to each other and give constructive feedback on tone, note starts, and dynamic changes.

Third Topic: Performance Preparation

Learning Targets ● ●

I can demonstrate focused preparation during rehearsal, arriving ready to contribute. I can perform with confidence and proper posture in front of an audience.

Estimated # of Lessons: 4-5 lessons Essential Questions: ●

What does it mean to prepare music for an audience?

Learning Activities: ● ● ● ● ●

Stage Presence Practice: Students perform short pieces in front of peers, focusing on posture, confidence, and body language. Rehearsal Focus Drills: Students participate in focused warm-ups or sectionals, demonstrating attentive playing and following directions. Musical Readiness Check: Students practice setting up instruments and organizing music independently before rehearsal or performance. Mirror & Peer Observation: Students observe themselves or a partner, giving feedback on posture, confidence, and readiness. Performance Simulation: Students perform mini “concerts” in class to practice presenting music confidently and staying prepared.

Fourth Topic: Seasonal & Patriotic Repertoire

Estimated # of Lessons: 4-5 lessons

Learning Targets:

Essential Questions:

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I can play with accurate notes, rhythms, and articulations in our performance repertoire.

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260

Grade 5 Ensemble Unit 1 within an ensemble? Learning Activities: ● ● ● ● ●

Accurate Performance: Students rehearse patriotic and seasonal pieces, focusing on correct notes, rhythms, and articulations. Expressive Interpretation: Students practice phrasing, dynamics, and articulation to convey the mood and style of the music. Ensemble Contribution: Students play with their section while listening and adjusting to blend and balance with the full ensemble. Peer Feedback: Students give and receive constructive feedback on accuracy, expression, and ensemble cohesion. Performance Run-Throughs: Students perform entire pieces in class to practice accuracy, expression, and teamwork before concerts.

261

Grade 5 Ensemble Unit 2 Course Name: Grade 5 Band Ensemble Unit Title 2: “Mentoring & Spring Concert”

Est. # of Lessons:

16-20 Lessons

Unit Overview: When 4th graders join the band in the second half of the year, we take on a new role: helping integrate newer musicians while maintaining our own growth. We prepare for the Spring Concert together, modeling concert-ready behavior and supporting younger players. We have opportunities for solo and small group performances. Select students may audition for the all-elementary jazz band and allstar band, extending their musical journey beyond our classroom. STAGE 1: DESIRED RESULTS Established Goals ● ●

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Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances Pr6.1.E.5a: Perform with expression and technical accuracy a varied repertoire of music that includes melodies, simple harmonies, and chords in duple and triple meter Re8.1.E.5a: Demonstrate and explain how expressive qualities such as dynamics, tempo, and timbre are used in performers' and personal interpretations to reflect expressive intent Re9.1.E.5a: Apply personally-developed criteria to evaluate musical works or performances

Transfer Goals ●

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Understandings ● ●

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Teaching and supporting others deepens our own musical understanding and makes the ensemble stronger. Expressive performance requires intentional choices — in dynamics, phrasing, and articulation — that communicate meaning beyond the notes on the page. Honest self-reflection, using musical vocabulary and specific criteria, helps us identify where we are and set direction for

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What makes a musical performance expressive and meaningful? How does supporting others change what you understand about music? How do musicians use rehearsal, reflection, and feedback to grow?

262

Grade 5 Ensemble Unit 2 where we want to go. Knowledge ● ●

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Musicianship is a shared responsibility where we lead each other with the use of great tone, steady rhythm, and posture. Effective ensemble playing means always listening to see if your part is more or less important to hear and adjusting your volume to fit. Musical phrases are like stories that need planned changes in volume and style to share a specific feeling with the people listening. A performer’s physical presence—how you sit, move, and act on stage—tells the audience how much they should care about the music before you even start. Mastery is achieved when a musician can use music words to explain why a song sounded great and decide exactly what to fix next time.

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can guide newer musicians during rehearsal while maintaining my own playing quality. I can identify the melody and adjust my playing to support it with appropriate balance and dynamics. I can shape musical phrases using dynamics and articulation to communicate expressive intent. I can perform confidently and professionally as part of a concert ensemble. I can perform accurately and expressively in a solo or small group setting. I can use musical vocabulary to reflect on a performance and identify specific areas for growth.

Key Vocabulary: staccato, crescendo, phrasing, modeling, cueing, subdivide, melody, accompany, balance, blend, phrase, dynamics, articulation, expressive intent, stage presence, focus, solo, ensemble, accuracy, critique STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Mini-Concert: In groups of 3 or 4, students perform a section of music. Expressive Solo: Students performs a solo for the teacher or a small group. Post-Concert Review: After a concert, students watch a video of the band. ○ What did we do well? ○ Where did the balance get messy? ○ What is our goal for the next concert?

Formative Assessment ● ● ●

Peer Mentoring: Pair a more experienced student with a newer player. Melody Highlighter: During rehearsal, stop the band and them to identify who has the melody. Voice Memo Reflection: Students record a 30-second solo and write one sentence using a vocabulary word to describe how they can improve.

263

Grade 5 Ensemble Unit 2 STAGE 3: LEARNING PLAN First Topic: Ensemble Leadership

Estimated # of Lessons: 7-8 lessons

Learning Targets:

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do I use the tools/techniques/principles I have to produce the sound I want?

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I can guide newer musicians during rehearsal while maintaining my own playing quality. I can shape musical phrases using dynamics and articulation to communicate expressive intent.

Learning Activities: ● ● ● ● ● ●

Guide Newer Musicians: Students take turns leading sectionals by modeling parts, offering one helpful tip, and playing with the group while guiding others. Support the Melody: Students identify who has the melody and adjust their dynamics so the melody is clearly heard while accompaniment parts support it. Shape Musical Phrases: Students mark dynamic shapes in their music and perform phrases using appropriate dynamics and articulation. Perform Confidently: Students practice concert procedures such as entering the stage, maintaining posture and focus, performing together, and acknowledging applause. Perform Solo or in Small Groups: Students perform short excerpts or duets for the class while peers share one strength and one suggestion for improvement. Reflect Using Musical Vocabulary: After performing, students describe elements such as balance, articulation, dynamics, and tone and identify one specific area for growth.

Second Topic: Listening Across the Ensemble

Estimated # of Lessons: 4-5 lessons

Learning Targets: ● I can identify the melody and adjust my playing to support it with appropriate balance and dynamics.

Essential Questions ●

How do musicians use rehearsal, reflection, and feedback to grow?

Learning Activities: ● ● ●

Melody Detective: Students identify the melody and adjust their dynamics so the melody stands out. Dynamic Layering: Play a passage first all at the same volume, then emphasize the melody while accompaniment parts play softer. Section Swap Listening: Sections take turns playing the melody alone, then full ensemble plays with accompaniment in softer dynamics.

264

Grade 5 Ensemble Unit 2 Third Topic: Preparing for Performance

Estimated # of Lessons: 6-7 lessons (timed with concert performance)

Learning Targets: ● I can perform confidently and professionally as part of a concert ensemble. ● I can perform accurately and expressively in a solo or small group setting.

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians use rehearsal, reflection, and feedback to grow?

Learning Activities: ●

Concert Simulation: Students practice full concert procedures—entering the stage, sitting with proper posture, focusing on the conductor, performing together, and acknowledging applause.

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Focused Run-Throughs: Play selected pieces as if in a real concert, emphasizing stage presence, focus, and ensemble coordination.

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Mini Concerts: Students perform short excerpts or duets/trios for the class while peers provide one strength and one suggestion for improvement.

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Peer Feedback Circles: After small-group or solo performances, students reflect using specific feedback, reinforcing expressive accuracy and professional behavior.

Fourth Topic: Reflecting and Responding

Estimated # of Lessons: 1-2 lessons (timed with concert performance)

Learning Targets: ● I can use musical vocabulary to reflect on a performance and identify specific areas for growth.

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians use rehearsal, reflection, and feedback to grow?

Learning Activities: ●

Listen–Think–Speak: After a performance, students describe what they heard using terms like balance, articulation, phrasing, dynamics, tempo, and tone.

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Glow and Grow: Students identify one “glow” and one area to improve “grow” in their own playing or the ensemble’s performance.

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Self-Assessment Checklist: Students rate aspects of their performance—intonation, rhythm, dynamics, expression—using musical vocabulary to pinpoint areas for growth.

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Peer Reflection: Students give constructive feedback to a partner or small group using specific musical terms, reinforcing vocabulary and critical listening skills.

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Grade 5 Ensemble Unit 3

Course Name: Grade 5 Ensemble Unit Title 3: Jazz & Improvisation: Exploring Creativity & Style

Est. # of Lessons:

8-10 Lessons

Cr1.1.E.5a : Generate musical ideas within given parameters Cr2.1.E.5a : Select and develop musical ideas for defined purposes Re7.2.E.5a : Identify and describe how context and genre influence musical works Cn10.0.E.5a : Demonstrate understanding of relationships between music and other disciplines Cr3.2.E.5a: Present the final version of created music for others

Transfer Goals ●

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Understandings

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Improvisation is not the absence of rules — it is creativity working within structure. Musical styles like blues and jazz carry cultural history in their sounds, and learning to play them connects us to that story. Every musical idea we create — a riff, a phrase, a solo — is shaped by what we know and what we hear around us. Knowledge

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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What does it mean to improvise? How does structure make creativity possible? How do blues and jazz connect what musicians played in the past to what we hear today?

Skills (Framed as Learning Targets)

266

Grade 5 Ensemble Unit 3

Key Vocabulary: rock, jazz, lick, riff, melody, groove, rhythm section, swing, improvisation, calland-response, solo, phrase, beat, form, style, blues scale, pentatonic, 12-bar blues, motif

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I can play the Bb concert pentatonic scale accurately. I can play the root notes of the 12-bar blues form and hear where the chord changes occur. I can hear and perform the difference between swing and straight eighth-note rhythms. I can improvise using Bb pentatonic notes within a blues structure. I can add a background riff or lick to support the ensemble during a blues performance. I can perform a complete piece that combines scales, rhythms, and improvisation together.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

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Formative Assessment

12-Bar Blues Root Notes & Chord Changes: Students perform the root notes of a 12-bar blues, demonstrating awareness of chord changes. Adding Background Riffs or Licks: Students perform a supportive riff or lick in an ensemble performance. Integrated Performance: Students perform a full piece combining scales, rhythms, and improvisation while reflecting on their ensemble contribution.

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Bb Pentatonic Scale Accuracy: Students play the scale solo or with a partner to check note accuracy and fingerings. Formative – Swing vs. Straight Eighths: Students perform passages in swing and straight rhythms during rehearsal to practice rhythmic awareness. Formative – Improvising Short Phrases: Students create a short Bb pentatonic improvisation in small groups or over a backing track.

STAGE 3: LEARNING PLAN First Topic: 12-Bar Blues & Bb Concert Pentatonic Blues Scale

Estimated # of Lessons: 1-2 lessons

Learning Targets:

Essential Questions:

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I can play the Bb concert pentatonic scale accurately. I can play the root notes of the 12-bar blues form and hear where the chord changes occur.

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How does structure make creativity possible?

267

Grade 5 Ensemble Unit 3 Learning Activities: ● ●

Bb Pentatonic Scale Practice: Students play the Bb pentatonic scale in call-and-response, with partners, or with backing tracks to focus on correct notes and fingerings. 12-Bar Blues Root Note Exercise: Students play the root notes along with a teacher or recorded 12-bar blues, listening carefully to hear where the chord changes occur.

Second Topic: Jazz Rhythms

Estimated # of Lessons: 4-5 lessons

Learning Targets:

Essential Questions

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I can hear and perform the difference between swing and straight eighth-note rhythms.

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How do blues and jazz connect what musicians played in the past to what we hear today?

Learning Activities: ● ● ● ●

Call-and-Response Listening: Teacher plays a short phrase in swing or straight eighths, and students echo it, noticing the rhythmic feel. Movement Connection: Students tap, sway, or step to the beat while playing or listening, physically embodying swing and straight rhythms. Ensemble Practice: Small groups perform a piece with contrasting sections, focusing on maintaining the correct rhythmic feel while listening to each other. Rhythm Bank: Students use rhythms from their “rhythm bank” worksheet to help them select rhythms for their improvisation.

Third Topic: Create and Respond: Using the Bb Concert Pentatonic Notes with Jazz Rhythms

Estimated # of Lessons: 5-6 lessons

Learning Targets:

Essential Questions:

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I can improvise using Bb pentatonic notes within a blues structure.

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What does it mean to improvise? How does structure make creativity possible?

Learning Activities: ● ● ●

Swing Exploration: Students play Bb pentatonic notes using rhythms from the rhythm bank over a drum-set swing beat and keyboard bassline to practice phrasing and feel. Pentatonic Composition: Students create short licks using Bb pentatonic notes to create their own musical ideas. Share Improvisation: Students take turns at the microphone, improvising a 12-bar blues solo using mostly Bb pentatonic notes and jazz rhythms.

268

Grade 5 Ensemble Unit 3 ●

Creativity Exploration: Students have the artistic freedom to select other notes and rhythms they think sound good and fit in their improvisational solo.

Fourth Topic: Add Background Licks / Putting it All Estimated # of Lessons: 3 lessons Together! Learning Targets: ● ●

I can add a background riff or lick to support the ensemble during a blues performance. I can perform a complete piece that combines scales, rhythms, and improvisation together.

Essential Questions: ● ●

What does it mean to improvise? How do blues and jazz connect what musicians played in the past to what we hear today?

Learning Activities: ● ● ●

●

Background Riff Practice: Students experiment with more advanced riffs or licks over a 12-bar blues backing track, focusing on phrasing, syncopation, and how their part supports the melody and groove. Riff Swaps: Students take turns adding riffs while others are improving, listening carefully and adjusting their dynamics and articulation to enhance the overall sound. Integrated Performance: Students rehearse and perform a full piece that combines written music with improvisational solos played at the microphone. (And bow after!) They choose appropriate scale notes and correct rhythmic style focusing on precision, musical expression, and listening to interact effectively with the ensemble. Reflect and Refine: After performing, students analyze their own contributions and the ensemble’s sound, discussing how to improve balance, timing, and creativity.

269

Grade 6 Band Grade 6 Band Grade 6 Band is where musicians begin to find their voice — individually and together. We build technical foundations, develop rehearsal habits that turn individual preparation into shared performance, and explore the creative possibilities of blues, jazz, and rock traditions. By the end of the year, we perform with confidence, play with intention, and understand what we are capable of as musicians. Band Begins: Playing Together 10-15 Lessons

From Rehearsal to Stage: Honing the Ensemble 10-15 Lessons

Modern Music Making: Creativity through Popular Styles 8-10 Lessons

We begin our year learning what it means to be part of a band. From our first sounds to our first songs, we explore how posture, breath, and teamwork help us play together. Each rehearsal brings new skills as we learn to read music, produce good tone, and listen to each other. Together, we're building the foundation that everything else will rest on.

With our foundation in place, we discover how musicians prepare for performance. Through rehearsal, we learn how small improvements lead to big results on stage. By listening, adjusting, and supporting one another, we turn notes on a page into expressive music that we're ready to share with an audience.

Now that we can perform together, we learn to create our own sound through blues, jazz, and rock styles. By exploring riffs, grooves, and the B♭ blues scale, we improvise and shape musical ideas drawn from popular music traditions we recognize and can build from. Together, we're becoming confident creators.

270

Grade 6 Band Unit 1

Course Name: Grade 6 Band Unit 1 Title: Band Begins: Playing Together

Est. # of Lessons:

10-15

Unit Overview: We begin our year learning what it means to be part of a band. From our first sounds to our first songs, we explore how posture, breath, and teamwork help us play together. Each rehearsal brings new skills as we learn to read music, produce good tone, and listen to each other. Together, we're building the foundation that everything else will rest on. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ●

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Understandings ●

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The way a performer practices has a predictable effect on the level of proficiency with the piece and overall musicianship. A skillful ensemble player manages posture, tone production, intonation, and listening simultaneously. Playing in a band requires listening across sections, not just to yourself. Rehearsal habits established early in the year shape the quality of every performance that follows. Knowledge

● ● ●

How do we work together to produce a quality sound? What do I /we need to focus on in this practice session? How did it go? How do I use musical elements (e.g., rhythm, melody, tempo) to communicate ideas?

Skills (Framed as Learning Targets)

271

Grade 6 Band Unit 1 ● ● ● ● ● ● ● ●

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Tonguing Listening across an ensemble Instrument hold Posture Rehearsal etiquette Breath support Continued emphasis on melody, blend, balance, dynamics, tempo, cueing, Grade .5 level music: ○ Keys of Bb, Eb, and relative minors ○ Meters: 4/4, 2/4 ○ Rhythms: Quarter notes, eight note pairs, whole notes, half notes ○ Melody: Step-wise motion, repetition ○ Composition: Block scoring, no divided parts, predictable form Grade 1.5 level concert music: ○ Keys of Bb, Eb, F, and relative minors ○ Meters: 4/4, 2/4, easy cut-time ○ Rhythms: Quarter notes, eighth notes, dotted quarter, simple syncopation ○ Melody: Mostly step-wise, avoiding awkward skips ○ Composition: limited solo writing, occasional divided parts, doubled bass line in bass clarinet, bari sax, low brass, and tuba

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I can play Grade 1.5 music. I can keep a steady pitch on my instrument. I can keep a steady beat with a large ensemble. I can produce a resonant sound on my instrument. I can play in the keys of Bb, Eb, g. I can read Grade .5 music. I can make adjustments to my playing depending on how others are playing. I can recognize when I am playing in or out of sync with an ensemble. I can respond to visual cues from a conductor. I can adjust my volume to blend with the ensemble. I can follow rehearsal expectations and contribute positively to group practice.

Key Vocabulary: Tone, resonance, embouchure, articulation, tonguing, posture, pitch, cue, balance, dynamics, downbeat, cut-off STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Performance rubric assessing individual accuracy and ensemble cohesion ● Conductor cue response rubric, scored during final rehearsal or performance ● Peer feedback form analyzing tone, blend, and balance in concert run-through ● Score annotation review, evaluating use of

Formative Assessment ● ● ● ● ●

Participation in daily warm-ups and sectionals Teacher observation of response to visual and auditory cues “Down the row” checks for pulse and entrances Call-and-response accuracy during rhythm drills In-the-moment-prompts (“Who had the

272

Grade 6 Band Unit 1 markings and rehearsal prep

●

Criteria: ● ● ● ● ●

melody? Did we support them?”) Peer feedback on blend or pulse following group exercises

Accurate rhythm, pitch, articulation, and expressive nuance Clear ensemble balance and section blend (especially in march style) Demonstrated awareness of section role (melody, harmony, accompaniment) Responsiveness to conductor cues for phrasing, dynamics, and tempo changes Use of musical vocabulary when describing context, structure, or interpretation STAGE 3: LEARNING PLAN

First Topic: Entering Together on Cue

Estimated # of Lessons: 3-4

Learning Targets: ● I can respond to visual cues from a conductor. ● I can keep a steady beat with a large ensemble.

Essential Questions: ● How do we work together to produce a quality sound? ● What do I /we need to focus on in this practice session? How did it go? ● How do I use musical elements (e.g., rhythm, melody, tempo) to communicate ideas?

Learning Activities: ● Call-and-response warm-ups for developing visual and auditory cue awareness ● Silent conducting cue practice for building response time and ensemble cohesion ● Verbal count-offs followed by silent entrances for transferring verbal rhythm knowledge to ensemble behavior ● Layered entrances (by section or row) for strengthening awareness of ensemble listening and role Second Topic: Maintaining Steady Pulse

Estimated # of Lessons: 3-4

Learning Targets: ● I can keep a steady beat with a large ensemble. ● I can make adjustments to my playing. depending on how others are playing. ● I can recognize when I am playing in or out of sync with an ensemble. ● I can respond to visual cues from a conductor.

Essential Questions: ● How do we work together to produce a quality sound? ● What do I /we need to focus on in this practice session? How did it go?

Learning Activities: ● Call-and-response pulse drills for reinforcing steady beat awareness ● Pulse clapping with decaying visual cues for developing internal pulse control

273

Grade 6 Band Unit 1 ● ● ● ● ● ●

Layered rhythms by section for strengthening interdependent ensemble timing Breathing and sticking warm-ups for physically anchoring pulse to body movement Peer-led tempo exercises for building conductor awareness and ensemble trust Rehearsal excerpts with metronome comparison for applying pulse accuracy in context Silent tapping or conducting practice for refining independent tempo tracking Section trade-offs on rhythmic patterns for improving timing consistency across the group

Third Topic: Listening Across the Ensemble

Estimated # of Lessons: 4-6

Learning Targets: ● I can play Grade 1.5 music. ● I can keep a steady pitch on my instrument. ● I can produce a resonant sound on my instrument. ● I can play in the keys of Bb, Eb, g. ● I can read Grade .5 music. ● I can make adjustments to my playing depending on how others are playing. ● I can respond to visual cues from a conductor. ● I can adjust my volume to blend with the ensemble. ● I can follow rehearsal expectations and contribute positively to group practice.

Essential Questions: ● How do we work together to produce a quality sound? ● How do I use musical elements (e.g., rhythm, melody, tempo) to communicate ideas?

Learning Activities: ● Section volume matching for improving balance and blend ● Inner voice spotlighting for developing accompaniment awareness ● Ensemble freeze-and-reflect for checking ensemble pulse and balance ● Identify-the-melody activities for recognizing who should be heard ● Pulse-leader listening drills for syncing with the beat driver (e.g., percussion or low brass) ● Balance-to-melody exercises for adjusting dynamic levels to match musical roles

274

Grade 6 Band Unit 2

Course Name: Grade 6 Band Unit 2 Title: From Rehearsal to Stage: Honing the Ensemble

Est. # of Lessons:

10-15

Unit Overview: With our foundation in place, we discover how musicians prepare for performance. Through rehearsal, we learn how small improvements lead to big results on stage. By listening, adjusting, and supporting one another, we turn notes on a page into expressive music that we're ready to share with an audience. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ● ●

Pr4.3.E.6a: Demonstrate how expressive qualities such as dynamics, phrasing, articulation, and style are used in performance. Pr5.3.E.6a: Identify and apply strategies to address performance challenges. Pr6.1.E.6a: Perform with expression and technical accuracy a varied repertoire of music. Re9.1.E.6a: Apply teacher-provided criteria to evaluate musical works or performances. Re8.1.E.6a: Identify and describe how expressive qualities are used in performers’ interpretations of musical works.

Transfer Goals ●

●

Understandings ● ● ●

Expressive performances require intentional choices in dynamics, articulation, and phrasing. Rehearsal, feedback, and reflection help musicians improve and prepare for performance. Rehearsing music thoughtfully helps us perform in a way that connects with listeners and brings the music to life.

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions. (Effective Communicators, Critical Thinkers) Essential Questions

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What makes a musical performance expressive and meaningful? How do musicians grow through rehearsal, reflection, and feedback? How do I use the tools/techniques/principles I have to produce the sound I want?

275

Grade 6 Band Unit 2 ● Knowledge ● ● ● ● ● ● ●

Ensemble blend and balance Phrase shape and expressive intent Role of dynamics and articulation in performance Identifying melody and accompaniment Concert etiquette and performance preparation Using vocabulary to reflect and respond March style vs. Chorale style

Key Vocabulary: Balance, dynamics, expression, crescendo, diminuendo, staccato, legato, accent, marcato, phrase, melody, accompaniment, subdivision, style, performance

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ● ● ●

I can play crescendos and diminuendos with control. I can play staccato, legato, accent, and marcato sounds I can begin to shape musical phrases using dynamics and articulation. I can listen across the ensemble and adjust my playing to match the melody or steady pulse. I can adjust my playing to support the melody or pulse section. I can perform confidently and professionally as part of a concert ensemble. I can follow concert etiquette and contribute to a successful performance. I can use musical vocabulary to describe and evaluate a performance. I can reflect on how I played during rehearsal and think about how to improve next time. I can provide kind, helpful feedback to others during rehearsal.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Expressive ensemble performance (concert or in-class) ● Focused expressive playing task (short excerpt or phrase study) ● Peer listening & feedback protocol (guided) ● Post-performance reflection (written or verbal) Criteria: ● ● ● ●

Formative Assessment ● ● ● ● ● ● ●

Daily warm-up participation and sectionals Observation during rehearsal-based exercises (phrasing drills, listening checks, spotlighting sections) “Down the row” play-throughs for rhythmic accuracy and ensemble pulse Peer feedback prompts (“Who had the melody? Did we support them?”) Short, in-the-moment reflection tasks after run-throughs Self-assessment checklists (prior to concert/dress rehearsal) Informal teacher check-ins and coaching during expressive rehearsal segments

276

Grade 6 Band Unit 2

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match melody or steady pulse Adjustments made to support the melodic line or pulse section Confident, professional performance demeanor within the ensemble Appropriate concert etiquette and stage behavior Accurate use of musical vocabulary when describing performance Thoughtful reflection identifying strengths and next steps Respectful, specific, and constructive peer feedback STAGE 3: LEARNING PLAN

First Topic: Interpreting the Music: Dynamics, Style, and Phrasing

Estimated # of Lessons: 3-4

Learning Targets: ● I can play crescendos and diminuendos with control. ● I can play staccato, legato, accent, and marcato sounds ● I can begin to shape musical phrases using dynamics and articulation.

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do I use the tools/techniques/principles I have to produce the sound I want?

Learning Activities: ● Call-and-response phrasing drills for exploring contrast in articulation and expression ● “Same phrase, different style” activity for practicing stylistic interpretation (e.g., play the same 4measure phrase as a march, then as a chorale) ● Dynamic shaping with a phrase arc for visualizing and performing phrase contours ● Score marking and listening excerpts for identifying expressive markings and hearing how professionals interpret them ● Articulation switch-up drills for applying staccato, legato, accent, and marcato to the same rhythm pattern ● Peer echo exercises for imitating phrasing and tone in small groups ● Repertoire rehearsal with expressive spotlighting for isolating and shaping expressive moments in the concert piece(s) Second Topic: Listening Across the Ensemble

Estimated # of Lessons: 2-4

Learning Targets: ● I can listen across the ensemble and adjust my playing to match the melody or steady pulse.

Essential Questions ● How do musicians grow through rehearsal, reflection, and feedback? ● How do I use the tools/techniques/principles

277

Grade 6 Band Unit 2 ● ●

I can shape musical phrases using dynamics and articulation. I can adjust my playing to support the melody or pulse section.

I have to produce the sound I want?

Learning Activities: ● Melody-finder rehearsals for identifying the main musical line and adjusting balance accordingly ● Pulse-spotting exercises for listening to where the beat is strongest (e.g., low brass, percussion) and aligning tempo ● Layered phrase-building by section for improving awareness of vertical and horizontal ensemble structure ● Dynamic leveling drills where sections play at different dynamic levels and adjust in real time to support blend ● Call-and-hold exercises with melody/accompaniment hand-offs to develop timing and balance sensitivity ● Rehearsal freeze moments for students to identify “Who has the melody?” or “Who is driving the tempo right now?” ● Role-switching play-throughs where students trade off playing melody/accompaniment lines in rehearsal excerpts Third Topic: Preparing for Performance

Estimated # of Lessons: 2-3 (timed with concert performance)

Learning Targets: ● I can perform confidently and professionally as part of a concert ensemble. ● I can follow concert etiquette and contribute to a successful performance. ● I can reflect on how I played during rehearsal and think about how to improve next time.

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians grow through rehearsal, reflection, and feedback?

Learning Activities: ● Mock concert run-throughs for developing confidence and pacing awareness ● Staging walk-through and entrance/exit practice for reinforcing concert etiquette ● Concert countdown checklist for reviewing final details (instruments, music, attire, behavior) ● Pre-performance breathing and focus routines for managing nerves and building poise ● Peer feedback on stage presence and professionalism for reinforcing expectations ● Rehearsal-to-concert reflection prompts for tracking individual and group readiness ● Dress rehearsal debrief for identifying final adjustments before performance Fourth Topic: Reflecting and Responding

Estimated # of Lessons: 1-2 (timed with concert performance)

Learning Targets: ● I can use musical vocabulary to describe and evaluate a performance. ● I can reflect on how I played during

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians grow through rehearsal,

278

Grade 6 Band Unit 2

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rehearsal and think about how to improve next time. I can provide kind, helpful feedback to others during rehearsal.

reflection, and feedback?

Learning Activities: ● Post-concert reflection form or shared google doc for identifying personal growth and goals ● Class discussion using concert video/audio playback for shared feedback ● Two stars and a wish peer feedback activity for low-stakes critique practice ● Performance rubric walkthrough for introducing key criteria (tone, rhythm, expression, ensemble skills) ● "What went well / What could improve" board or handout for whole-class review ● Listening to a professional or peer performance and describing it using musical vocabulary

279

Grade 6 Band Unit 2

Course Name: Grade 6 Band Unit 3 Title: Modern Music Making: Creativity through Popular Styles

Est. # of Lessons:

15-24

Unit Overview: Now that we can perform together, we learn to create our own sound through blues, jazz, and rock styles. By exploring riffs, grooves, and the B♭ blues scale, we improvise and shape musical ideas drawn from popular music traditions we recognize and can build from. Together, we're becoming confident creators. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ●

Cr1.1.E.6a: Compose and improvise ideas for melodies and rhythmic passages based on characteristic(s) of music or text(s) studied in rehearsal. Cr2.1.E.6a: Select and develop musical ideas for improvisation using given parameters. Pr6.1.E.6a: Perform with expression and technical accuracy a varied repertoire of music. Re7.2.E.6a: Identify the context of music from a variety of genres, cultures, and historical periods.

Transfer Goals ●

●

Understandings

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry. (Effective Communicators, Information Analysts) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts. (Effective Communicators, Responsible Citizens, SelfDirected Learners) Essential Questions

280

Grade 6 Band Unit 2 ● ● ● ●

Musical ideas can be created and transformed using scales, rhythms, and patterns. Improvisation involves using structure and creativity at the same time. Popular styles like rock and jazz have common traits that can be used as inspiration for our own music. Sharing music in progress helps us grow as musicians and connect with others.

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Knowledge ● ● ● ● ●

How can I create musical ideas that sound like jazz or rock? What makes a musical phrase feel expressive, catchy, or “in the style”? How can scales and patterns help me create music? What can improvisation teach me about taking risks and listening?

Skills (Framed as Learning Targets)

Blues scale Pentatonic scale 12-bar blues Improvisation “Pop” music (popular, not written)

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I can play the B♭ blues scale from memory.

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I can play short licks or riffs using the B♭

Key Vocabulary: Rock, jazz, chord, root–3rd–5th, lick, riff, melody, groove, rhythm section, swing, improvisation, call-and-response, solo, phrase, hook, beat, form, style, jam

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pentatonic or blues scale in time with a beat. I can create simple melodic phrases that fit a groove or rhythm pattern. I can vary rhythms or articulation to make a melody sound more like jazz or rock. I can identify common characteristics of blues, jazz, and rock styles. I can listen and respond to musical ideas shared by others. I can share musical ideas confidently in a group setting. I can explain where I hear blues or rock influence in popular music.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Improvisation Performance Task (solo or small-group, over a groove or backing track) ● Trading Fours Activity (call-and-response improvisation) ● Style-Based Listening & Response Task (guided, in rehearsal or class discussion) ● Spoken Reflection (short podcast-style audio recording)

Formative Assessment ● ● ● ● ●

Daily warm-up participation using pentatonic/blues scale patterns Teacher observation during call-and-response and groove layering Improvisation “quick checks” during rehearsal (2–4 beat phrases) Peer feedback during paired jam activities or improvisation games Short listening tasks with vocabulary matching or style identification

Criteria: ● Accurate performance of the B♭ blues

281

Grade 6 Band Unit 2

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scale from memory Creation of short, in-time licks or riffs using pentatonic or blues scales Melodic phrases that fit a groove or rhythmic pattern Use of rhythmic variation, articulation, or style inflection (jazz/rock feel) Demonstrated ability to listen and respond to others’ musical ideas Confidence and clarity when sharing musical ideas in a group Identification of blues, jazz, or rock characteristics in music examples Clear verbal explanation of where blues or rock influence is heard in popular music Reflection on personal playing choices and next-step improvement goals (spoken) STAGE 3: LEARNING PLAN

First Topic: Scales, Style, and Groove

Estimated # of Lessons: 5-6

Learning Targets: Essential Questions: ● What makes a musical phrase feel expressive, ● I can play the B♭ blues scale from memory. catchy, or “in the style”? ● I can play short licks or riffs using the B♭ ● How can scales and patterns help me create pentatonic or blues scale in time with a music? beat. ● I can vary rhythms or articulation to make a melody sound more like jazz or rock. ● I can identify common characteristics of blues, jazz, and rock styles. Learning Activities: ● B♭ blues scale warm-up patterns for building fluency ● Call-and-response articulation drills (staccato, slur, accent) using bluesy phrasing ● Groove layering with percussion/backing track to internalize swing or rock eighth notes ● Riff echo games using teacher-played patterns for stylistic imitation ● Dynamics and articulation contrast play-alongs to introduce expressive variety ● Listening comparisons (swing vs. straight; jazz vs. rock phrasing) to build style awareness Second Topic: The Blues Framework: Structure, Timing, and Feel

Estimated # of Lessons: 3-4

Learning Targets: ● I can identify the 12-bar blues form and how it repeats.

Essential Questions ● How can I create musical ideas that sound like jazz or rock?

282

Grade 6 Band Unit 2 ● ● ●

I can recognize when chord changes happen in a blues progression. I can create and time short musical phrases using root, 3rd, and 5th of each chord. I can play simple riffs or licks that fit a groove.

● ●

What makes a musical phrase feel expressive, catchy, or “in the style”? How can scales and patterns help me create music?

Learning Activities: ● 12-bar blues call-and-response with teacher modeling changes ● Root → 3rd → 5th echo drills over a looped blues backing ● Phrase timing games: “Wait four beats, then drop your lick” ● “Blues skeleton” walk-through; mark changes while listening or playing just root notes ● Color-coded flashcards to show where chords change in form ● Riff layering exercise: build a phrase by adding a note each time through the 12-bar loop ● Jam with rhythm tracks to practice phrase length and groove alignment Third Topic: Create and Respond: Improvising with Style

Estimated # of Lessons: 4-5

Learning Targets: ● I can create simple melodic phrases that fit a groove or rhythm pattern. ● I can play short improvised licks in time using the B♭ blues scale. ● I can respond to musical ideas shared by others. ● I can share musical ideas confidently in a group setting.

Essential Questions: ● How can I create musical ideas that sound like jazz or rock? ● How can scales and patterns help me create music? ● What can improvisation teach me about taking risks and listening?

Learning Activities: ● “Two-measure lick” practice: create, play, and refine over groove ● Call-and-response improvisation rounds with classmates ● Solo spotlight: each student performs a 4- or 8-beat idea with background track ● “Build a solo” game: students string together pre-learned licks in new orders ● Reflection check-in: “What felt good about your phrase?” “What would you change?” Fourth Topic: Where Else Do We Hear It?

Estimated # of Lessons: 3

Learning Targets: ● I can identify common characteristics of blues, jazz, and rock styles. ● I can explain how a performance or piece of music uses riffs, grooves, or other blues elements. ● I can use musical vocabulary to describe and evaluate a performance. ● I can reflect on what I learned and created

Essential Questions: ● How can I create musical ideas that sound like jazz or rock? ● What makes a musical phrase feel expressive, catchy, or “in the style”? ● How can scales and patterns help me create music? ● What can improvisation teach me about taking risks and listening?

283

Grade 6 Band Unit 2 during this unit. Learning Activities: ● Listening comparison (e.g., classic blues vs. student performance piece) to identify shared elements ● “Where’s the riff?” scavenger hunt in concert rep and recordings ● Concert/jazz band rehearsal reflection: Which parts feel “rock” or “bluesy”? Why? ● Class discussion: “How did our improvisation help us understand the concert piece and how would you use it in other new music?”

284

Grades 7-8 Band Grades 7-8 Band Grade 7 and 8 Band builds on the foundation of Grade 6 and raises the standard for what we can do as musicians. We begin with the precision and structure of march music, then expand into the richer textures of symphonic performance. From there, we take creative risks through contemporary composition and improvisation — and we close the year by stepping back from the full ensemble to lead ourselves, rehearsing and performing in small groups with greater independence and ownership. Each unit asks more of us than the last. By the end of the year, we are not just better players — we are more thoughtful, more adaptable, and more confident musicians.

Marching Orders: Building Precision and Pride 10-15 Lessons

Symphonic Voices: Finding Your Role in a Larger Ensemble 8-10 Lessons

Modern Music Making 2.0: Creativity through Contemporary Composition 12-14 Lessons

Own Your Sound: Building SelfDirected Musicians 6-8 Lessons

We begin by building on what we learned about playing together in Grade 6, introducing march music. We explore ensemble roles, articulation, phrasing, and form while learning marches — the kind you might hear at school assemblies or community parades. Through rehearsal, reflection, and analysis, we prepare music for our first performance and develop the precision, dynamic contrast, and balance that define great march playing.

With march fundamentals in place, we take on the challenge of performing in a fuller, more diverse ensemble. We learn to adjust our tone, timing, and listening to balance within a richer sound — one that may include strings alongside winds and percussion. Through rehearsals, critical listening, and reflection, we practice adapting and leading within a larger musical texture.

Now that we've explored traditional and symphonic repertoire, we build on what we know about popular and jazz styles by diving into contemporary music. Through performance and analysis, we work with rock, jazz, and minimalist elements while experimenting with improvisation and chance-based techniques. As both performers and creators, we rehearse charts with driving rhythms, analyze composer choices, and create our own short pieces — deepening our musicianship while taking creative risks.

In this final unit, we explore small ensemble collaboration. Working in duets, trios, or quartets, we choose music and rehearse more independently. We learn to communicate with each other musically and verbally, organize rehearsal time, and share our music with each other. Through this work, we develop leadership skills and understand how listening, group dynamics, and rehearsal habits shape a successful performance.

285

Grades 7-8 Band Unit 1

Course Name: Grades 7-8 Band Unit 1 Title: Marching Orders: Building Precision and Pride

Est. # of Lessons: 10-15

Unit Overview: We begin by building on what we learned about playing together in Grade 6, introducing march music. We explore ensemble roles, articulation, phrasing, and form while learning marches — the kind you might hear at school assemblies or community parades. Through rehearsal, reflection, and analysis, we prepare music for our first performance and develop the precision, dynamic contrast, and balance that define great march playing. STAGE 1: DESIRED RESULTS Established Goals ●

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Pr4.3.E.7a: Demonstrate understanding of expressive qualities (such as dynamics, phrasing, and articulation) through performance. Pr5.1.E.7a: Rehearse to refine technical accuracy and expressive qualities, using self-assessment and feedback from others. Pr6.1.E.7a: Perform with expression and technical accuracy a varied repertoire of music. Re7.2.E.7a: Identify and describe how context and genre influence the structure and style of a piece. Cn11.0.E.7a: Explain how musical works are influenced by the time, place, and social setting in which they were created.

Transfer Goals ●

●

Understandings ● ●

Practice of learned techniques has a predictable effect on proficiency and the quality of performance. A quality performance is bigger than the

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts. (Effective Communicators, Responsible Citizens, SelfDirected Learners) Essential Questions

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How do we work together to produce a unified and expressive ensemble sound in a march? How can musical elements like rhythm, form,

286

Grades 7-8 Band Unit 1

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individual performers; ensemble success depends on listening, balance, and shared responsibility. A skillful performer manages the multifaceted nature of participation in an ensemble, combining technical accuracy with expressive intent. Every performance and rehearsal provides opportunities for feedback from self and others to refine technique, expression, and confidence. Knowledge

● ● ● ● ● ● ● ●

●

● ●

and articulation communicate the character of a piece? How does understanding the context of a piece change the way we interpret and perform it? How can peer and self-assessment lead to more effective rehearsal and performance?

Skills (Framed as Learning Targets)

Articulation and tonguing clarity Fundamental Ensemble listening (balance and blend) ● I can play Grade 1.5 level concert or march Rehearsal etiquette music with correct notes, rhythms, and Melodic phrasing and section roles dynamics. March style form and articulation ● I can use correct articulation for march style Expressive elements in performance (clean tonguing, light accents, and separation). Conducting cues and ensemble response ● I can adjust my volume to match others in my Grade 1.5 level concert or march music: section and across the ensemble. ○ Keys of Bb, Eb, F, and relative ● I can follow the conductor’s beat pattern and minors respond to cues for starts and cut-offs. ○ Meters: 4/4, 2/4, easy cut-time ● I can recognize when my section is playing ○ Rhythms: Quarter notes, eighth the main melody or supporting harmony. notes, dotted quarter, simple ● I can describe the basic structure of a march, syncopation including the intro, first strain, and trio. ○ Melody: Mostly step-wise, avoiding ● I can reflect on my performance using clear, awkward skips musical language. ○ Composition: limited solo writing, occasional divided parts, doubled Advanced bass line in bass clarinet, bari sax, ● I can play Grade 2 level concert or march low brass, and tuba music with correct notes, rhythms, and Grade 2 level concert or march music dynamics. ○ Keys of Bb, Eb, F, Ab, C, and ● I can apply advanced articulation (staccato, relative minors accented, and legato tonguing) to my playing ○ Meters: 4/4, 2/4, 3/4, cut-time, 6/8 to create a clear march style. ○ Rhythms: Sixteenth notes, limited ● I can adjust my volume with intention to sixteenth/eighth note enhance melody, harmony, and combinations, simple countermelody roles across the ensemble. quarter/eighth-note rhythms in 6/8 ● I can follow and respond to conductor cues ○ Melody: Idiomatic writing for for tempo changes, articulation, balance, and instruments dynamics. ○ Composition: some solo writing; ● I can recognize my ensemble role (melody, flute, clarinet, alto sax, and trumpet counterline, harmony, or accompaniment) and adjust accordingly.

287

Grades 7-8 Band Unit 1 divided parts; bass line split Key Vocabulary: tone, breath support, posture, tonguing, articulation, staccato, legato, accent, marcato, dynamics, melody, counter-melody, harmony, accompaniment, ensemble, phrasing, balance, blend, tempo, form, strain, trio

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I can analyze a full march form and apply its features in performance, including the intro, first strain, second strain, trio, break strain, and coda. I can evaluate my own and others’ performances using musical vocabulary and ensemble goals.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Full ensemble march performance (concert or in-class) ● Section or role-based performance check (melody, harmony, counterline, accompaniment) ● March form listening and score-following task (guided or independent) ● Conductor cue response check (rehearsalbased observation) ● Performance reflection (spoken or rehearsal debrief format)

Formative Assessment ● ● ●

Strain maps: students listen to a march and visual map out the form of the piece Balance check groups: mixed small ensembles play for each other and rate accuracy and balance between parts Dynamic role mapping: students annotate their music to indicate their role in the ensemble for each section

Criteria: ● Accurate notes, rhythms, and dynamics appropriate to Grade 1.5–2 repertoire ● Clear march-style articulation (clean tonguing, separation, appropriate accents) ● Intentional dynamic control to support ensemble balance and role (melody vs. support) ● Consistent alignment with conductor beat patterns, cues, and tempo changes ● Awareness of ensemble role and ability to adjust playing accordingly ● Understanding of march form and structure (intro, strains, trio, break strain, coda as appropriate) ● Use of musical vocabulary to reflect on performance quality and ensemble goals ● Professional rehearsal and performance habits that contribute to ensemble cohesion

288

Grades 7-8 Band Unit 1 STAGE 3: LEARNING PLAN First Topic: March Style & Ensemble Roles

Estimated # of Lessons: 3-4

Learning Targets: Fundamental ● I can play Grade 1.5 level concert or march music with correct notes, rhythms, and dynamics. ● I can adjust my volume to match others in my section and across the ensemble. ● I can recognize when my section is playing the main melody or supporting harmony. ● I can describe the basic structure of a march, including the intro, first strain, and trio.

Essential Questions: ● How do we work together to produce a unified and expressive ensemble sound in a march? ● What do I—and we—need to focus on in this rehearsal to improve our performance? How did it go? ● How can musical elements like rhythm, form, and articulation help communicate the character of a march?

Advanced ● I can play Grade 2 level concert or march music with correct notes, rhythms, and dynamics. ● I can apply advanced articulation (staccato, accented, and legato tonguing) to my playing to create a clear march style. ● I can adjust my volume with intention to enhance melody, harmony, and countermelody roles across the ensemble. ● I can recognize my ensemble role (melody, counter line, harmony, or accompaniment) and adjust accordingly. ● I can analyze a full march form and apply its features in performance, including the intro, first strain, second strain, trio, break strain, and coda. Learning Activities: ● Listen to professional recordings of concert marches and identify key formal sections (e.g., introduction, first strain, trio, break strain). ● Highlight and annotate students' parts to mark melody, counter-melody, or accompaniment roles. ● Engage in call-and-response conducting drills to practice entering and cutting off with clear visual cues. ● Facilitate ensemble discussions or quick writes around these questions: “What role do I play in this section?” “How did we do as a team in terms of timing, articulation, and blend?” ● Compare two contrasting ensemble recordings and describe what makes one more cohesive than the other using musical vocabulary.

289

Grades 7-8 Band Unit 1 Second Topic: Practicing for Performance

Estimated # of Lessons: 3-4

Learning Targets: Fundamental ● I can play Grade 1.5 level concert or march music with correct notes, rhythms, and dynamics. ● I can use correct articulation for march style (clean tonguing, light accents, and separation). ● I can adjust my volume to match others in my section and across the ensemble. ● I can follow the conductor’s beat pattern and respond to cues for starts and cut-offs. ● I can reflect on my performance using clear, musical language.

Essential Questions: ● How do we work together to produce a unified and expressive ensemble sound in a march? ● What do I—and we—need to focus on in this rehearsal to improve our performance? How did it go? ● How does understanding the context of a piece change the way we interpret and perform it? ● What strategies help us balance technical precision with musical expression when preparing a complex piece?

Advanced ● I can play Grade 2 level concert or march music with correct notes, rhythms, and dynamics. ● I can apply advanced articulation (staccato, accented, and legato tonguing) to my playing to create a clear march style. ● I can adjust my volume with intention to enhance melody, harmony, and countermelody roles across the ensemble. ● I can evaluate my own and others’ performances using musical vocabulary and ensemble goals. Learning Activities: ● Mark challenging sections in music using rehearsal annotations (e.g., accidentals, dynamics, rhythm). ● Practice “silent rehearsal” techniques (fingering, counting, ghost tonguing). ● Learn how to identify and label form sections in march music (e.g., trio, break strain). ● Use rehearsal logs or goal cards to reflect on section goals and progress. ● Perform mini-sectionals focused on tricky licks or rhythms, with peer feedback. ● Exaggerate articulations and dynamics in march passages, then scale for performance accuracy. ● Practice ensemble listening games to align entrances, cutoffs, and phrasing. ● Use score study (projected or printed) to identify balance and melody movement. ● Record short rehearsals and self-assess using a tone/blend/style checklist. ● Exit activity: identify one section that improved and one to revisit next time. Third Topic: Performance Reflection and Goal Setting

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions:

290

Grades 7-8 Band Unit 1 Fundamental ● I can describe the basic structure of a march, including the intro, first strain, and trio. ● I can reflect on my performance using clear, musical language. More Advanced ● I can analyze a full march form and apply its features in performance, including the intro, first strain, second strain, trio, break strain, and coda. ● I can evaluate my own and others’ performances using musical vocabulary and ensemble goals.

● ● ●

How does understanding the context of a piece change the way we interpret and perform it? How can peer and self-assessment lead to more effective rehearsal and performance? What makes a performance feel meaningful to the audience—and to us as musicians?

291

Grades 7-8 Band Unit 2

Course Name: Grades 7-8 Band Est. # of Lessons: Unit 2 Title: Symphonic Voices: Finding Your Role in a Larger Ensemble

8-10

Unit Overview: With march fundamentals in place, we take on the challenge of performing in a full symphonic ensemble. As wind and percussion players join with strings, we'll learn to adjust our tone, timing, and listening to balance within this richer, more diverse sound. Through rehearsals, critical listening, and reflection, we'll practice adapting and leading in a full orchestra setting. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ●

Pr4.2.E.7a: Demonstrate and explain how the structure and context of varied musical works inform performance decisions. Pr4.3.E.7a: Demonstrate understanding of expressive qualities such as dynamics, phrasing, and articulation through performance. Pr5.1.E.7a: Rehearse to refine technical accuracy and expressive qualities using self-assessment and feedback from others. Pr6.1.E.7a: Perform with expression and technical accuracy a varied repertoire of music. Re9.1.E.7a: Evaluate musical works and performances using appropriate criteria and musical vocabulary.

Transfer Goals ●

●

Understandings ● ● ●

Each part in a symphonic ensemble plays a unique role, and balance depends on listening and adjusting to others. Musical independence is key to group success—players must take responsibility for their own part and sound. Blend, tone, and phrasing must adapt based on the ensemble’s texture and the section’s role (melody, harmony,

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions. (Effective Communicators, Critical Thinkers) Essential Questions

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How do I know whether I should stand out or blend in during a piece of music? What does it mean to play independently while still supporting the ensemble? How can listening help me understand my role in a symphonic piece? How can I build confidence playing in keys I don’t normally use in band?

292

Grades 7-8 Band Unit 2

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accompaniment). Wind and percussion players must develop fluency in string-oriented keys to perform confidently in a full symphonic ensemble. Knowledge

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Balance and blend in mixed instrumentation Role of melody, harmony, and accompaniment in full ensemble Listening across sections to maintain ensemble pulse Adapting tone, dynamics, and articulation to ensemble context Individual responsibility in 1-on-a-part or small-section performance Communication and cueing in mixedinstrument ensembles

Key Vocabulary: balance, blend, melody, accompaniment, harmony, section, pulse, cue, ensemble, phrase, role, texture, timbre, interpretation, listening, tone quality, articulation, dynamics, rehearsal strategy

Skills (Framed as Learning Targets) Fundamental ● ● ● ● ● ● ● ●

I can play my part accurately and stay in time with players in other sections. I can adjust my volume and tone to blend with the full ensemble. I can recognize when my section has the melody or accompaniment. I can listen across the ensemble and make small adjustments to match others. I can rehearse with guidance and use teacher and peer feedback to improve. I can demonstrate balance when playing with strings, brass, woodwinds, and percussion. I can follow the conductor’s visual cues for entrances, cut-offs, and dynamics. I can describe my role in a piece using simple musical terms.

Advanced ● ● ● ● ● ● ●

I can play my part accurately and respond in real time to the timing and phrasing of other sections. I can adjust tone, articulation, and dynamics to achieve blend and clarity within the full orchestra. I can identify when my part carries melody, harmony, or accompaniment and balance accordingly. I can listen across the ensemble and adapt pitch, timing, and expression without prompting. I can rehearse independently, applying feedback to refine my sound and ensemble contribution. I can maintain proper balance when performing with strings and percussion, adjusting texture as needed. I can follow both visual and musical cues, responding expressively to conductor

293

Grades 7-8 Band Unit 2

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gestures. I can describe how my part connects with others in the score using musical vocabulary. I can reflect on my progress and explain how I contribute to the overall sound of the ensemble.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● Performance rubric (individual and sectionbased) ● Ensemble self-assessment checklist ● Short written or verbal reflection on ensemble role Criteria: ● Accuracy of rhythm, pitch, and key signature fluency (C, a, G, e) ● Ensemble balance and blend (especially across winds/strings/percussion) ● Independent contribution to section and full ensemble ● Awareness of melodic/harmonic role within texture ● Adaptation to conductor feedback and rehearsal goals ● Use of musical vocabulary in reflection or discussion

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Scale checks in C, a, G, and e (small group or individual) Sight-reading excerpts in string-oriented keys with peer or teacher feedback Sectional rehearsals focusing on balance, blend, and role clarity Spot checks identifying melody, accompaniment, or texture shifts in ensemble music Rehearsal recordings with student commentary on tone, phrasing, or pulse alignment In-rehearsal check-ins on dynamics, articulation, and part independence

STAGE 3: LEARNING PLAN First Topic: Building Fluency in Orchestra-Friendly Keys

Estimated # of Lessons: 2-3

Learning Targets: ● I can play my part accurately and stay in time with players in other sections.

Essential Questions: ● How can I build confidence playing in keys I don’t normally use in band?

294

Grades 7-8 Band Unit 2 ● ●

Tuning games or partner checks focused on sharp key alignment Sight-reading warmups in these keys to build visual and motor familiarity

Second Topic: Listening Across the Ensemble

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions: ● I can adjust my tone, volume, and ● How can listening help me understand my articulation to blend with the full ensemble. role in a symphonic piece? ● I can recognize when I have the melody, harmony, or accompaniment and adjust my playing to fit that role. ● I can listen across the ensemble and respond to what I hear in real time. ● I can follow the conductor’s visual and musical cues for entrances, cut-offs, tempo changes, and dynamics. ● I can rehearse with increasing independence and take responsibility for improving my part. Learning Activities: ● Call-and-response phrases between sections for developing ensemble awareness ● Score follow-along or guided listening tasks for identifying melody and accompaniment ● Partner rehearsal across instrument families (e.g., clarinet with viola) for exploring texture ● Layered entrances and exits to practice recognizing section roles ● Echo and imitation games to strengthen ensemble listening skills Third Topic: Balancing Role and Tone

Estimated # of Lessons: 2-3

Learning Targets: Essential Questions ● I can adjust my tone, volume, and ● How do I know whether I should stand out or articulation to blend with the full ensemble. blend in during a piece of music? ● I can recognize when I have the melody, harmony, or accompaniment and adjust my playing to fit that role. ● I can balance my sound when performing with strings, winds, brass, and percussion. ● I can describe how my part connects to other sections and contributes to the full ensemble sound. Learning Activities: ● Dynamic layering by role (melody vs. background) to develop balance ● Tone matching warm-ups between winds and strings for blend ● “Take the Lead” rehearsal moments where different sections try leading the same passage ● Volume shaping exercises to adjust to changes in orchestration ● Reflection prompts asking students to describe their role in a specific passage

295

Grades 7-8 Band Unit 2 Fourth Topic: Independent Contribution in the Large Ensemble

Estimated # of Lessons: 3-4

Learning Targets: ● I can play my part accurately and stay in time with players in other sections. ● I can use feedback from rehearsals to improve tone, blend, and accuracy. ● I can rehearse with increasing independence and take responsibility for improving my part. ● I can reflect on my growth as a musician and how my work supports the success of the group.

Essential Questions: ● What does it mean to play independently while still supporting the ensemble?

Learning Activities: ● Sectional rehearsals led by students to build ownership and leadership ● Self-record and reflect tasks for tracking individual growth; goal setting ● Small-group feedback exchanges to improve part accuracy and rehearsal habits ● Solo or 1-on-a-part run-throughs in rehearsal to emphasize responsibility

296

Grades 7-8 Band Unit 3

Course Name: Grades 7-8 Band Est. # of Lessons: Unit 3 Title: Modern Music Making 2.0: Creativity through Contemporary Composition

12-14

Unit Overview: Now that we've explored traditional and symphonic repertoire, we build on what we know about popular and jazz styles by diving into contemporary music. Through performance and analysis, we work with rock, jazz, and minimalist elements while experimenting with improvisation and chance-based techniques. As both performers and creators, we rehearse charts with driving rhythms, analyze composer choices, and create our own short pieces — deepening our musicianship while taking creative risks. STAGE 1: DESIRED RESULTS Established Goals ● ●

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Cr1.1.E.8a: Compose or improvise musical ideas using stylistic traits of modern genres such as jazz, rock, or minimalism. Cr2.1.E.8a: Select and develop musical ideas within defined or open-ended parameters, including aleatoric or experimental techniques. Pr6.1.E.8a: Perform with expression and technical accuracy a varied repertoire of contemporary and traditional music, demonstrating stylistic fluency. Re7.2.E.8a: Analyze and describe how context and genre influence modern music performance and creation.

Transfer Goals ●

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Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts. (Effective Communicators, Responsible Citizens, SelfDirected Learners) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry. (Effective Communicators, Information Analysts)

297

Grades 7-8 Band Unit 3 Understandings ●

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Scales, modes, and tonal centers provide the foundation for melodic development and emotional expression in contemporary music. A musical composition can feel cohesive and expressive even when it deviates from traditional forms or tonal harmony. Graphic scores, improvisation, and nontraditional notation offer alternative ways to communicate musical intent and engage performers and listeners. Modern composers and performers often blend elements of different genres, techniques, and technologies to reflect personal voice and cultural context.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ● ● ● ●

Blues and minor blues scales Motivic development and melodic phrasing Minimalism: repetition, phasing, and gradual change Aleatoric (chance-based) composition and improvisation Graphic scores and non-traditional notation Style and interpretation in modern genres Listening and responding in group improvisation Form and structure in contemporary works

Skills (Framed as Learning Targets) Fundamental ● ● ● ● ●

Key Vocabulary: jazz, rock, minimalism, aleatoric, groove, swing, contemporary, motif, phrase, ostinato, loop, variation, graphic score, aleatoric, structure, chance, improvisation, B♭/F/G minor blues, root–3rd–5th

How can different scales and tonalities shape the mood and identity of a composition? How can repetition, variation, and randomness be used creatively in music? What makes a composition feel structured even when it's abstract or improvisational? In what ways can music communicate without traditional notation?

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I can perform the B♭ and F blues scales from memory with accurate notes and tone. I can create short melodic ideas using simple rhythms and expressive phrasing. I can identify characteristics of modern musical styles such as jazz, rock, and minimalism. I can use repetition and variation to compose short patterns or loops inspired by minimalist techniques. I can design and perform a short piece using shapes or symbols in place of standard notation. I can respond musically to a classmate’s idea through call-and-response or group improvisation. I can describe the style and mood of a piece using musical vocabulary. I can reflect on how creating and performing music helps me express ideas or connect with others.

Advanced ●

I can perform the B♭, F, and G minor blues scales from memory with accurate intonation

298

Grades 7-8 Band Unit 3

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and articulation. I can improvise or compose extended melodic phrases using varied rhythms, articulations, and expressive devices. I can identify and apply characteristics of modern styles including jazz, rock, minimalism, and aleatoric music. I can create original compositions using loops, repetition, and variation to develop form and texture. I can design and perform a complete graphic score or visual composition using symbols and abstract notation. I can collaborate musically by developing, expanding, or contrasting a peer’s idea through structured improvisation. I can use musical vocabulary to analyze and discuss stylistic features in both recordings and performances. I can reflect on how creative music-making connects to visual art, technology, and other aspects of culture and daily life.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● ● ● ● ●

Performance rubric for individual and ensemble compositions/improvisations Composition project checklist (original work using modern techniques) Graphic score submission and performance reflection Listening analysis prompt using musical vocabulary Self-assessment or peer critique rubric for collaboration and creativity

Formative Assessment ● ● ● ●

Performances of B♭, F, and G minor blues scales with peer/teacher feedback In-class improvisation or composition prompts using rhythmic or tonal constraints Loop-based or minimalist composition sketches with small-group feedback Graphic score brainstorming and peer walkthroughs

Criteria: ● Accurate and expressive use of modern scales (e.g., blues, pentatonic) ● Creative application of minimalist or aleatoric elements (e.g., repetition, randomness, variation) ● Effective collaboration in structured

299

Grades 7-8 Band Unit 3

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improvisation or visual scoring Clarity of musical ideas communicated through composition or performance Use of musical vocabulary in self-reflection and analysis Evidence of musical risk-taking, individuality, and connection to broader art/life themes STAGE 3: LEARNING PLAN

First Topic: Expanding Musical Language - Scales and Motifs

Estimated # of Lessons: 2-4

Learning Targets:

Essential Questions: ● How can different scales and tonalities shape the mood and identity of a composition? ● How can repetition, variation, and randomness be used creatively in music?

Fundamental ● ● ● ●

I can perform the B♭ and F blues scales from memory with accurate notes and tone. I can create short melodic ideas using simple rhythms and expressive phrasing. I can respond musically to a classmate’s idea through call-and-response or group improvisation. I can identify characteristics of modern musical styles such as jazz and rock.

Advanced ● ● ● ●

I can perform the B♭, F, and G minor blues scales from memory with accurate intonation and articulation. I can improvise or compose extended melodic phrases using varied rhythms, articulations, and expressive devices. I can identify and apply characteristics of modern styles including jazz and rock. I can use musical vocabulary to analyze and discuss stylistic features in both recordings and performances.

Learning Activities: ● Warm-ups using B♭, F, and G minor blues scales ● Motif development exercises using call-and-response phrasing ● Improvisation drills limited to selected scale tones or rhythmic patterns

300

Grades 7-8 Band Unit 3 ● ● ●

Listening analysis of scale use in jazz and rock pieces Visual composition using shape or color to represent melodic contour Listening comparisons (swing vs. straight; jazz vs. rock phrasing) to build style awareness

Second Topic: Creating with Constraints Minimalism and Aleatoric Composition

Estimated # of Lessons: 4-6

Learning Targets:

Essential Questions ● What makes a composition feel structured even when it's abstract or improvisational? ● In what ways can music communicate without traditional notation?

Fundamental ● ● ●

I can use repetition and variation to compose short patterns or loops inspired by minimalist techniques. I can design and perform a short piece using shapes or symbols in place of standard notation. I can respond musically to a classmate’s idea through call-and-response or group improvisation.

Advanced ● ● ● ●

I can identify and apply characteristics of modern styles including minimalism and aleatoric music. I can create original compositions using loops, repetition, and variation to develop form and texture. I can design and perform a complete graphic score or visual composition using symbols and abstract notation. I can collaborate musically by developing, expanding, or contrasting a peer’s idea through structured improvisation.

Learning Activities: ● Guided analysis of works by Steve Reich, Terry Riley, or Michael Colgrass ● Build a minimalist piece using ostinato patterns layered by students ● Compose using dice rolls or card pulls to determine rhythmic or pitch choices ● Create graphic scores using symbols or drawings to indicate performance cues ● Perform peer-composed minimalist or aleatoric sketches and offer feedback Third Topic: Performing and Reflecting Contemporary Ensemble Sharing

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions: ● How do we communicate musical ideas to an audience when the music is our own?

●

I can respond musically to a classmate’s

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Grades 7-8 Band Unit 3

● ●

idea through call-and-response or group improvisation. I can describe the style and mood of a piece using musical vocabulary. I can reflect on how creating and performing music helps me express ideas or connect with others.

●

What does it mean to reflect on creative work — and how does that make us better musicians?

Advanced ● ● ●

I can collaborate musically by developing, expanding, or contrasting a peer’s idea through structured improvisation. I can use musical vocabulary to analyze and discuss stylistic features in both recordings and performances. I can reflect on how creative music-making connects to visual art, technology, and other aspects of culture and daily life.

Learning Activities: ● Small group rehearsal of student-composed or -arranged pieces ● Peer-led workshops offering feedback on musical ideas ● Class “jam session” using open-form or graphic notation prompts ● Recording sessions with student-led evaluation rubrics ● Group reflections tying musical decisions to expressive intent or social meaning

302

Grades 7-8 Band Unit 4

Course Name: Grades 7-8 Band Unit 4 Title: Own Your Sound: Building Self-Directed Musicians

Est. # of Lessons:

6-8

Unit Overview: In this final unit, we explore small ensemble collaboration. Working in duets, trios, or quartets, we choose music and rehearse more independently. We learn to communicate with each other musically and verbally, organize rehearsal time, and share our music with each other. Through this work, we develop leadership skills and understand how listening, group dynamics, and rehearsal habits shape a successful performance. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

● ●

Pr4.1.E.7a: Explore and select music that is appropriate for small ensembles, considering instrumentation and difficulty. Pr6.1.E.7a: Demonstrate expressive qualities (dynamics, phrasing, articulation) in a small ensemble or solo performance with teacher support. Pr5.3.E.7a: Apply basic rehearsal strategies (such as marking music, setting goals, giving feedback) to refine group performances. Pr5.1.E.7a: Collaborate with peers to start, stop, and cue during rehearsal and informal performance. Re9.1.E.7a: Evaluate ensemble progress using basic musical criteria like balance, blend, and rhythmic accuracy.

Transfer Goals ●

●

Understandings ● ● ●

Musical independence means being able to rehearse, refine, and perform with confidence without needing a conductor. Ensemble leadership is shared among members and includes cueing, communication, and problem-solving. Rehearsal is a reflective process, not just repetition. Progress requires setting goals, listening critically, and making intentional

● ● ● ●

What does it take to rehearse and perform confidently without a conductor? How do we decide who leads, and what does leadership look like in a small ensemble? What strategies help a group stay organized and make progress during rehearsal? How do the skills we use in a musical ensemble relate to teamwork in other areas of life?

303

Grades 7-8 Band Unit 4

● ●

adjustments. Teamwork in music mirrors real-life collaboration, requiring accountability, trust, and shared ownership. Musicianship grows through authentic experience — when students take responsibility for their own sound and support the success of their peers. Knowledge

● ● ● ● ● ● ●

Leadership and Collaboration in Music Rehearsal Strategy and Goal Setting Starting, Stopping, and Cueing as an Ensemble Balance, Blend, and Listening Skills Giving and Receiving Feedback Independent Musicianship Connection Between Music and Life Skills

Key Vocabulary: balance, blend, cue, ensemble, chamber music, intonation, phrasing, rehearsal, feedback, interpretation, confidence, collaboration, leadership, initiative, independence, reflection, duet, trio, etude

Skills (Framed as Learning Targets) Fundamental ● ● ● ● ● ● ● ●

I can select music that matches my group’s size and playing ability with teacher guidance. I can share ideas during rehearsal and set small goals with my group. I can rehearse with a partner or small group and improve our performance over time. I can help my group start and stop together without relying on a conductor. I can listen carefully and adjust my tone, volume, and style to match others. I can describe how I contributed to my group’s rehearsal and performance. I can take responsibility for being prepared and on time for group rehearsals. I can explain how teamwork in music helps me work better with others in school.

Advanced ● ● ● ● ● ●

I can independently select music that challenges my group and highlights our strengths. I can take an active leadership role by helping plan and guide rehearsals. I can rehearse effectively without a conductor, keeping steady tempo and clear communication. I can listen across my group to balance sound, match phrasing, and shape musical expression. I can give and receive feedback to improve our ensemble’s performance. I can reflect on my contributions and describe

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Grades 7-8 Band Unit 4

● ●

strategies that made our group successful. I can hold myself and my group accountable for preparation and focus during rehearsals. I can connect the collaboration and problemsolving skills I use in rehearsal to other parts of my life.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● ● ●

●

Performance rubric (individual and small group-based) Ensemble self-assessment checklist Short written or verbal reflection on group process and role, including reasons for selecting music chosen for performance

Criteria: ● ● ● ● ● ●

● ●

●

Accuracy of pitch, rhythm, and ensemble synchronization Confident starts and stops Balance, blend, and tone quality within small group Individual contribution to rehearsal and performance goals Evidence of ensemble communication Use of musical vocabulary in reflection/discussion

●

Students document music selection and daily goals using a planning log. Short, student-friendly, self-assessment checklists used regularly to track musical progress. Quick observations or exit slips after informal run-throughs with prompts like: “What did this group do well?” and “What should we focus on next?” Anecdotal teacher observation notes taken during group rehearsals noting leadership, rehearsal strategies, and progress toward independence. Mini performance demos where groups play short sections mid-way through the unit, with classmates providing guided feedback.

STAGE 3: LEARNING PLAN First Topic: Building Your Ensemble

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions: ● How do we decide who leads, and what does leadership look like in a small ensemble? ● What strategies help a group stay organized and make progress during rehearsal?

Fundamental ● ●

I can select music that matches my group’s size and playing ability with teacher guidance. I can share ideas during rehearsal and set small goals with my group.

305

Grades 7-8 Band Unit 4 ● ●

I can rehearse with a partner or small group and improve our performance over time. I can take responsibility for being prepared and on time for group rehearsals.

Advanced ● ● ●

I can independently select music that challenges my group and highlights our strengths. I can take an active leadership role by helping plan and guide rehearsals. I can hold myself and my group accountable for preparation and focus during rehearsals.

Learning Activities: ● Small groups of students choose a duet to play (they will double parts as needed). ● Students set daily practice goals for the group. ● Students collaborate in choosing a group leader and one student who will maintain steady beat using clapping or accessory percussion. Second Topic: Rehearsing with Independence and Initiative

Estimated # of Lessons: 3-4

Learning Targets:

Essential Questions: ● What does it take to rehearse and perform Fundamental confidently without a conductor? ● How do the skills we use in a musical ● I can rehearse with a partner or small group ensemble relate to teamwork in other areas and improve our performance over time. of life? ● I can help my group start and stop together without relying on a conductor. ● I can listen carefully and adjust my tone, volume, and style to match others. Advanced ● ● ● ●

I can rehearse effectively without a conductor, keeping steady tempo and clear communication. I can listen across my group to balance sound, match phrasing, and shape musical expression. I can give and receive feedback to improve our ensemble’s performance. I can connect the collaboration and problem-solving skills I use in rehearsal to

306

Grades 7-8 Band Unit 4 other parts of my life. Learning Activities: ● Practice counting off the group (“1, 2, ready, go”) ● Practice playing to a steady beat provided by a student ● Sectional coaching available by request (teacher supports rather than leads). ● Reflection protocols used during peer feedback rounds and self-assessment check-ins. Third Topic: Performing and Reflecting as an Ensemble

Estimated # of Lessons: 2-3

Learning Targets:

Essential Questions ● What does it take to rehearse and perform confidently without a conductor? ● How do the skills we use in a musical ensemble relate to teamwork in other areas of life?

Fundamental ● ●

I can listen carefully and adjust my tone, volume, and style to match others. I can describe how I contributed to my group’s rehearsal and performance.

Advanced ● ● ●

I can give and receive feedback to improve our ensemble’s performance. I can reflect on my contributions and describe strategies that made our group successful. I can connect the collaboration and problem-solving skills I use in rehearsal to other parts of my life.

Learning Activities: ● Final informal recording using phone or tablet ● Students use a simplified rubric to give and receive peer feedback. ● Students reflect individually on their growth, their ensemble’s development, and connections to other team experiences (e.g., sports, clubs, future careers).

307

Grades 9-12 Symphonic Band

Grades 9-12 Symphonic Band We build on the ensemble foundation developed in middle school and raise the standard for what our playing can achieve. We deepen technical control, refine tone and ensemble balance, and explore a wide range of repertoire—from traditional concert band literature to contemporary works and popular styles. Along the way, we grow into more independent musicians who listen closely, respond in real time, and make thoughtful interpretive decisions as an ensemble. By the end of the year, musicians perform with greater precision, expressive confidence, and a deeper understanding of what it means to contribute to a unified ensemble sound. Unit 1: Strike Up the Band: Skills, Sound, and Success 10-15 Lessons

Unit 2: From Rehearsal to Stage: Refining Our Ensemble Voice 8-10 Lessons

Unit 3: Sonic Frontiers: Exploring Modern Masterworks 12-14 Lessons

Unit 4: Own Your Sound 2.0: The Joy of Performance 6-8 Lessons

This opening unit sets the stage for a strong, confident year of musicmaking. We review and strengthen core playing skills while learning how to rehearse, listen, and work together as a full ensemble. Through warm-ups, sectionals, and full-band rehearsals, we focus on

With our foundational skills in place, we move beyond playing the right notes and focus on making music that means something. We refine balance, blend, articulation, and phrasing while developing a deeper understanding of musical style and interpretation. Every

Building on the expressive foundation we have developed, we now step into new sonic territory — the bold sounds and innovative styles of modern concert band music. These works challenge us with nontraditional rhythms, layered textures, and unexpected

All year, we have been building skills, refining our sound, and stepping into new musical territory. Now we take full ownership of what we have built. We explore popular and contemporary styles, making our own choices about interpretation,

308

Grades 9-12 Symphonic Band tone, rhythm, intonation, balance, and blend. Along the way, we set goals, reflect on our role in the ensemble, and explore how each musician's effort shapes a unified group sound. The unit closes with a short performance or rehearsal share-out that launches the year with energy and intention.

rehearsal becomes a chance to listen more closely, adjust in real time, and see how preparation shapes performance. This unit culminates in a formal concert — an opportunity to share the expressive voice we have been building together.

structures. Our rehearsals demand flexibility and deep listening as we discover how contemporary composers use sound, color, and pattern to shape meaning. We grow as independent score readers, balancing precision with creative responsiveness and making musical decisions that go beyond what is written on the page.

feel, and expression. Rehearsals put us in the driver's seat — flexible groupings, featured sections, and student-led decisions about balance and energy. This is where we discover how each individual voice shapes the ensemble's identity, and we close the year celebrating the joy of performing music that moves both the musicians and the audience.

309

Grades 9-12 Symphonic Band Unit 1

Course Name: Grades 9-12 Symphonic Band Unit 1 Title: Strike Up the Band: Skills, Sound, and Success

Est. # of Lessons: 10

Unit Overview: This opening unit sets the stage for a strong, confident year of music-making. We review and strengthen core playing skills while learning how to rehearse, listen, and work together as a full ensemble. Through warm-ups, sectionals, and full-band rehearsals, we focus on tone, rhythm, intonation, balance, and blend. Along the way, we set goals, reflect on our role in the ensemble, and explore how each musician's effort shapes a unified group sound. The unit closes with a short performance or rehearsal share-out that launches the year with energy and intention. STAGE 1: DESIRED RESULTS Established Goals ●

●

Pr4.2.E.HSa: Demonstrate understanding of structure, expressive qualities, and context of musical works through prepared ensemble performance. Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble. Re9.1.E.HSa: Evaluate performances and rehearsals using criteria related to tone quality, rhythm accuracy, balance, blend, and expressive intent.

Transfer Goals ●

●

Understandings ●

●

The way a performer practices has a predictable effect on the level of proficiency with the piece and overall musicianship. A skillful performer manages technical and expressive demands simultaneously, adjusting tone, balance, and blend in real time. Listening across the ensemble — not just within a section — is what produces a

Performing Works of Music: Practice and refine technical skill, expressive intent, and cultural understanding to communicate a musical piece that pays respect to the composition and individual artistry. (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to continually grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Through rehearsal and performance, they will communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of their musical growth— developing the capacity to lead, reflect, and remain engaged in the arts throughout their lives. (Effective Communicators, Responsible Citizens, Self-Directed Learners) Essential Questions

● ● ●

310

Grades 9-12 Symphonic Band Unit 1

● ●

unified sound. Feedback and reflection are not corrections to endure but tools we use to grow. Each musician's preparation and focus directly shapes what the ensemble can achieve together. Knowledge

● ● ● ● ● ● ● ● ●

Tonguing Listening in and across an ensemble Instrument hold Posture Rehearsal etiquette Breath support Timbre Phasing Continued emphasis on melody, blend, balance, dynamics, tempo, cueing,

Key Vocabulary: tone, intonation, balance, blend, dynamics, tempo, cue, ensemble, timbre, rehearsal, feedback

Skills (Framed as Learning Targets) Fundamental ● ● ● ● ●

I can perform with good tone, intonation, rhythm, and blend. I can identify and fix mistakes during rehearsals by listening and responding. I can apply feedback from my director and peers to make my playing better. I can use rehearsal strategies to improve challenging parts in my music. I can show expression and emotion in my playing based on what the composer intended.

Advanced ● ● ●

I can diagnose ensemble problems independently and apply targeted rehearsal strategies without prompting. I can lead or model correct tone, blend, and expression for my section. I can evaluate my own and others' playing using precise musical vocabulary and set goals for next steps.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Foundational Ensemble Performance (concert, in-class performance, or recorded run-through demonstrating tone, rhythm, blend, and basic expression) ● Section or Individual Performance Check (short excerpt assessing tone quality, rhythmic accuracy, intonation, and

Formative Assessment ● ● ●

Rehearsal Strategy Checks: Observation of students applying feedback, marking music, and improving targeted sections. Listening and Adjustment Spot Checks: Brief pauses where students identify and correct balance, rhythm, or tone issues. Cue Response Checks: Observation of entrances, releases, tempo changes, and basic

311

Grades 9-12 Symphonic Band Unit 1

●

response to cues) Performance Reflection (brief written or verbal reflection focused on rehearsal strategies, progress, and next goals)

Criteria: ● Accurate notes and rhythms appropriate to the repertoire ● Consistent tone quality and basic intonation control ● Appropriate balance and blend within the ensemble ● Evidence of expressive intent through dynamics and phrasing ● Use of feedback and rehearsal strategies to improve performance ● Professional rehearsal habits and ensemble awareness

● ●

expressive cues. Recording and Playback Reflection: Short rehearsal recordings used to identify strengths and areas for improvement. Exit Reflection or Check-In: Quick written or verbal response to prompts such as: What improved today? What should we focus on next?

STAGE 3: LEARNING PLAN First Topic: Establishing Fundamental Playing Habits

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How do we work together to produce a quality sound?

Fundamental ● ●

I can perform with good tone, intonation, rhythm, and blend. I can identify and fix mistakes during rehearsals by listening and responding.

Advanced ● ●

I can diagnose ensemble problems independently and apply targeted rehearsal strategies without prompting. I can lead or model correct tone, blend, and expression for my section.

Learning Activities: ● Breathing and posture checks to establish healthy playing habits ● Long-tone and articulation warm-ups focused on tone quality and consistency ● Instrument hold and embouchure reminders embedded into daily rehearsal ● Call-and-response rhythm and articulation exercises to reinforce clarity and accuracy

312

Grades 9-12 Symphonic Band Unit 1 ● ●

Director modeling followed by student imitation to establish sound expectations Rehearsal pauses for students to self-assess tone, posture, and focus

Second Topic: Listening, Ensemble Awareness, and Estimated # of Lessons: 3-4 lessons Rehearsal Skills Learning Targets: Fundamental ● ● ●

Essential Questions: ● What do I / we need to focus on in this practice session? How did it go?

I can identify and fix mistakes during rehearsals by listening and responding. I can apply feedback from my director and peers to make my playing better. I can use rehearsal strategies to improve challenging parts in my music.

Advanced ● ●

I can diagnose ensemble problems independently and apply targeted rehearsal strategies without prompting. I can evaluate my own and others' playing using precise musical vocabulary and set goals for next steps.

Learning Activities: ● Layered entrances by section or row to build ensemble listening awareness ● Balance and blend exercises rotating melody and supporting roles ● Verbal count-offs followed by silent entrances to transfer rhythmic understanding to ensemble behavior ● Rehearsal etiquette reminders tied to focus, preparation, and shared responsibility ● Short rehearsal stops where students identify what went well and what needs adjustment ● Application of director and peer feedback to improve ensemble sound Third Topic: Expression, Musical Intent, and Early Performance Readiness

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● How do I use musical elements (e.g., rhythm, melody, tempo) to communicate ideas?

Fundamental ● ●

I can perform with good tone, intonation, rhythm, and blend. I can show expression and emotion in my playing based on what the composer intended.

313

Grades 9-12 Symphonic Band Unit 1 Advanced ● ●

I can lead or model correct tone, blend, and expression for my section. I can evaluate my own and others' playing using precise musical vocabulary and set goals for next steps.

Learning Activities: ● Dynamic contrast exercises applied directly to concert repertoire ● Phrasing and shaping drills emphasizing melody and musical direction ● Cue-response practice for starts, releases, and expressive changes ● Short run-throughs focused on continuity, focus, and expressive intent ● Recording and playback of rehearsal excerpts to identify expressive strengths ● Reflection prompts asking students how musical elements helped communicate ideas

314

Grades 9-12 Symphonic Band Unit 2

Course Name: Grades 9-12 Symphonic Band Unit 2 Title: “From Rehearsal to Stage: Refining Our Ensemble Voice”

Est. # of Lessons: 10

Unit Overview: With our foundational skills in place, we move beyond playing the right notes and focus on making music that means something. We refine balance, blend, articulation, and phrasing while developing a deeper understanding of musical style and interpretation. Every rehearsal becomes a chance to listen more closely, adjust in real time, and see how preparation shapes performance. This unit culminates in a formal concert — an opportunity to share the expressive voice we have been building together. STAGE 1: DESIRED RESULTS Established Goals ●

●

Pr4.2.E.HSa: Demonstrate understanding of structure, style, and context of musical works through prepared ensemble performance. Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble. Re7.2.E.HSa: Analyze how context, genre, and cultural background influence the interpretation and performance of musical works. Re9.1.E.HSa: Evaluate ensemble performances using criteria related to accuracy, expression, balance, blend, and stylistic integrity.

Transfer Goals ●

●

Understandings ● ● ●

A skilled performer manages both technical and expressive dimensions of music. Leadership and collaboration within an ensemble strengthen performance quality. Reflection, feedback, and goal setting are continuous elements of musical growth.

Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Performing Works of Music: Practice and refine technical skill, expressive intent, and cultural understanding to communicate a musical piece that pays respect to the composition and individual artistry. (Effective Communicators, Information Analysts) Essential Questions

● ● ●

How do musicians achieve both technical precision and expressive freedom? How does collaboration elevate ensemble performance? How do reflection and self-assessment drive improvement?

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Grades 9-12 Symphonic Band Unit 2 ● ●

Performance requires respect, preparation, and shared responsibility. Context, genre, and cultural background influence how music is interpreted and performed.

● ●

Knowledge ● ● ● ● ● ● ●

Balance and blend across diverse instrument families to achieve a unified ensemble sound The evolving roles of melody, harmony, and accompaniment within complex textures Listening across sections to maintain precision, pulse, and expressive cohesion Refining tone, articulation, and dynamics to match style and musical intent Interpreting the conductor’s gestures to shape phrasing and ensemble expression Individual responsibility for preparation, focus, and contribution to ensemble success Stage presence and musicianship as extensions of rehearsal discipline

Key Vocabulary: balance, blend, melody, harmony, accompaniment, counterline, texture, timbre, phrase, pulse, cue, intonation, dynamics, articulation, tone quality, interpretation, ensemble awareness, expression, contrast, unity, stage presence, rehearsal strategy

How does understanding style and context affect interpretation? What makes a performance meaningful to both musicians and audiences? Skills (Framed as Learning Targets)

Fundamental ● ● ● ● ● ●

I can perform concert repertoire with technical accuracy, showing control of tone, phrasing, and balance. I can adjust articulation, dynamics, and timbre to achieve clarity and blend within the ensemble. I can identify and balance my role — melody, harmony, or accompaniment — within ensemble textures. I can interpret conductor cues and phrasing marks to shape a unified musical interpretation. I can reflect on rehearsals and performances using musical vocabulary to describe growth. I can demonstrate stage presence and focus during performance.

Advanced ● ● ● ●

I can anticipate and respond to the phrasing and timing of other sections without direct guidance. I can rehearse independently, applying specific strategies to refine tone, intonation, and musical detail. I can use ensemble listening to diagnose and solve problems related to pitch, rhythm, and alignment. I can demonstrate leadership through consistent professional stage presence and rehearsal initiative.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

316

Grades 9-12 Symphonic Band Unit 2 Assessment Tools: ● Formal Ensemble Performance (concert or recorded performance demonstrating technical accuracy, expressive intent, and ensemble cohesion) ● Section or Role-Based Performance Check (focused excerpt assessing balance, blend, phrasing, and role awareness) ● Performance Reflection (written or verbal reflection using musical vocabulary to evaluate growth, preparation, and ensemble contribution) Criteria: ● Accurate performance of notes, rhythms, and expressive markings ● Clear balance and blend across instrument families ● Intentional shaping of tone, articulation, and dynamics to match style and musical intent ● Effective response to conductor cues, phrasing, and expressive gestures ● Awareness of ensemble role (melody, harmony, accompaniment, counter line) and appropriate dynamic adjustment ● Consistent ensemble listening resulting in aligned pulse, intonation, and phrasing ● Professional stage presence demonstrating focus, preparation, and confidence ● Use of musical vocabulary to reflect on performance quality and personal growth

●

● ●

●

Balance and Blend Spot Checks: Brief rehearsal pauses where students identify ensemble roles (melody, harmony, accompaniment) and adjust dynamics to support unity. Cue Response Checks: Targeted observation of entrances, releases, tempo changes, and phrasing in response to conductor gestures. Ensemble Listening Checks: Short rehearsal moments where students diagnose issues related to intonation, pulse, or alignment and adjust in real time Recording and Playback Reflection: Occasional rehearsal recordings used to evaluate tone, balance, phrasing, and ensemble cohesion using musical vocabulary. Rehearsal Reflection or Exit Prompt: Quick written or verbal responses focused on growth, focus, and next rehearsal priorities.

STAGE 3: LEARNING PLAN First Topic: Refining Ensemble Sound and Balance

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How does collaboration elevate ensemble performance? ● How do musicians achieve both technical precision and expressive freedom?

Fundamental ● ●

317

Grades 9-12 Symphonic Band Unit 2 ●

I can identify and balance my role — melody, harmony, or accompaniment — within ensemble textures.

Advanced ● ●

I can anticipate and respond to the phrasing and timing of other sections without direct guidance. I can use ensemble listening to diagnose and solve problems related to pitch, rhythm, and alignment.

Learning Activities: ● Long-tone and chorale warm-ups focused on balance, blend, and intonation across sections ● Layered entrance exercises to identify melody, harmony, accompaniment, and counter lines ● Dynamic shaping drills where sections rotate foreground and background roles ● Tuning and balance checks across instrument families to refine tone color and blend ● Rehearsal pauses for students to verbally identify ensemble roles and adjust volume accordingly ● Short sectional focus on tone matching and pitch center before reintegrating into full ensemble Second Topic: Shaping Interpretation Through Rehearsal

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How does understanding style and context affect interpretation? ● How do musicians achieve both technical precision and expressive freedom?

Fundamental ● ●

I can adjust articulation, dynamics, and timbre to achieve clarity and blend within the ensemble. I can interpret conductor cues and phrasing marks to shape a unified musical interpretation.

Advanced ● ● ●

Learning Activities:

318

Grades 9-12 Symphonic Band Unit 2 ● ● ● ● ● ●

Articulation and phrasing exercises applied directly to concert repertoire Cue-response drills emphasizing entrances, releases, tempo changes, and expressive gestures Score-based rehearsal moments highlighting phrasing arcs, dynamic contrast, and texture changes Call-and-response phrasing between sections to align timing and expressive intent Targeted rehearsal of transitions and expressive peaks to strengthen ensemble cohesion Guided discussion during rehearsal stops focusing on how interpretation choices affect musical clarity

Third Topic: From Preparation to Performance

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● How do reflection and self-assessment drive improvement? ● What makes a performance meaningful to both musicians and audiences?

Fundamental ● ● ●

I can perform concert repertoire with technical accuracy, showing control of tone, phrasing, and balance. I can reflect on rehearsals and performances using musical vocabulary to describe growth. I can demonstrate stage presence and focus during performance.

Advanced ● ●

I can rehearse independently, applying specific strategies to refine tone, intonation, and musical detail. I can demonstrate leadership through consistent professional stage presence and rehearsal initiative.

Learning Activities: ● Full-ensemble run-throughs emphasizing continuity, focus, and performance-level energy ● Recording and playback of rehearsals to evaluate ensemble sound, balance, and expression ● Stage presence checks addressing posture, focus, entrances, and exits ● Mock performance scenarios to practice consistency under pressure ● Structured reflection prompts following run-throughs to identify strengths and next steps ● Final polishing of dynamics, phrasing, and releases to unify ensemble interpretation

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Grades 9-12 Symphonic Band Unit 3

Course Name: Grades 9-12 Symphonic Band Unit 3 Title: Sonic Frontiers: Exploring Modern Masterworks

Est. # of Lessons: 10

Unit Overview: Building on the expressive foundation we have developed, we now step into new sonic territory — the bold sounds and innovative styles of modern concert band music. These works challenge us with nontraditional rhythms, layered textures, and unexpected structures. Our rehearsals demand flexibility and deep listening as we discover how contemporary composers use sound, color, and pattern to shape meaning. We grow as independent score readers, balancing precision with creative responsiveness and making musical decisions that go beyond what is written on the page. STAGE 1: DESIRED RESULTS Established Goals ●

●

Pr4.2.E.HSa: Demonstrate understanding of the structure and context of musical works through prepared ensemble performance. Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble. Re9.1.E.HSa: Evaluate ensemble performances using criteria related to tone quality, balance, blend, rhythm accuracy, and expressive intent. Re7.2.E.HSa: Analyze how context, genre, and cultural background influence the interpretation and performance of musical works.

Transfer Goals ●

●

Understandings ● ● ● ●

Advanced musicians balance independence and ensemble awareness. Analyzing a composer’s context and manipulation of musical elements provides insight into intent and interpretation. Musicians have a responsibility as cultural storytellers and innovators. Exploration of contemporary repertoire

Essential Questions ● ● ● ●

How do we balance personal interpretation with ensemble unity? How does studying diverse repertoire broaden musical understanding? How can exploring modern works expand our expressive possibilities? What responsibilities do musicians have as artistic and cultural leaders?

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expands creative and expressive capacity. Reflection and experimentation are essential to artistic growth and risk-taking.

●

Knowledge

How does understanding a composer’s intent shape performance choices?

Skills (Framed as Learning Targets)

●

Advanced techniques in minimalism, Fundamental including motivic development, repetition, layering, and gradual change ● I can perform contemporary concert band ● Aleatoric and indeterminate writing as music with precision and stylistic awareness. expressions of performer choice and real● I can identify compositional techniques such time decision-making as minimalism, repetition, and gradual ● Motivic development as a structural device transformation. in modern concert band composition ● I can adjust tone, articulation, and dynamics ● Texture, color, and orchestration as to match unconventional harmonic and primary tools for contrast and unity rhythmic contexts. ● Non-traditional notation and the ● I can listen critically across the ensemble to interpretation of graphic symbols in maintain balance, pulse, and clarity in contemporary scores complex layers. ● Form and architecture in 21st-century ● I can use musical vocabulary to evaluate music, emphasizing pattern, performances of contemporary works, transformation, and tension/release connecting style to intent. ● Active listening and ensemble awareness in rhythmically or tonally complex works ● Expression and interpretation of extended Advanced techniques, unconventional timbres, and ● I can analyze how composers use motif, evolving harmonies texture, and orchestration to create structure ● Performer agency—understanding how and contrast. musicians contribute to shaping modern ● I can respond to aleatoric and non-traditional compositions through nuance and notation by making independent musical responsiveness decisions that enhance ensemble expression. ● I can collaborate with peers to interpret and Key Vocabulary: minimalism, aleatoric, shape passages that rely on performer choice indeterminacy, phasing, layering, repetition, or flexible timing. gradual change, motif, ostinato, texture, tone ● I can reflect on how performing modern color, orchestration, timbre, non-traditional repertoire expands my understanding of what notation, graphic score, structure, form, concert band music can express. transformation, cluster, extended techniques, soundscape, dynamics, contrast, ensemble awareness, interpretation, expression

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Contemporary Ensemble Performance

Formative Assessment ●

Texture Awareness Spot Checks: Students identify their role (foreground, background,

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(concert, in-class performance, or recorded performance of modern repertoire featuring minimalist and/or aleatoric elements) Score Interpretation & Listening Reflection (written or verbal reflection analyzing compositional techniques and ensemble decision-making) Section or Role-Based Performance Check (focused excerpt demonstrating balance, rhythmic precision, and responsiveness in complex textures)

Criteria: ● Accurate performance of rhythms, pitches, and entrances in contemporary repertoire ● Clear execution of minimalist techniques such as repetition, layering, and gradual transformation ● Effective response to aleatoric or nontraditional notation through informed musical decision-making ● Intentional use of tone, articulation, and dynamics to support texture and ensemble clarity ● Consistent ensemble listening to maintain balance, pulse, and precision across complex layers ● Use of musical vocabulary to explain how compositional techniques shape structure and expression ● Evidence of performer agency—students demonstrate responsiveness rather than passive execution

●

layered pulse, color effect) during rehearsal and adjust dynamically. Aleatoric Response Trials: Short rehearsal moments where students perform flexible or chance-based passages, followed by discussion of musical choices made. Listening & Balance Challenges: Sections rehearse layered passages independently, then reassemble and assess clarity, pulse, and blend. Score Annotation Tasks: Students mark motifs, repetitions, transformations, or texture changes directly in their parts or full score excerpts. Recording & Self-Assessment: Students listen to short rehearsal recordings and evaluate ensemble precision, texture clarity, and expressive intent using unit vocabulary. Composer Technique Quick Writes or Pair Shares: Prompts such as: ○ How does repetition function in this section? ○ What choices do performers have here, and how do those choices affect the sound?

STAGE 3: LEARNING PLAN First Topic: Understanding Modern Musical Language

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How does understanding a composer’s intent shape performance choices? ● How does studying diverse repertoire broaden musical understanding?

Fundamental ●

I can perform contemporary concert band music with precision and stylistic awareness.

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I can identify compositional techniques such as minimalism, repetition, and gradual transformation.

Advanced ●

I can analyze how composers use motif, texture, and orchestration to create structure and contrast.

Learning Activities: ● Guided listening to contemporary concert band works to identify repetition, layering, and gradual change ● Score walk-throughs highlighting motifs, ostinatos, and texture shifts across sections ● Short rehearsal excerpts focused on repeating cells or layered patterns to reinforce minimalist techniques ● Section-based practice isolating rhythmic or melodic patterns before re-layering them in full ensemble ● Annotation of parts to mark motif entrances, pattern changes, and transformation points ● Compare-and-contrast listening between traditional and modern excerpts to identify differences in structure and texture Second Topic: Listening, Balance, and Ensemble Awareness

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How do we balance personal interpretation with ensemble unity?

Fundamental ● ●

I can adjust tone, articulation, and dynamics to match unconventional harmonic and rhythmic contexts. I can listen critically across the ensemble to maintain balance, pulse, and clarity in complex layers.

Advanced ●

I can collaborate with peers to interpret and shape passages that rely on performer choice or flexible timing.

Learning Activities: ● Layered entrances by section or instrument family to strengthen awareness of texture and ensemble role ● Balance drills rotating melody and background roles to reinforce dynamic responsibility ● Pulse-stability exercises where one section maintains a steady layer while others enter and exit ● Rehearsal stoppages focused on identifying where clarity or balance breaks down in dense

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textures Call-and-response layering between sections to align rhythmic precision and ensemble pulse Ensemble listening challenges where students identify which layer carries primary motion or color

Third Topic: Performer Choice and Flexible Interpretation

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● How do we balance personal interpretation with ensemble unity? ● How can exploring modern works expand our expressive possibilities?

Fundamental ●

I can use musical vocabulary to evaluate performances of contemporary works, connecting style to intent.

Advanced ●

● ●

I can respond to aleatoric and nontraditional notation by making independent musical decisions that enhance ensemble expression. I can collaborate with peers to interpret and shape passages that rely on performer choice or flexible timing. I can reflect on how performing modern repertoire expands my understanding of what concert band music can express.

Learning Activities: ● Guided exploration of aleatoric or non-traditional notation with discussion of performance options ● Rehearsal trials of flexible passages with varying interpretations to compare ensemble outcomes ● Small-group or section-led decision-making for entrances, timing, or tone color in open-form sections ● Silent run-throughs of chance-based passages to reinforce internal pulse and listening ● Group discussion and reflection on how performer choices affect clarity, expression, and cohesion ● Score or part annotation identifying moments of performer agency and interpretive responsibility Fourth Topic: Refining, Performing, and Reflecting on Modern Works

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● How can exploring modern works expand our expressive possibilities? ● What responsibilities do musicians have as artistic and cultural leaders?

Fundamental ● ●

I can perform contemporary concert band music with precision and stylistic awareness. I can listen critically across the ensemble to maintain balance, pulse, and clarity in

324

●

complex layers. I can use musical vocabulary to evaluate performances of contemporary works, connecting style to intent.

Advanced ● ●

I can analyze how composers use motif, texture, and orchestration to create structure and contrast. I can reflect on how performing modern repertoire expands my understanding of what concert band music can express.

Learning Activities: ● Full-ensemble run-throughs focused on maintaining clarity, balance, and precision across complex textures ● Recording and playback of rehearsal excerpts to evaluate ensemble accuracy and expressive intent ● Section or role-based polishing of challenging rhythmic layers or transitions ● Focused rehearsal of entrances, releases, and transitions shaped by conductor and ensemble cues ● Structured reflection using unit vocabulary to describe ensemble growth and interpretive decisions ● Performance preparation emphasizing confidence, responsiveness, and shared musical intent

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Grades 9-12 Symphonic Band Unit 4

Course Name: Grades 9-12 Symphonic Band Unit 4 Title: Own Your Sound 2.0: The Joy of Performance

Est. # of Lessons: 10 Lessons

Unit Overview: All year, we have been building skills, refining our sound, and stepping into new musical territory. Now we take full ownership of what we have built. We explore popular and contemporary styles, making our own choices about interpretation, feel, and expression. Rehearsals put us in the driver's seat — flexible groupings, featured sections, and student-led decisions about balance and energy. This is where we discover how each individual voice shapes the ensemble's identity, and we close the year celebrating the joy of performing music that moves both the musicians and the audience. STAGE 1: DESIRED RESULTS Established Goals ● ●

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Pr4.1.E.HSa: Select and organize music for performance, considering instrumentation, technical skill, and expressive intent. Pr5.1.E.HSa: Apply rehearsal strategies and feedback to refine technical accuracy and expressive qualities with increasing independence. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble or performance context. Re9.1.E.HSa: Evaluate performances using criteria related to expression, style, communication, and artistic impact.

Transfer Goals ●

●

Understandings ● ● ● ● ●

Musicians connect their personal interests, experiences, and ideas to performance. Performance requires preparation, communication, and shared responsibility. Musicians develop leadership and collaboration skills by taking ownership of their learning. Music allows for self-expression, connection, and communication beyond words. Reflection and feedback strengthen performance confidence and authenticity.

● ● ● ● ●

How can musicians lead within an ensemble setting? How do musicians prepare mentally and emotionally for performance? What makes a performance meaningful and engaging for an audience? How do musicians express identity and emotion through sound? How do personal and collective experiences shape the music we share?

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Grades 9-12 Symphonic Band Unit 4 Knowledge ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Musical leadership and collaboration within Fundamental a full ensemble context Rehearsal strategy, goal-setting, and self● I can take ownership of my preparation by management as part of performance learning music accurately and arriving preparation rehearsal-ready. Communication through phrasing, ● I can contribute to a unified ensemble sound expression, and stage presence by balancing tone, phrasing, and dynamics Listening, awareness, and adaptability with others. during live performance ● I can interpret musical phrasing and stylistic Responsibility for individual preparation nuance to communicate expression and and collective success intent on stage. Evaluating performance quality through ● I can maintain focus, professionalism, and reflection and peer feedback confidence in live performance settings. Connection between musicianship, ● I can evaluate our ensemble's performance confidence, and real-world communication using musical vocabulary and identify next Audience engagement as an essential steps for growth. element of artistic expression

Key Vocabulary: leadership, collaboration, ensemble, balance, blend, intonation, tone quality, phrasing, interpretation, confidence, preparation, reflection, feedback, stage presence, musicianship, communication, expression, focus, ownership, goal setting, authenticity, performance practice

Advanced ● ●

●

I can demonstrate leadership through clear communication, attentive listening, and positive rehearsal habits. I can apply rehearsal strategies — goal setting, sectional focus, and self-assessment — to improve our collective performance independently. I can articulate how performing as part of an ensemble builds transferable skills in teamwork, discipline, and creative collaboration.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Culminating Ensemble or Featured Performance (concert performance, informal performance share-out, or recorded performance emphasizing student ownership, expression, and stage presence) ● Performance Reflection (written, audio, or verbal reflection

Formative Assessment ● ●

●

Rehearsal Readiness Checks: Observation of individual preparation, focus, and responsibility during rehearsals. Leadership and Collaboration Observations: Informal monitoring of communication, listening, and positive rehearsal habits within sections and across the ensemble. Rehearsal Strategy Check-Ins: Short reflections or discussions on goal setting,

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focused on preparation, collaboration, expression, and personal growth) Peer or Section Feedback Contribution (structured feedback demonstrating leadership, listening, and ensemble awareness)

Criteria: ● Evidence of individual preparation and rehearsal readiness ● Contribution to a unified ensemble sound through balance, blend, phrasing, and dynamics ● Demonstration of leadership, collaboration, and shared responsibility ● Clear communication of musical expression, intent, and style ● Professional stage presence, focus, and confidence during performance ● Use of musical vocabulary to evaluate performance quality and ensemble effectiveness ● Thoughtful reflection identifying strengths, challenges, and next steps for growth ● Connection between musical participation and transferable skills such as teamwork, communication, and self-management

● ●

rehearsal focus, and progress toward performance readiness. Performance Run-Through Feedback: Peer and self-feedback focused on expression, balance, phrasing, and stage presence. Reflection Prompts or Exit Check-Ins: Brief responses to prompts such as: ○ How did today’s rehearsal support our performance goals? ○ What helped our performance feel confident and authentic?

STAGE 3: LEARNING PLAN First Topic: Style, Groove, and Musical Identity

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How do musicians express identity and emotion through sound? ● How do personal and collective experiences shape the music we share?

Fundamental ● ●

I can contribute to a unified ensemble sound by balancing tone, phrasing, and dynamics with others. I can interpret musical phrasing and stylistic nuance to communicate expression and intent on stage.

Advanced ●

I can demonstrate leadership through clear communication, attentive listening, and

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Grades 9-12 Symphonic Band Unit 4 positive rehearsal habits. Learning Activities: ● Guided listening to pop, rock, funk, film, or contemporary wind-band crossover pieces to identify groove, feel, and stylistic norms ● Compare-and-contrast exercises between concert band tone/articulation and pop-style articulation, balance, and phrasing ● Rhythm-section–inspired groove exercises applied to full ensemble textures ● Discussion: What makes this music feel authentic vs “school band–ish”? ● Small-group rehearsal focusing on groove consistency rather than precision alone ● Reflection on how personal listening habits influence musical choices Second Topic: Ownership, Flexibility, and Featured Estimated # of Lessons: 3-4 lessons Roles Learning Targets: Fundamental ●

Essential Questions: ● How can musicians lead within an ensemble setting?

I can contribute to a unified ensemble sound by balancing tone, phrasing, and dynamics with others.

Advanced ● ●

Learning Activities: ● Flexible ensemble groupings (featured sections, layered textures, spotlight moments) ● Student-driven decisions about balance, amplification (if applicable), and texture ● Exploration of optional parts, solos, riffs, or groove layers within the ensemble ● Section- or student-led rehearsal blocks focusing on feel and communication ● Discussion of how leadership looks different in pop/contemporary settings ● Peer feedback focused on authenticity, energy, and ensemble communication Third Topic: Performance as Communication and Connection

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● What makes a performance meaningful and engaging for an audience? ● How do musicians prepare mentally and emotionally for performance?

Fundamental ●

I can interpret musical phrasing and

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stylistic nuance to communicate expression and intent on stage. I can maintain focus, professionalism, and confidence in live performance settings.

Advanced ●

I can demonstrate leadership through clear communication, attentive listening, and positive rehearsal habits.

Learning Activities: ● Informal performance formats (in-the-round, run-throughs, shared performances) ● Focus on stage presence, confidence, and connection over perfection ● Discussion: What does the audience need to feel this music? ● Recording and playback focused on energy and communication, not just accuracy ● Reflection on how performing contemporary music changes ensemble identity ● Celebration of risk-taking, ownership, and growth

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Grades 9-12 Jazz Ensemble Grades 9-12 Jazz Ensemble Jazz Ensemble explores the styles, traditions, and energy that make jazz unique. Students learn to perform swing and straight-eighth styles while developing the articulation, phrasing, and rhythmic precision that give the music its feel and groove. As the year progresses, the ensemble takes on increasingly challenging big band and contemporary repertoire while building strong listening skills and ensemble balance. Students also learn the shared language of jazz through standards, lead sheets, and real charts, gaining confidence interpreting chord symbols and experimenting with improvisation. By the end of the course, musicians perform with greater independence, stylistic awareness, and ownership as they bring their jazz skills into contemporary and crossover styles. Swing & Straight: Finding the Feel 10-15 Lessons

Big Band Traditions: Holiday & Advanced Arrangements 8-10 Lessons

The Language of Jazz: Standards & Real Charts 12-14 Lessons

Jazz in the Real World: Pops, Style, and Ownership 6-8 Lessons

Jazz starts with feel. In this opening unit, we dig into one of the most fundamental distinctions in the music — the difference between swing and straight-eighth styles — and discover how that single choice shapes everything: articulation, phrasing, groove, and how we listen to each other. Through contrasting charts and rhythm section–centered rehearsals, we develop the precision and style awareness that everything else this year depends on.

With our style foundation in place, we step into more demanding territory. Big band writing is complex — dense textures, extended forms, and no place to hide. We take on advanced arrangements and holiday repertoire that push our precision, endurance, and stylistic control, building toward performances that feel polished, confident, and alive.

The ensemble work we have built so far has prepared us for something bigger: learning to speak jazz's shared language. Moving from fully notated arrangements to lead sheets and real charts, we develop the independence to interpret chord symbols, navigate form, and improvise — listening, responding, and taking musical risks in real time the way jazz musicians always have.

Everything we have built this year — feel, precision, fluency, independence — comes with us into this final unit. We bring our jazz skills into contemporary and popular territory: funk, pop-influenced charts, crossover styles. Rehearsals are student-driven, performances are student-owned, and the goal is music that moves both the people playing it and the people in the room.

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Grades 9-12 Jazz Ensemble Unit 1 Course Name: Grades 9-12 Jazz Ensemble Unit 1 Title: Swing & Straight: Finding the Feel

Est. # of Lessons: 10 Lessons

Unit Overview: Jazz starts with feel. In this opening unit, we dig into one of the most fundamental distinctions in the music — the difference between swing and straight-eighth styles — and discover how that single choice shapes everything: articulation, phrasing, groove, and how we listen to each other. Through contrasting charts and rhythm section–centered rehearsals, we develop the precision and style awareness that everything else this year depends on. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Pr4.2.E.HSa: Demonstrate understanding of style and context through prepared jazz ensemble performance. Pr5.1.E.HSa: Apply rehearsal strategies and feedback to refine stylistic accuracy and ensemble cohesion. Pr6.1.E.HSa: Perform jazz repertoire with stylistic accuracy, rhythmic precision, and expressive intent. Re7.2.E.HSa: Analyze how style and context influence interpretation and performance in jazz music. Re9.1.E.HSa: Evaluate jazz performances using criteria related to groove, articulation, balance, and style.

Transfer Goals ●

●

Understandings ● ● ●

Jazz style is shaped by rhythmic feel, articulation, and interaction, not just notes and rhythms. Swing and straight-eighth styles require different approaches to time, phrasing, and ensemble balance. Effective jazz performance depends on

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians. (Self-Directed Learners, Critical Thinkers) Essential Questions

● ● ● ●

What makes swing feel different from straight-eighth styles? How does rhythmic feel affect phrasing, articulation, and ensemble sound? How do jazz musicians listen and respond to one another to create groove? How does style influence interpretation and

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listening, groove, and communication within the ensemble. Style awareness helps musicians make informed interpretive decisions and play with authenticity.

musical communication?

Knowledge ● ● ● ● ● ● ● ● ● ●

Swing and straight-eighth subdivision Jazz articulation patterns (legato, accent placement, ghosted notes) Listening within and across the ensemble, with emphasis on rhythm section interaction Time feel and internal pulse Balance and blend within jazz ensemble sections Style-based phrasing and note length Rhythm section roles (drums, bass, piano/guitar) in establishing groove Lead player and section roles in jazz ensemble settings Ensemble cueing and stylistic communication Continued emphasis on melody, balance, blend, dynamics, tempo, and cueing in a jazz context

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can distinguish between swing and straighteighth jazz styles through listening and performance. I can adjust articulation, time feel, and phrasing to match swing and straight styles. I can maintain steady time while listening and responding to the rhythm section. I can contribute to a unified jazz ensemble sound through balance, blend, and style awareness. I can follow stylistic cues from the director, rhythm section, and lead players. I can reflect on how rhythmic feel and articulation affect ensemble groove and clarity.

Key Vocabulary: swing, straight-eighth, subdivision, groove, time feel, articulation, accent, ghost note, rhythm section, lead player, balance, blend, dynamics, tempo, cue, ensemble, style, feel, phrase, interpretation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● ●

Style-Contrast Performance (performance of at least one swing chart and one straight-eighth chart) Listening & Style Reflection (written or verbal reflection analyzing differences in feel, articulation, and groove)

Formative Assessment ● ● ● ●

Style Spot Checks: Short rehearsal pauses identifying swing vs. straight articulation and feel. Groove Listening Checks: Observation of time feel and alignment with bass and drums. Call-and-Response Drills: Immediate feedback on articulation and rhythmic placement. Recording & Playback Reflection: Focused

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Grades 9-12 Jazz Ensemble Unit 1 Criteria: ● ● ● ● ●

Accurate execution of swing vs. straight rhythmic feel Appropriate articulation and phrasing for each style Consistent time feel and rhythmic alignment with the rhythm section Clear balance and ensemble cohesion Use of jazz vocabulary to describe stylistic differences and performance outcomes

●

listening for groove consistency and stylistic clarity. Exit Reflection: What helped our swing (or straight) feel today? What needs work next rehearsal?

STAGE 3: LEARNING PLAN First Topic: Hearing and Understanding Jazz Style

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can distinguish between swing and straight-eighth jazz styles through listening and performance. ● I can adjust articulation, time feel, and phrasing to match swing and straight styles.

Essential Questions: ● What makes swing feel different from straight-eighth styles? ● How does style influence interpretation and musical communication?

Learning Activities: ● Guided listening comparing swing charts and straight-eighth jazz/funk charts ● Identification of swing ratio, subdivision, and stylistic articulation through discussion ● Call-and-response rhythm clapping and playing in swing vs. straight feels ● Score study highlighting style markings, articulation, and rhythm section figures ● Group discussion: Why do these two charts feel so different even at similar tempos?

Second Topic: Time Feel, Groove, and Rhythm Section Interaction

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can maintain steady time while listening and responding to the rhythm section. ● I can follow stylistic cues from the director, rhythm section, and lead players.

Essential Questions: ● How do jazz musicians listen and respond to one another to create groove?

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Grades 9-12 Jazz Ensemble Unit 1 Learning Activities: ● Metronome-based groove exercises emphasizing swing subdivision and pocket ● Sectional work with rhythm section isolating groove patterns ● Layered entrance exercises focusing on locking in with bass and drums ● Rehearsal of repeated figures to reinforce time feel consistency ● Listening-focused run-throughs where students identify where groove breaks down

Third Topic: Ensemble Style, Balance, and Communication

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can contribute to a unified jazz ensemble sound through balance, blend, and style awareness. ● I can reflect on how rhythmic feel and articulation affect ensemble groove and clarity.

Essential Questions: ● How does rhythmic feel affect phrasing, articulation, and ensemble sound?

Learning Activities: ● Full-ensemble rehearsals emphasizing articulation, phrasing, and balance by style ● Lead-player and section cueing practice to reinforce ensemble communication ● Contrast rehearsals: same figure played swing vs. straight to refine awareness ● Recording and playback to evaluate groove, clarity, and style authenticity ● Reflection prompts connecting listening, feel, and ensemble cohesion

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Grades 9-12 Jazz Ensemble Unit 2

Course Name: Grades 9-12 Jazz Ensemble Est. # of Lessons: 10 Lessons Unit 2 Title: Big Band Traditions - Holiday & Advanced Arrangements Unit Overview: With our style foundation in place, we step into more demanding territory. Big band writing is complex — dense textures, extended forms, and no place to hide. We take on advanced arrangements and holiday repertoire that push our precision, endurance, and stylistic control, building toward performances that feel polished, confident, and alive. STAGE 1: DESIRED RESULTS Established Goals ●

●

● ● ●

Pr4.2.E.HSa: Demonstrate understanding of style, structure, and context of musical works through prepared jazz ensemble performance. Pr5.1.E.HSa: Apply rehearsal strategies and feedback to refine technical accuracy, stylistic consistency, and ensemble cohesion. Pr6.1.E.HSa: Perform advanced jazz repertoire with technical precision, expressive intent, and stylistic integrity. Re7.2.E.HSa: Analyze how style, form, and ensemble roles influence interpretation and performance in jazz music. Re9.1.E.HSa: Evaluate jazz ensemble performances using criteria related to accuracy, balance, blend, articulation, endurance, and professionalism.

Transfer Goals ●

●

Understandings ● ● ●

Advanced jazz arrangements require heightened precision, listening, and stylistic control. Individual accuracy and preparation directly impact ensemble clarity and confidence. Complex forms and textures demand

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Essential Questions

● ● ● ●

How does advanced repertoire change the way an ensemble rehearses and performs? What responsibilities do individual musicians have in complex ensemble settings? How do precision and style work together to create a convincing jazz performance? What makes a polished big band performance

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strong rehearsal habits and ensemble awareness. Stylistic integrity is essential when performing traditional and holiday jazz repertoire. Polished performance reflects preparation, discipline, and shared responsibility.

●

Knowledge ●

Skills (Framed as Learning Targets)

Advanced big band forms and extended arrangements Holiday jazz styles and traditional big band conventions Dense textures and layered scoring across sections Section roles, lead responsibilities, and ensemble hierarchy Precision in articulation, dynamics, and rhythmic alignment Endurance, focus, and consistency across longer works Rehearsal discipline and performance preparation in advanced literature

●

Key Vocabulary: form, style, precision, section, lead player, articulation, dynamics, balance, blend, endurance, accuracy, ensemble hierarchy, cue, interpretation, rehearsal strategy, consistency, professionalism

●

● ● ● ● ● ●

feel confident and professional? How does preparation influence ensemble clarity and musical trust?

● ● ● ● ●

●

I can perform advanced jazz arrangements with technical accuracy and stylistic consistency. I can maintain focus and precision across complex forms and extended performances. I can balance my role within dense ensemble textures to support clarity and blend. I can follow lead players, conductor cues, and stylistic indicators to support ensemble cohesion. I can rehearse strategically to address challenging passages and improve consistency. I can apply feedback to refine articulation, dynamics, and ensemble alignment. I can demonstrate endurance and professionalism during rehearsals and performances. I can reflect on how preparation and focus impact ensemble confidence and performance quality.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Polished Ensemble Performance (concert performance or recorded performance of advanced and/or holiday jazz arrangements) ● Section or Individual Performance Check (focused excerpt assessing accuracy, articulation, balance, and stylistic consistency) ● Performance Reflection (written or verbal reflection analyzing

Formative Assessment ● ● ● ●

Precision Spot Checks: Brief rehearsal pauses to assess accuracy, alignment, and clarity in difficult passages. Section Responsibility Checks: Observation of individual and section preparation, leadfollowing, and role awareness. Ensemble Cohesion Observations: Monitoring balance, blend, articulation, and stylistic consistency during full rehearsals. Recording and Playback Analysis: Short rehearsal recordings used to evaluate ensemble clarity, style, and precision.

337

Grades 9-12 Jazz Ensemble Unit 2 preparation, focus, and ensemble cohesion) Criteria: ● Accurate execution of notes, rhythms, and articulations in advanced repertoire ● Consistent stylistic interpretation appropriate to big band and holiday jazz traditions ● Clear balance and blend within dense ensemble textures ● Effective response to lead players, conductor cues, and stylistic indicators ● Sustained focus and endurance across extended performances ● Professional stage presence and rehearsal habits ● Use of musical vocabulary to reflect on ensemble precision and performance quality

● ●

Endurance and Focus Checks: Observation of consistency and attention during extended run-throughs. Exit Reflection or Check-In: Prompts such as: What improved in today’s rehearsal? What still needs focused work?

STAGE 3: LEARNING PLAN First Topic: Precision, Accuracy, and Section Responsibility

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can perform advanced jazz arrangements with technical accuracy and stylistic consistency. ● I can balance my role within dense ensemble textures to support clarity and blend. ● I can rehearse strategically to address challenging passages and improve consistency.

Essential Questions: ● How does advanced repertoire change the way an ensemble rehearses and performs? ● What responsibilities do individual musicians have in complex ensemble settings?

Learning Activities: ● Targeted warm-ups focused on articulation clarity, dynamic control, and rhythmic accuracy ● Sectional rehearsals addressing challenging passages, fast figures, and layered rhythms ● Slow-tempo rehearsals emphasizing clean entrances, releases, and alignment ● Section role identification (lead vs. supporting parts) to reinforce balance and hierarchy ● Rehearsal pauses for students to identify where precision breaks down and why ● Focused repetition of difficult figures to build consistency and confidence Second Topic: Ensemble Cohesion and Stylistic Integrity

Estimated # of Lessons: 3-4 lessons

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Grades 9-12 Jazz Ensemble Unit 2 Learning Targets: Essential Questions: ● I can follow lead players, conductor cues, ● How do precision and style work together to and stylistic indicators to support ensemble create a convincing jazz performance? cohesion. ● How does preparation influence ensemble ● I can apply feedback to refine articulation, clarity and musical trust? dynamics, and ensemble alignment.

Learning Activities: ● Full-ensemble rehearsals emphasizing stylistic articulation and dynamic contrast ● Lead-player and conductor cue-following exercises to reinforce ensemble cohesion ● Balance and blend drills within and across sections in dense scoring ● Contrast rehearsals isolating sections to clarify texture and ensemble roles ● Recording and playback to evaluate ensemble clarity, style, and precision ● Guided discussion on how stylistic consistency impacts audience perception Third Topic: Performance Readiness, Endurance, and Polish

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can maintain focus and precision across complex forms and extended performances. ● I can demonstrate endurance and professionalism during rehearsals and performances. ● I can reflect on how preparation and focus impact ensemble confidence and performance quality.

Essential Questions: ● What makes a polished big band performance feel confident and professional?

Learning Activities: ● Extended run-throughs to build endurance and concentration ● Mock performance scenarios simulating concert conditions ● Stage presence checks focusing on posture, focus, and professionalism ● Refinement of transitions, endings, and stylistic details ● Reflection prompts connecting preparation to performance confidence ● Final polishing of dynamics, phrasing, and articulation to unify ensemble sound

339

Grades 9-12 Jazz Ensemble Unit 3

Course Name: Grades 9-12 Jazz Ensemble Unit 3 Title: The Language of Jazz: Standards & Real Charts

Est. # of Lessons: 10 Lessons

Unit Overview: The ensemble work we have built so far has prepared us for something bigger: learning to speak jazz's shared language. Moving from fully notated arrangements to lead sheets and real charts, we develop the independence to interpret chord symbols, navigate form, and improvise — listening, responding, and taking musical risks in real time the way jazz musicians always have.

STAGE 1: DESIRED RESULTS Established Goals ●

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● ●

Cr1.1.E.HSa: Generate and develop musical ideas for performance through improvisation, variation, and stylistic interpretation within a given harmonic framework. Pr4.1.E.HSa: Select and organize musical ideas for performance by interpreting lead sheets, chord symbols, form, and stylistic indicators. Pr5.1.E.HSa: Apply rehearsal strategies, feedback, and self-assessment to refine ensemble performance and improvisational fluency. Pr6.1.E.HSa: Perform jazz standards with stylistic accuracy, demonstrating understanding of form, harmony, interaction, and expressive intent. Re7.2.E.HSa: Analyze how musical structure, harmony, and style inform interpretation and improvisational choices. Re9.1.E.HSa: Evaluate jazz performances using criteria related to style, interaction, improvisation, groove, and ensemble communication.

Understandings

Transfer Goals ●

●

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Essential Questions

340

Grades 9-12 Jazz Ensemble Unit 3 ● ● ● ● ●

Jazz standards form a shared musical language that connects musicians across time and styles. Lead sheets and real charts require musicians to make informed interpretive and stylistic decisions. Improvisation is a learned skill built through listening, pattern recognition, and risktaking. Knowledge of form, harmony, and style supports confident ensemble playing and soloing. Jazz performance relies on interaction, flexibility, and trust within the ensemble.

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Knowledge ● ● ● ● ● ● ●

Common jazz standards and their historical significance Lead sheet and real chart notation (melody, chord symbols, form) Common jazz forms (12-bar blues, AABA, ABAC) Harmonic function and basic chord progressions in jazz standards Relationship between scales, chord tones, and improvisation Roles of the rhythm section and soloists in standard jazz repertoire Call-and-response and interaction in jazz performance

How do jazz standards function as a shared musical language? What skills do musicians need to perform from lead sheets and real charts? How does understanding form and harmony support improvisation? How do jazz musicians balance structure and freedom in performance? How does listening shape interaction and improvisational choices?

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

Key Vocabulary: jazz standard, lead sheet, real chart, form, chorus, 12-bar blues, chord symbol, changes, harmony, improvisation, solo, comping, groove, interaction, call and response, guide tones, style, interpretation

I can perform jazz standards using lead sheets or real charts with stylistic accuracy. I can follow form and harmonic structure while performing and improvising. I can improvise simple melodic ideas using scales, chord tones, or patterns appropriate to the harmony. I can listen and respond to the rhythm section and soloists during performance. I can balance written material and improvisation within an ensemble setting. I can demonstrate confidence and musical risk-taking during improvisation. I can reflect on how historical context and listening inform my improvisational choices.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Standards Performance with Improvisation (performance of one or more jazz standards from lead sheets or real charts, including written ensemble sections and optional or required improvised solos)

Formative Assessment ● ●

Form & Structure Checks: Rehearsal pauses where students identify form, choruses, and transitions without conductor prompts. Improvisation Readiness Checks: Observation of students experimenting with limited note sets, patterns, or guide tones during

341

Grades 9-12 Jazz Ensemble Unit 3 ●

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Improvisation Performance Check (short improvised solo or trading section demonstrating use of form, harmony, and stylistic awareness) Performance Reflection (written or verbal reflection focused on listening, interaction, improvisation, and growth)

Criteria: ● Accurate performance of jazz standards using lead sheets or real charts ● Clear understanding of form and harmonic structure during ensemble playing and improvisation ● Use of appropriate scales, chord tones, or patterns during improvisation ● Evidence of listening and interaction with the rhythm section and soloists ● Willingness to take musical risks and engage authentically in improvisation ● Balance between written material and improvised content ● Use of jazz vocabulary to reflect on performance choices and growth ● Respect for style, historical context, and ensemble interaction

● ● ● ●

rehearsal. Listening & Interaction Observations: Monitoring responsiveness to soloists, rhythm section cues, and ensemble dynamics. Trading & Call-and-Response Activities: Lowstakes improvisation exercises used to assess confidence and musical conversation. Recording and Playback Reflection: Short recordings analyzed for groove, interaction, and improvisational clarity. Exit Reflection or Check-In: Prompts such as: What helped your improvisation feel more confident today? How did listening influence your musical choices?

STAGE 3: LEARNING PLAN First Topic: Understanding the Language of Jazz Standards

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can perform jazz standards using lead sheets or real charts with stylistic accuracy. ● I can reflect on how historical context and listening inform my improvisational choices.

Essential Questions: ● How do jazz standards function as a shared musical language?

Learning Activities: ● Guided listening to multiple recordings of the same jazz standard to identify form and stylistic differences ● Whole-ensemble walkthroughs of lead sheets focusing on form, repeats, and chord symbols ● Call-and-response singing or playing of standard melodies to internalize form and phrasing ● Form-mapping activities (labeling choruses, phrases, and repeats during rehearsal)

342

Grades 9-12 Jazz Ensemble Unit 3 ● ●

Rehearsal pauses where students identify “where we are” in the form without conductor cues Discussion of how standards function as a shared musical language across generations

Second Topic: Interpreting Real Charts and Ensemble Roles

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can perform jazz standards using lead sheets or real charts with stylistic accuracy. ● I can balance written material and improvisation within an ensemble setting.

Essential Questions: ● What skills do musicians need to perform from lead sheets and real charts?

Learning Activities: ● Small-group rehearsals using real charts to determine style, tempo, and articulation ● Rhythm section–focused work on comping patterns and groove choices ● Section-based role identification (melody, harmony, background figures, support) ● Rehearsal experiments with different interpretations of the same chart ● Listening tasks where students identify how ensemble interaction shapes performance ● Peer discussion on how individual decisions affect the collective sound Third Topic: Building Improvisation Skills

Estimated # of Lessons: 4-6 lessons

Learning Targets: Essential Questions: ● I can follow form and harmonic structure ● How does understanding form and harmony while performing and improvising. support improvisation? ● I can improvise simple melodic ideas using scales, chord tones, or patterns appropriate to the harmony. ● I can demonstrate confidence and musical risk-taking during improvisation. Learning Activities: ● Improvisation warm-ups using limited note sets (blues scale, chord tones, guide tones) ● Call-and-response improvisation between soloist and ensemble or rhythm section ● Short, low-stakes solo opportunities embedded into rehearsal ● Guided improvisation over repeated sections or vamps ● Reflection prompts focused on what students heard, tried, and learned while improvising ● Discussion normalizing mistakes as part of the improvisation process Fourth Topic: Interaction, Listening, and Musical Conversation

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can listen and respond to the rhythm section and soloists during performance. ● I can balance written material and improvisation within an ensemble setting.

Essential Questions: ● How do jazz musicians balance structure and freedom in performance? ● How does listening shape interaction and improvisational choices?

343

Grades 9-12 Jazz Ensemble Unit 3 Learning Activities: ● Trading fours or eights to practice musical conversation ● Listening-focused rehearsals where players respond dynamically to soloists ● Groove-based exercises emphasizing ensemble flexibility and interaction ● Recording and playback to analyze interaction between soloists and ensemble ● Reflection on how listening influences improvisational choices ● Discussion of how jazz balances structure and freedom in performance

344

Grades 9-12 Jazz Ensemble Unit 4

Course Name: Grades 9-12 Jazz Ensemble Unit 4 Title: Jazz in the Real World: Pops, Style, and Ownership

Est. # of Lessons: 10 Lessons

Unit Overview: Everything we have built this year — feel, precision, fluency, independence — comes with us into this final unit. We bring our jazz skills into contemporary and popular territory: funk, popinfluenced charts, crossover styles. Rehearsals are student-driven, performances are student-owned, and the goal is music that moves both the people playing it and the people in the room. STAGE 1: DESIRED RESULTS Established Goals ●

●

● ●

Cr1.1.E.HSa: Generate and develop musical ideas through improvisation, stylistic interpretation, and creative decisionmaking within contemporary and popular jazz contexts. Pr4.1.E.HSa: Select and organize musical ideas for performance by interpreting contemporary jazz and pops charts with attention to style, groove, and expressive intent. Pr5.1.E.HSa: Apply rehearsal strategies, peer feedback, and self-assessment to refine ensemble performance with increasing independence and ownership. Pr6.1.E.HSa: Perform contemporary and popular jazz repertoire with stylistic authenticity, expressive confidence, and professional stage presence. Re7.2.E.HSa: Analyze how style and context influence interpretation and performance in jazz music. Re9.1.E.HSa: Evaluate performances using criteria related to groove, expression, ensemble communication, audience engagement, and artistic impact.

Transfer Goals ●

●

Understandings ●

Jazz is a living art form that continues to evolve through popular and contemporary styles.

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions. (Effective Communicators, Critical Thinkers) Essential Questions

● ●

How do jazz musicians adapt their skills to contemporary and popular styles? What does it mean to perform with

345

Grades 9-12 Jazz Ensemble Unit 4 ● ● ● ●

Authentic performance requires musicians to adapt technique, style, and expression to different musical contexts. Musical ownership grows when students make artistic choices and take responsibility for ensemble success. Performance is a form of communication that connects musicians and audiences. Confidence, creativity, and collaboration contribute to meaningful and engaging performances.

● ● ●

Knowledge ● ● ● ● ● ● ●

Contemporary and popular jazz styles and influences Groove-based performance practices across genres (funk, rock, Latin, popinfused jazz) Stylistic differences between traditional jazz repertoire and modern charts Flexible ensemble roles and featured parts within contemporary arrangements Performance practices related to stage presence, confidence, and audience connection Rehearsal strategies that support independence and artistic decision-making Communication and interaction within modern jazz ensemble settings

authenticity and personal voice? How do musicians balance individual expression with ensemble responsibility? What makes a jazz performance engaging and relevant to an audience? How does taking ownership of musical choices shape performance confidence?

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can adapt my playing to contemporary and popular jazz styles with stylistic accuracy. I can make musical decisions about groove, articulation, and expression that support ensemble style. I can take ownership of my preparation and contribution to ensemble performance. I can balance individual expression with ensemble cohesion in modern jazz settings. I can demonstrate confidence, focus, and professionalism during performances. I can collaborate with peers to shape interpretation and performance choices. I can reflect on how musical ownership and creative risk-taking affect performance quality and engagement.

Key Vocabulary: groove, style, authenticity, feel, pocket, interpretation, expression, ownership, collaboration, balance, blend, dynamics, phrasing, stage presence, confidence, communication, contemporary jazz, pops, audience engagement STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Capstone Pops Performance (concert performance, showcase, or recorded performance of contemporary/pop-influenced jazz repertoire emphasizing groove, style, and

Formative Assessment ● ●

Groove & Style Spot Checks: Short rehearsal pauses focused on feel, pocket, articulation, and stylistic authenticity. Ownership & Preparation Checks: Observation of rehearsal readiness, initiative, and responsibility during student-led or

346

Grades 9-12 Jazz Ensemble Unit 4

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student ownership) Performance Ownership Reflection (written, audio, or verbal reflection addressing preparation, artistic choices, collaboration, and audience connection) Peer Contribution / Leadership Evidence (documentation of leadership, collaboration, or artistic decision-making during rehearsal or performance preparation)

Criteria: ● Stylistically accurate performance of contemporary or popular jazz repertoire ● Consistent groove, balance, and ensemble cohesion ● Evidence of individual ownership through preparation and musical decision-making ● Effective collaboration and communication within the ensemble ● Confident stage presence, focus, and professionalism ● Clear expressive intent that connects with an audience ● Thoughtful reflection using musical vocabulary to describe growth, risk-taking, and engagement ● Recognition of how personal voice contributes to ensemble identity and performance impact

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section-led work. Peer Feedback Rounds: Structured feedback sessions centered on groove, expression, balance, and ensemble communication. Leadership & Collaboration Observations: Monitoring how students support one another, make musical decisions, and problem-solve collectively. Recording and Playback Reflection: Short recordings used to evaluate energy, confidence, and audience connection rather than perfection. Exit Reflection or Check-In: Prompts such as: How did your musical choices support the style today? What helped the performance feel confident and engaging?

STAGE 3: LEARNING PLAN First Topic: Contemporary Style, Groove, and Relevance

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can adapt my playing to contemporary and popular jazz styles with stylistic accuracy. ● I can make musical decisions about groove, articulation, and expression that support ensemble style.

Essential Questions: ● How do jazz musicians adapt their skills to contemporary and popular styles? ● What does it mean to perform with authenticity and personal voice?

Learning Activities: ● Guided listening to contemporary jazz, funk, pop-influenced, and crossover charts ● Compare-and-contrast rehearsal of traditional jazz articulation vs. modern groove-based style

347

Grades 9-12 Jazz Ensemble Unit 4 ● ● ● ●

Groove isolation exercises focusing on pocket, feel, and rhythmic consistency Rhythm section–led demonstrations of stylistic differences Discussion: What makes this music feel current and authentic rather than “school jazz”? Application of style concepts directly to pops or contemporary charts

Second Topic: Ownership, Collaboration, and Artistic Decision-Making

Estimated # of Lessons: 3-4 lessons

Learning Targets: Essential Questions: ● I can take ownership of my preparation and ● How do musicians balance individual contribution to ensemble performance. expression with ensemble responsibility? ● I can collaborate with peers to shape ● How does taking ownership of musical interpretation and performance choices. choices shape performance confidence? ● I can balance individual expression with ensemble cohesion in modern jazz settings. Learning Activities: ● Student-led or section-led rehearsal blocks focused on groove, balance, and interpretation ● Flexible ensemble groupings to highlight featured parts or textures ● Peer feedback rounds using musical vocabulary to refine stylistic choices ● Rehearsal planning discussions identifying priorities and performance goals ● Leadership rotations within sections or rhythm section ● Reflection prompts connecting ownership to ensemble confidence and clarity Third Topic: Performance, Confidence, and Audience Connection

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can demonstrate confidence, focus, and professionalism during performances. ● I can reflect on how musical ownership and creative risk-taking affect performance quality and engagement.

Essential Questions: ● What makes a jazz performance engaging and relevant to an audience?

Learning Activities: ● Full-ensemble run-throughs emphasizing confidence, focus, and expressive communication ● Informal or non-traditional performance formats (in-the-round, mini-showcase, open rehearsal) ● Stage presence and audience engagement checks ● Recording and playback focused on energy, groove, and connection rather than perfection ● Peer and self-reflection on performance effectiveness and authenticity ● Celebration of ensemble growth, risk-taking, and musical identity

348

Orchestra

Grades 3-12

349

Grade 3 Orchestra Grade 3 Orchestra Unit 1: The String Instrument Journey Begins Lessons 6-7

Unit 2: New Notes, New Skills — Our First Performance Lessons 11-12

Unit 3: Building Technique, Honing Our Sound Lessons 11-12

This is where it all starts. We choose our instrument, learn how to hold it, care for it, and make our very first sounds. We discover how to pluck the strings and draw the bow to create warm-ups and simple songs. Step by step, we build the habits that every musician needs — practice, responsibility, and patience.

Now that we can make sounds with the bow, we add our left hand to play new pitches and our first real songs in D Major. Then comes something exciting — we prepare for our first performance. We learn what it means to play for an audience, work together as an ensemble, and share our music with pride.

After our first performance, we keep growing. We learn the D Major Scale, read new rhythms, and play across multiple strings. We discover what it means to truly listen — matching tempo, balancing our sound, and playing as one. By our final performance, we can hear how far we've come.

350

Grade 3 Orchestra Unit 1

Course Name: Grade 3 Beginner Orchestra Unit 1: The String Instrument Journey Begins

Est. # of Lessons: 6-7

Unit Overview: This is where it all starts. We choose our instrument, learn how to hold it, care for it, and make our very first sounds. We discover how to pluck the strings and draw the bow to create warm-ups and simple songs. Step by step, we build the habits that every musician needs — practice, responsibility, and patience. STAGE 1: DESIRED RESULTS Established Goals ● ●

Pr5.3.E.8a: Develop practice strategies and evaluate their success. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances.

Transfer Goals ●

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Understandings ●

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Regular practice of basic techniques—like holding the instrument correctly, plucking with proper finger placement, and using a correct bow hold—helps us make better sounds and build skills that last. Listening to ourselves and to feedback from our teacher and classmates helps us notice what's working and what we need to improve. Musicians take care of their instruments through careful handling, regular cleaning, and proper storage to ensure they sound their best and stay in good condition..

Essential Questions ● ● ●

Knowledge ● ● ●

Instrument Position & Posture Bow Hold Pizzicato

How do we make sounds on our instruments? What do we need to work on? How did we do? How can we take care of our instruments so they last?

Skills (Framed as Learning Targets) ● ●

I can carry, set-up, hold, and pack-up my instrument and bow correctly. I can pluck the strings to make clear sounds.

351

Grade 3 Orchestra Unit 1 ● ● ● ● ● ● ● ● ● ●

Bow Exercises Arco (Bow Technique) Bow Weight, Speed, Length, Placement Steady Beat Bow Circle Echoing/Rote Playing Quarter Notes & Rests (exploratory) String Crossing Solo Instrument/Bow Care & Maintenance

Key Vocabulary: echo, bow, frog, tip, hair, stick, screw, bump, grip, button, fingerboard, bridge, strings, fine tuners, pegs, nut, F holes, chin rest, end pin, button, playing position, rest position, bow exercises, air bowing, bow circle, bow lift, arco, pizzicato, tighten, loosen, rosin, down bow, up bow, push, pull, string crossing, counting, steady beat, solo, accompaniment, measure, bar line, quarter note, quarter rest, bow placement, bow speed, bow weight, bow length

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I can hold my bow with the correct hold during silent bow exercises. I can play with the bow using up-bows, down-bows, and bow lifts. I can play open string crossings. I can play simple songs with open strings. I can tap my foot to keep a steady beat while playing. I can care for my instrument (tighten/loosen bow, apply rosin, clean). I can tell what I did well and what I need to work on. I can listen to feedback and use it to improve.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Small Group and Individual Performance: Students will be assessed on instrument hold, bow hold, posture/positioning, sound production, open string accuracy, foot tapping, length of bow, speed of bow, and location of bow.

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Participation in daily warm-ups Teacher observation of response to visual and auditory cues Call-and-response accuracy during echoing In-the-moment-prompts ( ex. “Who had the melody? Did we support them?”) Peer feedback on blend or pulse following group exercises

STAGE 3: LEARNING PLAN First Topic: Setting up/Packing up Instruments

Estimated # of Lesson: 1

Learning Targets: ● I can carry, set-up, hold, and pack-up my instrument and bow correctly. ● I can care for my instrument (tighten/loosen bow, apply rosin, clean). ● I can tell what I did well and what I need to work on.

Essential Questions: ● How can we take care of our instruments so they last?

352

Grade 3 Orchestra Unit 1 Learning Activities: ● Teacher demonstration and student practice of placing instruments correctly on the floor, against the wall outside the Orchestra Room for instrument care and safety. ● Teacher demonstration and student practice of correctly carrying a violin/viola/cello in the hallway, bus, etc. to protect the instrument. ● Teacher demonstration and student practice of unlatching/unzipping the violin/viola case with proper placement on chair for correct and safe removal of the instrument. ● Teacher demonstration and student practice of unzipping the cello case with proper placement on its side on the floor for correct and safe removal of the instrument. ● Teacher demonstration and student practice of how to loosen, pull out, and tighten the cello endpin for proper cello height when playing. ● The bow is not taken out of the case in these first three-four lessons. Second Topic: Posture, Playing Position, & Plucking

Estimated # of Lessons: 1-6 This learning plan describes the routines we learn that encompass the daily lesson.

Learning Targets: ● I can pluck the strings to make clear sounds. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● How do we make sounds on our instruments? ● What do we need to work on? How did we do?

Learning Activities: ● Standing position (violin/viola) with correct foot placement, working towards playing position. ● Sitting (cello) with correct foot and back position working towards playing position. ● Violin/viola/cello playing position (hold), step by step, naming instrument parts while using handout for ability to do so independently at home practice and towards mastery. ● Violin/viola/cello rest position for when they are not playing. ● Plucking the four open strings with correct technique (finger placement on string, thumb anchoring) for initial sound creation. ● Plucking while singing letter names of open strings independently, using ‘bridge’ hand-out for reinforcing memorization of string names and proper pizzicato technique. ● Echoing with plucking/singing four beat patterns, using all open strings with visual hand-out for reinforcing memorization of string names and proper pizzicato technique. Third Topic: Plucking a Song with Steady Beat

Estimated # of Lessons: 1-5 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can play simple songs with open strings. ● I can tap my foot to keep a steady beat while playing. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to

Essential Questions: ● How do we make sounds on our instruments? ● What do we need to work on? How did we do?

353

Grade 3 Orchestra Unit 1 improve. Learning Activities: ● Playing Position Checks (NEST, chicken wing, etc.) for understanding. ● Echoing with plucking/singing four beat patterns, using all open strings with visual hand-out for reinforcing memorization of string names and proper pizzicato technique. ● First song (D-A-D song): go over symbols, read and sing; echo teacher with singing and plucking one measure at a time; teacher plucks/sings whole song with foot tapping; class tries whole song on its own without stopping for initial song experience. ● Pluck/sing/tap foot song with the teacher for cohesion. ● Pluck/sing/tap foot song without a teacher for independence and listening skills. ● Pluck song/tap foot as an ensemble without a teacher for independence and listening skills. ● Pluck song/tap foot along with teacher piano accompaniment for independence, listening skills, and ensemble experience. ● Solo performance with or without the teacher piano accompaniment for peer assessment and independence. Fourth Topic: Learning Bow Hold

Estimated # of Lessons: 1-4 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can hold my bow with the correct hold during silent bow exercises. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do?

Learning Activities: ● Teacher guided step-by-step to correct bow hold for violin/viola & cello for initial understanding. ● Quicker repetition of steps each time until a student can achieve correct bow hold in 5 seconds or less for independence. ● Silent Bow Exercises: Rocket Ships, Stir the Soup, Stir the Hot Chocolate, Windshield Wipers, Bow Balancing, Bow-on-the-Shoulder, Bow-on-the-Lap, Bows-in-the-air, Shadow Bowing, Finger Taps, and Drawbridge for strengthening correct bow hold, tone in hand, and muscle memory. Fifth Topic: Playing Open Strings with the Bow

Estimated # of Lessons: 1-3 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can play with the bow using up-bows, down-bows, and bow lifts. ● I can tap my foot to keep a steady beat while playing. ● I can tell what I did well and what I need to work on.

Essential Questions: ● How do we make sounds on our instruments? ● What do we need to work on? How did we do?

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Grade 3 Orchestra Unit 1 ●

I can listen to feedback and use it to improve.

Learning Activities: ● Teacher demonstration of tightening and loosening the bow. Teacher explains “Righty tighty, lefty loosey” saying, draws diagram on the board for which way to turn screw, has everyone practice lining up the screw with drawing, “look through the telescope” exercise, stick part of the bow must still be smiling, drawing picture on board, and constant “bow checks” for teacher. ● Bow Circles (preliminary): no set rhythm, down bows & up bows, 4 per string with bow lift in between; teacher guided demonstration, slow step-by-step instruction individually, then as group together, lifting bow together (‘airplane’ and then ‘circle’ vocab) for strengthening proper bow sound production. ● Bow Circles (beginner): down bows & up bows playing for two beats, circle on beat 3 (airplane), land back on string at frog or tip on beat 4 with foot tapping to a steady beat for sound production. Example: “One, two, airplane land, etc.” or “Pu—ll (push), airplane, land” ● Students echo teacher with words only. Students echo teacher with “air bowing” and words. Students echo teacher with real playing on the string. Teacher and students play together four times in a row on each string for down bows and then four times in a row for each string for up bows. ● “Bow Check”-- students hold up bows horizontally with bow hold, so teacher can see if bows are tight enough or too tight ● Teacher reminds students to loosen bow using previous techniques from board and reminds them to do so every time they play at home. Teacher does bow check after loosened. ● Teacher demonstrates the correct way to clean rosin dust off strings and wood of instrument, reminding students to do so daily when done playing. Sixth Topic: String Crossing

Estimated # of Lessons: 1-3 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can play open string crossings. ● I can play simple songs with open strings. ● I can tap my foot to keep a steady beat while playing. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● How do we make sounds on our instruments? ● What do we need to work on? How did we do?

Learning Activities: ● Visual Aids & Demonstration: Teacher writes open string names on the white board for each instrument. Students may also use handouts from their folder. Teacher demonstration of string crossing with specific language “Pull, stop, cross, push, cross” etc. and then students try on their own individually. ● Singing & Air Bowing: a preparatory activity before actually playing the String Crossing Song, students are able to work out the kinks here and practice it with a steady beat before trying to play it. Students tap their foot steadily while they sing each open string letter name for two beats,

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Grade 3 Orchestra Unit 1

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starting with lowest string, saying “stop, cross” between strings, while “air bowing” (bow in the air) with correct down/up bowing and then go backwards from highest to lowest string. For example, a violinist would start with bow in the air above their head and pull straight down while singing: “G— stop, cross, D — stop, cross, A— stop cross, E—, stop ,cross, E— stop, cross, A— stop, cross, D— stop cross, G— stop, cross.” Students may use visual aid from their folder for letter names or read the board. Teacher points out that the violins will be different from the violas & cellos– challenges fun competition to see who is louder. Beginning String Crossing Song/Warm-up: students must place bow on the correct string one at a time, with bow arm switching planes correctly, with correct bow length, speed, weight, placement, and amount of hair with tapping foot to a steady beat with piano accompaniment to strengthen string crossing concept and skill. Everyone begins on their bottom/lowest string (so violins will be a fifth higher than the violas & cellos), plays two beats then stops on beat 3 before crossing to next string on beat 4, continuing until their on the top/highest string, playing that string again, then working their way backwards on each string back to the bottom/lowest string again. Teacher says: “1-2-stop-cross” for each string. Eventually students will be able to play for three beats and cross on beat 4: “1-2-3-cross.”

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Grade 3 Orchestra Unit 2

Course Name: Grade 3 Beginner Orchestra Unit 2: New Notes, New Skills — Our First Performance

Est. # of Lessons: 11-12

Unit Overview: Now that we can make sounds with the bow, we add our left hand to play new pitches and our first real songs in D Major. Then comes something exciting — we prepare for our first performance. We learn what it means to play for an audience, work together as an ensemble, and share our music with pride. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Pr5.3.E.8a: Develop practice strategies and evaluate their success. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances. Pr6.1.E.5a: Demonstrate attention to technical accuracy and expressive qualities in prepared performances.

Transfer Goals ●

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Understandings ●

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Learning to place our fingers accurately on the strings takes focused practice— breaking down new skills into small steps and repeating them helps us play the correct pitches. Performing for an audience requires both technical accuracy (playing the right notes and rhythms) and expressive qualities (playing together, with good tone, and appropriate energy). Working together as an ensemble means listening to each other, watching the conductor, and adjusting our playing to blend with the group.

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How do our fingers help us play new notes? What do we need to work on? How did we do? How can we play together as a group? How do we get ready to perform for an audience?

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Grade 3 Orchestra Unit 2 Knowledge ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Shadow Bowing Bow Angle and Amount of Hair Left Hand and Arm Position Finger Pitches: First, Second, Third, Fourth Tetrachords Fingering Notation Literacy Half Notes (exploratory) D Major Songs by Rote Concert Etiquette and Stage Presence Ensemble Playing: Unison, Soli, Solo Conductor Cues and Cut-offs Peer Feedback: Glows and Grows

Key Vocabulary: shadow bowing, reset, full hair, entrance, freeze, glows, grows, left hand/arm position, fingerings, half note, elbow position, tetrachord, concert manners, etiquette, attire, time management

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I can place my fingers on the strings to play new pitches. I can play songs in D Major using finger patterns. I can read and play music using finger pattern notation. I can play with my section and as a full ensemble. I can watch the conductor for cues and cutoffs. I can perform with proper concert etiquette and manners.. I can give helpful feedback to my classmates (glows and grows). I can practice the hardest parts of a song to improve.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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Participation in daily warm-ups Teacher observation of response to visual and auditory cues Call-and-response accuracy during echoing In-the-moment-prompts (“Who had the melody? Did we support them?”) Peer feedback on blend or pulse following group exercises

STAGE 3: LEARNING PLAN First Topic: Adding Left Hand Finger Pitches

Estimated # of Lessons: 4

Learning Targets: Essential Questions: ● I can place my fingers on the strings to play ● How do our fingers help us play new notes? new pitches. ● What do we need to work on? How did we ● I can perform with proper concert do? etiquette and manners.. ● I can give helpful feedback to my classmates (glows and grows). ● I can practice the hardest parts of a song to improve.

358

Grade 3 Orchestra Unit 2 Learning Activities: ● Teacher demonstration of adding one finger at a time to the finger tapes, starting on the highest string, talking through with specific language, using bow right away, and then students try on their own individually. ● “Herman” left hand technique games ● Singing & Air Bowing: a preparatory activity before actually playing Major Tetrachords, students are able to work out the kinks here and practice it with a steady beat before trying to play it. Students tap their foot steadily while they sing fingerings and “air bow” (bow in the air) the correct speed, length, and bowing, one note/fingering at a time, ascending and descending. ● Major Tetrachord Warm-up: students must place their bow on correct open string, playing an open whole note, then add one left hand finger on the tapes (two for cellos when going from 1st to third finger) at a time until reaching the fourth finger, ascending and descending with whole notes with alternating down/up bowings, with correct bow arm position and correct bow length, speed, weight, placement, and amount of hair with tapping foot to a steady beat with piano accompaniment on the E (violins only), A, & D strings (all) to strengthen left hand finger concept and skill. ● Peer assessment: glows and grows for student feedback (positive and constructive) and higher order thinking skills. Second Topic: D Major Songs by Rote

Estimated # of Lessons: 4

Learning Targets: Essential Questions: ● I can play songs in D Major using finger ● How do our fingers help us play new notes? patterns. ● What do we need to work on? How did we ● I can read and play music using finger do? pattern notation. ● I can give helpful feedback to my classmates (glows and grows). ● I can practice the hardest parts of a song to improve. Learning Activities: ● Teacher demonstration of Hot Cross Buns on the D string on violin, viola, and cello playing and singing correct fingerings ● Teacher demonstrates “air bowing” (bows in the air) while singing the fingering names to the melody of the song while using correct down/up bowing and length of bow in the air while tapping a steady beat with foot. Students echo teacher, one phrase at a time. Teacher challenges cellos to say their “3” as loudly as the violins and violas say their “2,,” for independence. ● Teacher plays/sings one phrase at a time; students echo teacher on their instrument with steady beat foot tapping ● Teacher and students play/sing entire song unison with steady beat foot tapping ● Teacher plays piano accompaniment while students play string instruments with steady beat foot tapping. ● Short solos from individuals are encouraged (only one phrase); students echo soloist ● Teacher does the same process for teaching Mary Had a Little Turtle, with the emphasis on taking their time and going more slowly than they would normally sing the song for bow accuracy. ● Teacher demonstrates string crossing at the end of first phrase of “Mary,” then asks students to practice that one targeted measure many times in a row, then demonstrates again, then

359

Grade 3 Orchestra Unit 2 asks/allows for solos. Third Topic: Refinement of Skills

Estimated # of Lessons: 7-8

Learning Targets: Essential Questions: ● I can play with my section and as a full ● What do we need to work on? How did we ensemble. do? ● I can give helpful feedback to my ● How can we play together as a group? classmates (glows and grows). ● I can practice the hardest parts of a song to improve. Learning Activities: ● Teacher demonstration of playing bow circles for a full three beats before resetting/circling the bow. Teacher uses “circle” in the place of “airplane” interchangeably until students seem comfortable switching to the word “circle” completely. Example: “One, two, three, circle, etc.” or “Pu--ll (push), circle” ● Teacher demonstration of playing String Crossing Song/Warm-up with longer bow for three full beats before stopping bow to cross. Uses comparisons to taffy or stretching something out. ● Singing & Air Bowing: ● Major Tetrachord Warm-up: students must place their bow on correct open string, playing an open whole note, then add one left hand finger on the tapes (two for cellos when going from 1st to third finger) at a time until reaching the fourth finger, ascending and descending with whole notes with alternating down/up bowings, with correct bow arm position and correct bow length, speed, weight, placement, and amount of hair with tapping foot to a steady beat with piano accompaniment on the E (violins only), A, & D strings (all) to strengthen left hand finger concept and skill. Fourth Topic: First Performance Preparation

Estimated # of Lessons: 4

Learning Targets: Essential Questions: ● I can watch the conductor for cues and ● What do we need to work on? How did we cut-offs. do? ● I can perform with proper concert ● How can we play together as a group? etiquette and manners. ● How do we get ready to perform for an ● I can give helpful feedback to my audience? classmates (glows and grows). ● I can practice the hardest parts of a song to improve. Learning Activities: ● Teacher arranges for full ensemble rehearsals with all students three to four times before the demonstration concert/first performance. ● Teacher facilitates mock performances so students can see teacher example of appropriate concert etiquette and manners. ● “Baton commands” in which teacher/conductor uses baton to reinforce watching conductor for

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Grade 3 Orchestra Unit 2

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rest and playing position. “Glow & Grow” peer assessment activity: student plays solo for class, different students raise hand share “glows” (specific things student did well) and then “grows” (constructive, specific feedback to work on). These are even done in the demonstration concert in front of an audience, with volunteer soloists.

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Grade 3 Orchestra Unit 3

Course Name: Grade 3 Beginner Orchestra Unit 3: Building Technique, Honing Our Sound

Est. # of Lessons: 11-12

Unit Overview: After our first performance, we keep growing. We learn the D Major Scale, read new rhythms, and play across multiple strings. We discover what it means to truly listen — matching tempo, balancing our sound, and playing as one. By our final performance, we can hear how far we've come. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Pr5.3.E.8a: Develop practice strategies and evaluate their success. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances. Pr4.1.E.5a: Select repertoire based on interest and skill of the ensemble with guidance. Pr6.1.E.5a: Demonstrate attention to technical accuracy and expressive qualities in prepared performances.

Transfer Goals ●

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Understandings ●

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As our technical skills grow, we can tackle more challenging music that requires us to read notation, play scales, and coordinate multiple techniques at once. Listening carefully to the ensemble— matching tempo, balancing volume, and tuning our pitches to others—transforms individual playing into music that sounds unified and expressive. Peer feedback and self-reflection help us identify specific areas to improve and celebrate our growth over time. The more complex the music becomes, the more we must refine our practice strategies to focus on the most challenging sections.

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What do we need to work on? How did we do? How can we make our music sound better together? What should we listen for when we play? How have we grown as musicians?

362

Grade 3 Orchestra Unit 3 Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Time Signature: 4/4 Musical Alphabet D Major Scale with Whole Notes Tunneling Fermata, Hold, and Cut-off Open String Notation Reading (exploratory) Quarter, Half, and Whole Notes and Rests Stand Partner and Orchestra Room Navigation Sitting Posture: Violin and Viola Ensemble Balance and Blend End-of-Year Performance Skills Peer Feedback: Glows and Grows

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Key Vocabulary: musical alphabet, whole note, whole rest, half note, half rest, quarter note, quarter rest, time signature, tunneling, major, minor, scale, entrance, fermata, hold, cut-off, stand partner

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I can read and explain 4/4 Time Signature. I can play a one-octave D Major Scale. I can name the notes in order in the musical alphabet. I can read and play quarter note, half note, and whole note rhythms. I can tunnel (keep fingers down while changing strings). I can play while sitting with correct posture. I can listen to others and match tempo and volume. I can balance my sound with my section and the full orchestra. I can hold notes with a fermata and stop on the conductor's cut-off. I can share a music stand and correctly use my space with my stand partner. I can read and perform quarter rest, half rests, and whole rest rhythms.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Students will perform in small groups and individually. They will be assessed on instrument hold, bow hold, posture/positioning, sound production, open string accuracy, foot tapping, steady beat, length of bow, speed of bow, location of bow, left hand placement, fingerings, left hand finger pattern notation reading, technical challenges, watching conductor, and ensemble skills.

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STAGE 3: LEARNING PLAN First Topic: Learning More Songs using the D & A Strings

Estimated # of Lessons: 6-8

Learning Targets: ● I can read and play quarter note, half note, and whole note rhythms. ● I can read and explain 4/4 Time Signature.

Essential Questions: ● What do we need to work on? How did we do? ● How can we make our music sound better together? ● What should we listen for when we play?

363

Grade 3 Orchestra Unit 3 Learning Activities: ● Six songs from method book, Solo Time for Strings, Book 1 in which students use left hand finger pattern notation on D & A strings only. ● “Herman & Hannah”- left hand/arm position techniques ● Teacher explains top and bottom number meaning of time signature. Time exposes students to other time signatures with a four on the bottom. ● Students must routinely identify and briefly explain time signature for each song: four beats in a measure, a quarter not gets one beat. ● Solo opportunities during class and later performance. ● Soli (one section) use to encourage listening and paying attention to music notation when not playing. Second Topic: Sitting Posture, Stand Partner, and Orchestra Room Navigation

Estimated # of Lessons: 1-2

Learning Targets: ● I can play while sitting with correct posture. ● I can share a music stand and correctly use my space with my stand partner.

Essential Questions: ● What do we need to work on? How did we do? ● How can we make our music sound better together?

Learning Activities: ● Violin & viola players are taught how to sit on front of the chair with excellent posture, where to sit on the chair depending on which side they are on and how hold instrument to be able to see the music and have enough space for their bow and not hit their stand partner. ● “Billy Newboy” activity in which the teacher pretends to be a new student and the students must explain to him how to walk around the Orchestra Set-up (chairs and stands) correctly, safely, and quickly to allow for maximum playing and learning time. Students must also explain how to sit on chair and use bow with correct spacing when sharing a music stand with their stand partner. Third Topic: Musical Alphabet & the D Major Scale with whole notes, holding fermatas, and watching conductor

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions: ● I can name the notes in order in the ● What do we need to work on? How did we musical alphabet. do? ● I can play a one-octave D Major Scale. ● How can we make our music sound better ● I can balance my sound with my section together? and the full orchestra. ● What should we listen for when we play? ● I can hold notes with a fermata and stop on ● How have we grown as musicians? the conductor's cut-off. ● I can share a music stand and correctly use my space with my stand partner. Learning Activities: ● Students learn the musical alphabet on the whiteboard, showing that it is a never-ending pattern. Students hear each note on the piano as the teacher sings along, showing that it goes higher as it

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Grade 3 Orchestra Unit 3

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goes forward or lower if you backwards. Students are given actual notation of the D Major Scale with whole notes. Teacher compares to what they do for Tetrachords: the things that are the same and the things that are different. Teacher teaches ascending scale first, then descending with no hold at the end. Teacher draws fermata symbol on the board and explains meaning. Students hold open D and figure out how to make sound continue (move the bow the opposite way when bow runs out- slow bow). After fermata is solid, teacher explains cut-off and how to stop bow and leave it on the string when teacher does the cut-off. Much practice of long and short durations, all on the D string with cutoffs. Watching exercises with conductor. Add fermata to the end of the D Major Scale. Teacher starts note and “leaves,” but they must keep holding the note until a grand cut-off.

Fourth Topic: Tunneling

Estimated # of Lessons: 3-4

Learning Targets: ● I can read and play quarter note, half note, and whole note rhythms. ● I can tunnel (keep fingers down while changing strings). ● I can play while sitting with correct posture. ● I can listen to others and match tempo and volume. ● I can share a music stand and correctly use my space with my stand partner.

Essential Questions: ● What do we need to work on? How did we do? ● How can we make our music sound better together? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● Visual Aid: Teacher draws picture of hand position and explains tunneling: students keep one or more finger on one string while moving the bow to a neighboring string without accidentally touching the neighboring string with their finger. ● Adding one finger at a time: Violins/Violas practice using one finger, then two, then three; cellos practice using one finger, then three, then four. ● Proper left hand/arm technique is fine tuned to accomplish tunneling. ● Twinkle Twinkle Little Star tunneling: from the A string to the G on the D string. ● D Major Scale tunneling: descending from the A string back to the D string. Fifth Topic: Open String Notation Reading with quarter, half, and whole notes & rests

Estimated # of Lessons: 3-4

365

Grade 3 Orchestra Unit 3 ● ● ●

I can listen to others and match tempo and volume. I can balance my sound with my section and the full orchestra. I can share a music stand and correctly use my space with my stand partner.

Learning Activities: ● First five pages of “String Builder, Book 1” method book ● Fiddler’s Hoedown string orchestra arrangement Sixth Topic: End-of-Year Performance

Estimated # of Lessons: 4

Learning Targets: ● I can read and play quarter note, half note, and whole note rhythms. ● I can read and perform quarter rest, half rests, and whole rest rhythms. ● I can read and explain 4/4 Time Signature. ● I can play a one-octave D Major Scale. ● I can tunnel (keep fingers down while changing strings). ● I can play while sitting with correct posture. ● I can listen to others and match tempo and volume. ● I can balance my sound with my section and the full orchestra. ● I can hold notes with a fermata and stop on the conductor's cut-off. ● I can share a music stand and correctly use my space with my stand partner.

Learning Activities: ● Full Orchestra Ensemble Rehearsals before end-of-year performance ● Songs on the D & A strings ● One octave D Major Scale ● “Never-ending note” game demonstration for audience ● Invite 2nd grade as recruitment concert to performance ● Open up floor to questions from them at end of concert ● Invite families, to show growth since earlier performance to encourage retainment ● Solos & solis ● Glows & Grows

366

Grade 4 Orchestra Grade 4 Orchestra Unit 1: Growing Our Skills — The D Major Scale Challenge and Beyond 14-16 Lessons

Unit 2: Making Music Together — Expression and the Spring Concert 14-16 Lessons

Unit 3: Listen, Watch, Play — Technique, New Skills, and the String Festival 11-12 Lessons

Remember the D Major Scale from Grade 3? This year we make it more challenging — adding eighth notes and new rhythms. We learn to read first finger pitches and play double stops. Step by step, we build confidence reading and playing music on our own.

Now that reading feels more comfortable, we make our music say something. We learn slurs, ties, and dynamics — how to play softly, loudly, smoothly, and crisply. We practice following a conductor and rehearse as an ensemble to get ready for our Spring Concert.

With stronger technique and better ears, we take on new challenges — string crossing slurs, new notes, new tempos. At the String Festival, we join students from all three schools on the high school stage, work with a guest conductor, and perform alongside high school musicians. This is what it means to be part of an orchestra.

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Grade 4 Orchestra Unit 1

Course Name: Grade 4 Orchestra Est. # of Lessons: 14-16 Unit 1: Growing Our Skills — The D Major Scale Challenge and Beyond Unit Overview: Remember the D Major scale from Grade 3? This year we make it more challenging — adding eighth notes and new rhythms. We learn to read first finger pitches and play double stops. Step by step, we build confidence reading and playing music on our own. STAGE 1: DESIRED RESULTS Established Goals ● ●

Pr5.3.E.8a: Develop practice strategies and evaluate their success. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances.

Transfer Goals ●

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Understandings ●

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Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Basic Notation Symbols D Major Scale Challenge Rhythms Eighth Notes Half Bow Position (exploratory) Open String Pitch Reading

How do we make sounds on our instruments? What do we need to work on? How did we do? How can we take care of our instruments so they last?

Skills (Framed as Learning Targets) ● ● ● ●

I can play bow circles and string crossing warm-ups with whole notes. I can play major tetrachords with half notes. I can play, count, and read eighth notes. I can play a D Major scale with half notes,

368

Grade 4 Orchestra Unit 1 ● ● ● ● ● ● ● ●

Double Stops Pitch/Rhythm Reading Breath Mark vs. Bow Lift (exploratory) Tunneling Markings Time Signature, Barlines, and Measures Treble, Alto, and Bass Clefs (exploratory) Basic Notation Symbols Peer Feedback: Glows and Grows

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quarter notes, and eighth notes. I can read pitches for open strings with quarter notes, half notes, & whole notes. I can play double stops on open strings. I can read pitches from the D Major Scale with quarter notes, half notes, & whole notes.

Key Vocabulary: pitch, double stops, upper strings, middle strings, lower strings, treble clef, alto clef, bass clef, 8th notes, half bow, double bar line, ledger line, sharp, accidental, half step, whole step STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: Old Warm-ups and New Warm-up– D Major Scale Challenge Rhythms

Estimated # of Lesson: 1-5

Learning Targets: ● I can play bow circles and string crossing warm-ups with whole notes. ● I can play major tetrachords with half notes. ● I can play, count, and read eighth notes. ● I can play a D Major Scale with half notes, quarter notes, and eighth notes. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● Review old warm-ups: Down Bow Circles and Up Bow Circles with whole notes and bow lifts and

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Grade 4 Orchestra Unit 1

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String Crossing Warm-up with whole notes. D Major Scale Challenge Rhythms: first teach with half notes: air bowing, shadow bowing while singing letter names or fingerings, and finally, playing with the bow. Same activity with quarter notes the next week, followed by eighth notes the following week. Isolate eighth note playing and reading: “Miss-iss-ip-pi” method, counting using the middle/upper part of the bow; start in half bow position with a down bow. When ready, put all three rhythms into the scale together, stopping when necessary, but ultimately able to play without stopping and a hold at the end. Isolate the problem spots, like descending from open A string crossing to the G on the D string.

Second Topic: Reading Open String Pitches & Double Stops

Estimated # of Lessons: 1-4 This learning plan describes the routines we learn that encompass the daily lesson.

Learning Targets: ● I can read pitches for open strings with quarter notes, half notes, & whole notes. ● I can play double stops on open strings. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group?

Learning Activities: ● String Builder, book 1 by Samuel Applebaum, pages 3-7, using all open strings with quarter note, half note, whole note, half rest, and whole rest rhythms. These pages also review time signature, barlines, measures, and introduce double barlines and treble, alto, and bass clefs. ● Tune it Up, Tune it Down, Tune it All Around introduces double stops. ● Double stop activities using the two upper, middle, and lower strings: echoing, making up short rhythm pattern with double stop, etc.. Third Topic: Reading First, Second, Third, and Fourth Finger Pitches on the D & A Strings

Estimated # of Lessons: 9-10 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can read pitches from the D Major Scale with quarter notes, half notes, & whole notes. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● String Builder, book 1 by Samuel Applebaum, pages 8-15, using all open strings with quarter note, half note, whole note, half rest, and whole rest rhythms. ● Supplemental pieces that we may or may not play in the concert. ● Isolated note reading on the white board with staves.

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Grade 4 Orchestra Unit 1 ● ● ●

Flash cards for those who need them. Other new concepts covered in the book on these pages are breath mark (comma) vs. bow lift and tunneling markings. Work on bow angle (“hair sandwich” for violins/violas) for string accuracy.

371

Grade 4 Orchestra Unit 2

Course Name: Grade 4 Orchestra Est. # of Lessons: 14-16 Unit 2: Making Music Together — Expression and the Spring Concert Unit Overview: Now that reading feels more comfortable, we make our music say something. We learn slurs, ties, and dynamics — how to play softly, loudly, smoothly, and crisply. We practice following a conductor and rehearse as an ensemble to get ready for our Spring Concert. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ●

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Understandings ●

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What do we need to work on? How did we do? What should we listen for when we play? How have we grown as musicians?

372

Grade 4 Orchestra Unit 2 Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Articulations: Legato and Accent Slurs: Same String and String Crossing Ties Dotted Half Note Bow Distribution Dynamics: Piano, Forte, Crescendo, Diminuendo Repeat Signs and Multimeasure Rests Common Time Beat Pattern and Conductor Cues Orchestra String Crossing Warm-up Canon Ensemble Roles: Melody and Accompaniment Concert Etiquette and Stage Presence Peer Feedback: Glows and Grows

Key Vocabulary: breath mark, octave, canon, repeat sign, multimeasure rest, articulation, legato, accent, slur, tie, dotted half note, intonation, balance, blend, dynamics, piano, forte, crescendo, diminuendo, allegro, bow distribution, conductor, baton, beat pattern, Common Time

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I can play a slur with two pitches using the same string. I can play a slur using two different strings (string crossing). I can play ties. I can play varied tempos, such as allegro. I can play accents and legato articulations. I can play slurs with two pitches on the same string. I can follow repeat signs and multimeasure rests. I can follow the conductor’s beat patterns. I can play the Orchestra String Crossing Warm-up. I can play a D Major scale in canon with two or three parts. I can play piano and forte dynamics. I can play crescendo and diminuendo dynamics.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: Ties and Slurs

Estimated # of Lessons: 4

Learning Targets: ● I can play a slur with two pitches using the same string. ● I can play ties. ● I can give helpful feedback to my

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

373

Grade 4 Orchestra Unit 2

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classmates (glows and grows). I can practice the hardest parts of a song to improve.

Learning Activities: ● Teach slur with open string to first finger with both down bow and up bow. Try different rhythms and tempos. ● String Builder, book 1 by Samuel Applebaum, page 17 teaches and reinforces ties and slurs. ● Write rhythm challenges using the tie that goes over the barline and explain the importance of ties. ● Dotted Half note is also introduced on page 17; it is more for exposure than mastery at this point. ● Bow distribution is a focus in order to correctly execute slurs, ties, and dotted half notes. Second Topic: Concert Music Preparation

Estimated # of Lessons: 10

Learning Targets: ● I can play my part with my section within the Orchestra Ensemble. ● I can follow repeat signs and multimeasure rests. ● I can follow the conductor’s beat patterns. ● I can play the Orchestra String Crossing Warm-up.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● Each student has three songs to prepare for the concert; students will slowly learn all three pieces together in class. Each piece teaches different skills listed under knowledge. Students must be able to play the whole piece to get it checked off on their “Make the Orchestra Ensemble” checklist. ● Teacher will spot check students individually. Students are expected to practice pieces to be able to play all three pieces on their own and in a group. ● Teacher will conduct a Common Time (4/4 Time Signature) beat pattern, so students can follow the tempo and stay together. ● Students learn the new string crossing warm-up, called The Orchestra String Crossing Warm-up, which separates out each open string alone being played with a whole note: C-G-D-A-E-E-A-D-GC (C is violas and violins only, E is violins and the 5th grade basses only). ● Teacher will teach repeat sign and multimeasure rest symbols and check for understanding within concert music and songs from lesson book. ● The lesson book takes a backseat to concert songs before the Spring Concert, but when time, review page 14 to strengthen reading skills with familiar pitches, rhythms, and melodies. Third Topic: D Major Scale Canon

Estimated # of Lessons: 7-8

Learning Targets: Essential Questions: ● I can play a D Major scale in canon with ● What do we need to work on? How did we two or three parts. do? ● I can give helpful feedback to my ● How can we play together as a group? classmates (glows and grows). ● How have we grown as musicians? ● I can practice the hardest parts of a song to improve.

374

Grade 4 Orchestra Unit 2 Learning Activities: ● Students play the now familiar D Major Scale with half notes, quarter notes, and eighth notes in canon in lessons. First, in lessons with the class as part 1 and teacher as part 2. Next with the class being split into two groups in canon with each other, then switch parts. Eventually, the teacher plays the third part of the canon. ● Once strong enough to be done in lessons, students can play a three part canon in Orchestra Ensemble with each instrument being on of the three parts. ● Eventually, the teacher will have students each pick their own part without necessarily being the same as their stand partner or anyone near them; this develops excellent musical independence and listening skills. Fourth Topic: Beginner Dynamics

Estimated # of Lessons: 7-8

Learning Targets: ● I can play piano and forte dynamics. ● I can play crescendo and diminuendo dynamics.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group? ● How have we grown as musicians?

Learning Activities: ● The teacher will use concert music to show students the concepts of piano and forte, also using visual cues like posters and the white board. Teacher will review how to get a soft vs. loud sound: bow weight, speed, length, full hair vs. half hair, and bow angle and allow students to experiment with their sounds individually and as a class. ● Students will play familiar warm-ups and songs going back and forth between the two major dynamics piano and forte. ● In Orchestra Ensemble, 4th grade students will learn to watch and follow conducting while listening to the 5th graders demonstrate concepts of crescendo and diminuendo as a large group. They will then join in, getting a chance to experiment with how to achieve these concepts on a basic level.

375

Grade 4 Orchestra Unit 3

Course Name: Grade 4 Orchestra Est. # of Lessons: 11-12 Unit 3: Listen, Watch, Play —Technique, New Skills, and the String Festival Unit Overview: With stronger technique and better ears, we take on new challenges — string crossing slurs, new notes, new tempos. At the String Festival, we join students from all three schools on the high school stage, work with a guest conductor, and perform alongside high school musicians. This is what it means to be part of an orchestra. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ●

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Understandings ●

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What do we need to work on? How did we do? How can we make our music sound better together? What should we listen for when we play? How have we grown as musicians?

376

Grade 4 Orchestra Unit 3 on the most challenging sections. Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

String Crossing Slurs Accent and Legato Articulations Half Step and Whole Step Finger Patterns Accidentals: Sharps, Naturals, and Flats (exploratory) Intonation and Finger Accuracy Ledger Lines Above and Below the Staff G Major Scale Time Signatures: 2/4 & 3/4 (exploratory) Tempo Markings: Adagio, Moderato, Allegro Ritardando, Accelerando, and A Tempo (exploratory) Conductor Beat Patterns and Cues Large Ensemble Performance Skills Peer Feedback: Glows and Grows

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I can play accents and legato articulations. I can play slurs using two different strings. I can understand half and whole step finger patterns to help intonation. I can identify sharps, naturals, and flat accidental symbols. I can read new notes using ledger lines above or below the staff. I can play the G Major Scale. I can play varied tempos, like Adagio, Moderato, and Allegro, with familiar warmups and pieces. I can identify new time signatures 2/4 & 3/4.

Key Vocabulary: accidentals, sharp, natural, flat, half step, whole step, intonation, adagio, moderato, allegro, ritardardo, accelerando, a tempo, ledger line, G Major Scale, accent, legato, conductor, beat pattern STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: New Articulation Techniques

Estimated # of Lessons: 6-8

Learning Targets: ● I can play accents and legato articulations.

Essential Questions: ● What do we need to work on? How did we do?

377

Grade 4 Orchestra Unit 3 ●

I can play slurs using two different strings.

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How can we make our music sound better together? What should we listen for when we play?

Learning Activities: ● With Orchestra String Crossing warm-up, students learn how to play accents on both up and down bows. ● Through familiar concert music, students can explore using accents to more accurately articulate notes. ● Moonlight on the Lake is a piece all 4th graders must learn each year, because it teaches and reinforces slurs using two different strings (string crossing slurs). It also reinforces repeat sign symbols. Second Topic: Intonation with Half Steps, Whole Steps, and Accidentals

Estimated # of Lessons: 1-2

Learning Targets: ● I can understand half and whole step finger patterns to help intonation. ● I can identify sharps, naturals, and flat accidental symbols.

Essential Questions: ● What do we need to work on? How did we do? ● How can we make our music sound better together?

Learning Activities: ● Through songs in the lesson book, we go back to identify half step vs. whole steps and how finger accuracy will improve intonation. ● Major Tetrachords alone and in small groups help to improve intonation. ● On page 20 (for exposure only), students can learn and explore what natural and flat symbols mean, vs. the sharp that they have been familiar with since 3rd grade, reinforcing half steps vs. whole steps. ● New String Festival songs contain new accidentals to learn (Batman Theme or Fiddles on Fire). Third Topic: New Notes Using Ledger Lines

Estimated # of Lessons: 3-4

Learning Targets: ● I can read new notes using ledger lines above or below the staff. ● I can play the G Major Scale.

Learning Activities: ● On page 18-19 in String Builder Book 1, students learn new notes that are below the staff (violins) and above the staff (violas & cellos). ● Students are then able to play multiple songs in the book with these new notes as well as new music for the String Festival. ● Students can learn to play and read the G Major Scale using the same rhythms we would use in the

378

Grade 4 Orchestra Unit 3 D Major Scale. Fourth Topic: Tempo

Estimated # of Lessons: 3-4

Learning Targets: ● I can play varied tempos, like Adagio, Moderato, and Allegro, with familiar warmups and pieces.

Learning Activities: ● Students are introduced to Adagio, Moderato, and Allegro tempo terms and experience familiar songs and warm=ups with different tempos. ● Students learn to watch conductor and beat pattern playing familiar warm-ups like the Orchestra String Crossing Song and D Major Scale with different tempos. Fifth Topic: String Festival

Estimated # of Lessons: 4

Learning Targets: ● I can play more advanced music using new skills and concepts. ● I can identify new time signatures 2/4 & 3/4. ● I can play sixteenth notes (exploratory).

Learning Activities: ● String Festival brings all three schools’ 4th & 5th grade Orchestra students together into a large ensemble to perform together at the end of the school year on the Waterford High School stage. The performance is recorded/live streamed for families. ● Sectionals occur where students get focused instruction for their instrument and music part in each piece. ● Students get to work with a guest conductor who brings an outside wealth of experience and knowledge. ● High School Chamber Orchestra groups will perform for students, answer questions, mentor students throughout the day, and perform with them at the conclusion of the event. ● In preparation for the event, 4th graders get the music that only the 5th grade will perform, as a supplement, allowing for exposure to 2/4 & 3/4 time signatures and learning to play sixteenth notes.

379

Grade 5 Orchestra Grade 5 Orchestra Unit 1: Growing as an Orchestra — Review, New Concepts, and Winter SingA-Long Performance 17-19 Lessons

Unit 2: Reaching the Next Level — Further Unit 3: The Power of Playing Together — Development and Spring Concert Honing Skills and final String Festival 15-17 Lessons 9-11 Lessons

We return to our instruments as more experienced musicians, ready to hear what we didn't fully understand before. We revisit warm-ups, scales, and concert music from fourth grade — not to repeat what we already know, but to discover how much more we can do with it. As we work through new concepts including major and minor tonality, low 2 fingerings, and accidentals, we build the independence and confidence our ensemble needs. Double bass is added to the orchestra, with students transitioning to bass based on teacher recommendation. Our work this fall leads us to the Winter Sing-A-Long, where we perform for our school community as the leaders of the orchestra.

We push our playing further, developing new technical skills and beginning to understand why music is written the way it is. We learn to read and play sixteenth notes, explore advanced dynamics, distinguish bowings like breath marks from bow lifts, and identify the clefs that belong to each instrument. As we prepare for the Spring Concert — including a piece performed by fifth graders only — we take on greater independence and musical responsibility. Our goal is not just to play the notes correctly, but to make intentional musical choices that communicate something to our audience.

We bring everything together. With stronger technique and sharper ears, we take on new challenges —staccato exploration, extensions, key signatures, and advanced tempo markings. We learn to practice smarter, isolating difficult passages rather than always starting from the beginning. At the String Festival, we join students from all three schools on the high school stage, perform with a guest conductor, and play alongside high school musicians. This is what it means to be part of an orchestra that reaches beyond our own classroom.

380

Grade 5 Orchestra Unit 1

Course Name: Grade 5 Orchestra Est. # of Lessons: 17-19 Unit 1: Review, New Concepts, and Winter Sing-A-Long Performance Unit Overview: We return to our instruments as more experienced musicians, ready to hear what we didn't fully understand before. We revisit warm-ups, scales, and concert music from fourth grade — not to repeat what we already know, but to discover how much more we can do with it. As we work through new concepts including major and minor tonality, low 2 fingerings, and accidentals, we build the independence and confidence our ensemble needs. Double bass is added to the orchestra, with students transitioning to bass based on teacher recommendation. Our work this fall leads us to the Winter Sing-ALong, where we perform for our school community as the leaders of the orchestra. STAGE 1: DESIRED RESULTS Established Goals ● ●

Pr4.3.E.5a: Apply teacher-provided criteria to rehearse, refine, and determine when music is ready to perform. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances.

Transfer Goals ●

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Returning to the basics isn't going backward — it's how we discover what we didn't fully understand the first time. Technical control is built through deliberate, focused repetition, not simply through spending time with the instrument. When we listen to ourselves and each other, we become both the musician and the critic — and that dual awareness is what drives growth.

Essential Questions ● ● ●

Knowledge ● ● ●

Major & Minor Tonality Pitch/Rhythm Reading Time Signature: 2/4 & 3/4

How do we make sounds on our instruments? What do we need to work on? How did we do? How can we take care of our instruments so they last?

Skills (Framed as Learning Targets) ● ●

I can play bow circle and orchestra string crossing warm-ups with whole notes. I can play major tetrachords with half notes.

381

Grade 5 Orchestra Unit 1 ●

New Fingerings: Low 2 (violins & violas) & 2 (cellos & basses) Accidentals: Sharps, Naturals, and Flats Peer Feedback: Glows and Grows

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Key Vocabulary: accidentals, sharp, natural, flat, major, minor, low 2, tonality, pitch, rhythms, intonation, time signature

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I can play the D Major Scale using half notes, quarter notes, and eighth notes. I can read pitches from the D Major Scale with whole notes, half notes, dotted half notes, quarter notes, and eighth notes. I can read whole rests, half rests, and quarter rests. I can identify music in major vs. minor tonality by ear. I can play music in 2/4 and 3/4 time signatures. I can play low 2 (violin and viola) and 2 (cello and bass) fingerings accurately. I can identify sharp, natural, and flat accidental symbols. I can tell what I did well and what I need to work on. I can listen to feedback and use it to improve.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: Review Old Warm-ups

Estimated # of Lesson: 1-2

Learning Targets: ● I can play bow circle and orchestra string crossing warm-ups with whole notes. ● I can play major tetrachords with half notes. ● I can play a D Major Scale with half notes, quarter notes, and eighth notes. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

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Grade 5 Orchestra Unit 1 Learning Activities: ● Review old warm-ups: Bow Circles, Orchestra String Crossing Warm-up, Major Tetrachords on each string, and D Major Scale Canon using half notes, quarter notes, and eighth notes. ● Now that students are older, pay special attention to bow placement, finger placement, positioning, tone quality, intonation, and steady beat. ● One or two students are now permitted to play the bass, learning the old warm-ups on this new instrument with new technique. Second Topic: Reviewing Old Concert Music & Lesson Book

Estimated # of Lessons: 1-4 This learning plan describes the routines we learn that encompass the daily lesson.

Learning Targets: ● I can read pitches from the D Major Scale with whole notes, half notes, dotted half notes, quarter notes, and eighth notes. ● I can read whole rests, half rests, and quarter rests. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group?

Learning Activities: ● Play all familiar music from the previous year’s Spring Concert and String Festival. Students will usually play on the same level from the end of the year or better. It takes less time each year to get students back into their reading/playing than it did to learn it in the first place. ● In String Builder, book 1 by Samuel Applebaum, go back to page 1 and work your way through to page 13, reviewing old notes and concepts that will be better understood as older, more advanced and experienced players than when students learned them in 4th grade. Third Topic: Major & Minor Tonality

Estimated # of Lessons: 13-15 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can identify music in major vs minor tonality.

Essential Questions: ● How have we grown as musicians?

Learning Activities: ● “Mr. Major-Minor” introduces the difference in sound between music with a major tonality vs. music with a minor tonality, playing many examples. ● Many games with playing familiar and unfamiliar songs on the piano with students voting for which tonality they think it is. Eventually, students close their eyes to vote. ● Discussions about tonality referring to radio, songs they played in the past, etc.. Fourth Topic: Winter Sing-a-Long Music & Spring Concert Music

Estimated # of Lessons: 13-15 This learning plan describes the routines we learn that encompass the daily lesson going forward.

383

Grade 5 Orchestra Unit 1 Learning Targets: ● I can read pitches from the D Major Scale with whole notes, half notes, dotted half notes, quarter notes, and eighth notes. ● I can learn new notes for concert music. ● I can play music in 2/4 & 3/4 time signatures. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● New music for the Winter Sing-A-long performance. This music is more challenging than what they played in 4th grade in that they must be more independent, no longer depending on the old 5th graders, because they ARE the 5th graders. There will be new notes that they probably have not played officially in 4th grade that I will teach to each section that needs to learn them. ● The Winter Sing-A-Long music will always include music in 2/4 & 3/4 time signatures to allow students to play music in these new time signatures, which had only been exploratory in 4th grade. ● I will also hand out new music for the Spring Concert, so they can begin the music early, allowing the 5th graders to know the music pretty well before 4th graders join the Ensemble at the end of February. Fifth Topic: Low 2 Fingering for Violins & Violas and 2 fingering for Cellos & Basses

Estimated # of Lessons: 6-8 This learning plan describes the routines we learn that encompass the daily lesson going forward.

Learning Targets: ● I can play low 2 (violin & viola) and 2 (cello & bass) fingerings. ● I can identify sharps, naturals, and flat accidental symbols. ● I can tell what I did well and what I need to work on. ● I can listen to feedback and use it to improve.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● Students will learn the new fingering pattern (low 2 for violins & violas and 2 for cellos and basses). ● We will play songs using these new fingerings, including “We Wish You a Merry Christmas,” “Rocking Strings,” and “Happy Birthday” with notes labeled “low 2” or “2.” ● We will learn to identify new accidentals: naturals & flats, which indicate when to use low 2 (violins & violas) or 2 fingerings (cellos and basses). We will also further discuss why sharps become naturals to lower tones, but naturals become flats to lower tones.

384

Grade 5 Orchestra Unit 2

Course Name: Grade 5 Orchestra Unit 2: Further Development & Spring Concert

Est. # of Lessons: 15-17

Unit Overview: We push our playing further, developing new technical skills and beginning to understand why music is written the way it is. We learn to read and play sixteenth notes, explore advanced dynamics, distinguish bowings like breath marks from bow lifts, and identify the clefs that belong to each instrument. As we prepare for the Spring Concert — including a piece performed by fifth graders only — we take on greater independence and musical responsibility. Our goal is not just to play the notes correctly, but to make intentional musical choices that communicate something to our audience. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Pr4.2.E.5a: Demonstrate understanding of the structure and elements of music in music selected for performance. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances. Pr6.1.E.5a: Demonstrate attention to technical accuracy and expressive qualities in prepared performances.

Transfer Goals ●

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New technical skills only become musical when we learn to use them expressively, not just accurately. Performing for an audience is an act of communication — every choice we make about tone, dynamics, and ensemble balance shapes what a listener experiences. Working together as an ensemble requires constant listening and adjusting — the music we make together is only as strong as our willingness to hear each other.

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What do we need to work on? How did we do? What should we listen for when we play? How have we grown as musicians?

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Grade 5 Orchestra Unit 2 Knowledge ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Multinote Slurs Sixteenth Notes Half Bow Position Minor Tetrachords Dynamics: Pianissimo, Fortissimo, Mezzo Piano, & Mezzo Forte Breath Mark vs. Bow Lift Treble, Alto, and Bass Clefs Peer Feedback: Glows and Grows

Key Vocabulary: pianissimo, fortissimo, mezzo piano, mezzo forte, 16th notes, detache, staccato, hooked bowing, major, minor, low 2, low 1, high 3, forward & backward extension, first ending, second ending, Del Segno, Da Capo, Coda

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I can play a slur with three or more pitches in a single bow stroke. I can play my part with my section within the ensemble. I can follow the conductor's beat patterns to stay together as a group. I can play, count, and read sixteenth notes. I can play with a half bow position. I can play the D Major Scale with sixteenth notes. I can play pianissimo, fortissimo, mezzo piano, and mezzo forte dynamics. I can read and perform a breath mark vs. a bow lift. I can identify my clef (treble, alto, or bass) and the letter names on the lines and spaces. I can play minor tetrachords with half notes.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: Multinote Slurs

Estimated # of Lessons: 4

Learning Targets: Essential Questions: ● I can play a slur with three or more pitches ● What do we need to work on? How did we using the same string. do? ● I can give helpful feedback to my ● What should we listen for when we play? classmates (glows and grows). ● How have we grown as musicians? ● I can practice the hardest parts of a song to improve. Learning Activities: ● Students play multiple notes in the same down or up bow slur. Bow distribution and bow control

386

Grade 5 Orchestra Unit 2

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are important to ensure notes are not rushed or have poor tone quality. Teacher demonstrates playing a major tetrachord using a down bow for the first five notes and then an up bow for the next four notes. Teacher then moves to playing entire tetrachord in one bow stroke, down or up bow. Students try in class and are encouraged to try at home as part of their warm-ups.

Second Topic: Concert Song Preparation

Estimated # of Lessons: 17

Learning Targets: ● I can play my part with my section within the Orchestra Ensemble. ● I can follow the conductor’s beat patterns.

Essential Questions: ● What do we need to work on? How did we do? ● What should we listen for when we play? ● How have we grown as musicians?

Learning Activities: ● 5th grade students have four songs to prepare for the concert; students will slowly learn these pieces together in class. Each piece teaches different skills listed under knowledge. ● Teacher will spot check students individually. Students are expected to practice pieces to be able to play all three pieces on their own and in a group. ● Teacher will conduct a Common Time (4/4 Time Signature) beat pattern, so students can follow the tempo and stay together. For the 5th grade-only piece, teacher will conduct a 3/4 or 2/4 beat pattern, if the piece calls for it. ● We continue from page 14 through to page 19 to make sure all new notes and skills are covered during this time period. Third Topic: Sixteenth Notes & Half Bow

Estimated # of Lessons: 3-4

Learning Targets: ● I can play, count, and read sixteenth notes. ● I can play with a half bow position. ● I can play a D Major scale with sixteenth notes.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group? ● How have we grown as musicians?

Learning Activities: ● Students are taught how to use the middle of the bow, half bow position, to start a note. They must choose either a down or up bow directionally. ● Students have previously been exposed to how to count and play sixteenth notes, but now they are playing to mastery. Students count out loud, while looking at notation on the board or sheet music. Students air bow first, then when playing, start in half bow position playing the first note with a down bow, all while counting out loud. Teacher may play sixteenth notes on the snare drum to solidify bow movement. ● Students will play the D Major Scale using 16th notes. Eventually, students can play the D Major Scale 16th notes in canon with up to three parts. Students are even challenged to pick their own part, which may not be the same as their neighbors. Fourth Topic: Dynamics: Pianissimo, Fortissimo,

Estimated # of Lessons: 7-8

387

Grade 5 Orchestra Unit 2 Mezzo Piano, & Mezzo Forte Learning Targets: ● I can play pianissimo, fortissimo, mezzo piano, and mezzo forte dynamics.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group? ● How have we grown as musicians?

Learning Activities: ● Students play warm-ups and other familiar pieces using advanced dynamics of pianissimo, fortissimo, mezzo piano, and mezzo forte. Teachers uses piano to play pieces using mp vs. mf, as those dynamics are so similar, it’s hard to differentiate for young players. ● Students play the D Major Scale Challenge Rhythms, starting with pianissimo and gradually increasing a dynamic level each time the rhythm changes or scale changes from ascending to descending until the finally dynamic is fortissimo. ● When concert music calls for these new dynamics, students can better execute them. Fifth Topic: Breath Mark vs. Bow Lift

Estimated # of Lessons: 7-8

Learning Targets: ● I can read a breath mark vs. a bow lift.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group? ● How have we grown as musicians?

Learning Activities: ● On page 14 of String Builder Book 1, students officially learn the difference between a break mark, which is a slight pause signified by a comma ( , ) with the bow remaining on the string versus a bow lift, which is signified by two slanted lines (//). Students play familiar songs, like “Twinkle, Twinkle Little Star” to experience a breath mark. We also discuss why it’s called a breath mark, connecting to wind instruments and singing. ● In 4th grade, this concept is explored, but not fully fleshed out in discussion or practice. ● In most modern music, a bow life is signified by a comma; this encourages discussion about bowings and the fact that students must look at the bowing symbol right after a comma or two slanted lines to know for sure what to do, encouraging independent thinking. Sixth Topic: Treble, Alto, and Bass Clefs

Estimated # of Lessons: 2-3

Learning Targets: ● I can identify my clef (treble, alto, or bass) and the letter names on the lines and spaces.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group? ● How have we grown as musicians?

Learning Activities: ● Visual Aids are used to show each of the three clefs we use in String Orchestra: treble clef for violins (G clef), alto clef for viola (C clef or viola clef), and bass clef for cellos and basses (F clef).

388

Grade 5 Orchestra Unit 2

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We talk about what each word means: treble- high, alto- middle, and bass- low and why those clefs are used for each orchestra instrument and what other instruments/voices use those clefs for music notation. Each instrument section learns funny sayings, connecting to general music class, to memorize the line and space letter names for each clef. ○ Treble Clef: Every Good Boy Deserves Fine for lines and spell FACE for spaces ○ Alto Clef: Fat Alley Cats Eat Garbage for lines and Great Big Dogs Fight for spaces ○ Bass Clef: Grizzly Bears Don’t Fear Anything for lines and All Cows Eat Grass for spaces Once the line and space names are solid, we discuss the nicknames for each clef and why. For example, the G clef is called so because the swirl of it curls around the g line, showing where it is on the staff and then using the musical alphabet to figure out all the other lines and spaces.

Seventh Topic: Minor Tetrachords

Estimated # of Lessons: 2-3

Learning Targets: ● I can play minor tetrachords with half notes.

Essential Questions: ● What do we need to work on? How did we do? ● How can we play together as a group? ● How have we grown as musicians?

Learning Activities: ● With the previously learned low 2 fingering for violins & violas and 2 for cellos and basses, we then focus on playing minor tetrachords on each string with half notes. ● Special attention must be paid to the new finger patterns used and can be practiced without sound… called silent finger patterns. ● Students then identify what makes a minor tetrachord different from a major tetrachord, including the accidental change, major vs minor tonality sound, etc..

389

Grade 5 Orchestra Unit 2

Course Name: Grade 5 Orchestra Unit 3: Honing Skills and final String Festival

Est. # of Lessons: 9-11

Unit Overview: We bring everything together. With stronger technique and sharper ears, we take on new challenges — string crossing slurs, extensions, key signatures, and advanced tempo markings. We learn to practice smarter, isolating difficult passages rather than always starting from the beginning. At the String Festival, we join students from all three schools on the high school stage, perform with a guest conductor, and play alongside high school musicians. This is what it means to be part of an orchestra that reaches beyond our own classroom. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Pr4.2.E.5a: Demonstrate understanding of the structure and elements of music in music selected for performance. Pr4.3.E.5a: Apply teacher-provided criteria to rehearse, refine, and determine when music is ready to perform. Pr5.3.E.5a: Use self-reflection and peer feedback to refine individual and ensemble performances. Pr6.1.E.5a: Demonstrate attention to technical accuracy and expressive qualities in prepared performances.

Transfer Goals ●

●

Understandings ●

● ●

The more complex the music, the more intentional our practice must be — mastery comes from isolating what's hard, not just playing through from the beginning. Performing alongside musicians from other schools and at a higher level raises what we believe we are capable of. Every skill we have built across the year — tone, intonation, reading, ensemble awareness — comes together in a single performance moment that makes the

● ● ● ●

What do we need to work on? How did we do? How can we make our music sound better together? What should we listen for when we play? How have we grown as musicians?

390

Grade 5 Orchestra Unit 2 growth visible. Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Detache vs. Staccato (exploratory) Hooked Bowing (exploratory) Key Signature (exploratory) Forward and Backward Extensions Ritardando, Accelerando, and A Tempo Navigation Markings Peer Feedback: Glows and Grows

Key Vocabulary: low 1, high 3, forward & backward extension, accidentals, sharp, natural, flat, major, minor, key signature, detache, staccato, hooked bowing, first ending, second ending, Del Segno, Da Capo, Coda, ritardano, accelerando, a tempo

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I can identify and perform detache vs. staccato articulations. I can identify hooked bowing. I can identify sharp, natural, and flat accidental symbols. I can understand half and whole step finger patterns to support intonation. I can identify the sharps in a key signature. I can read new notes using ledger lines above or below the staff. I can play using forward and backward extensions. I can play varied tempos — Adagio, Moderato, and Allegro — with familiar pieces. I can follow ritardando, accelerando, and a tempo markings. I can follow navigation markings including first and second endings, Dal Segno, Da Capo, and Coda. I can perform String Festival repertoire with technical accuracy, ensemble awareness, and expressive intent.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: New Articulation Exploration

Estimated # of Lessons: 3-5

Learning Targets:

Essential Questions:

391

Grade 5 Orchestra Unit 2 ● ●

I can identify and perform detache vs. staccato articulations. I can identify hooked bowing.

● ● ●

What do we need to work on? How did we do? How can we make our music sound better together? What should we listen for when we play?

Learning Activities: ● One page 23 of String Builder, Book 1, students learn the difference between detache and staccato articulations. ● Fiddles on Fire also emphasizes detache vs staccato articulations. ● Hooked bowing is explored within the D Major Scale. Teacher shows music notation that uses hooked bowing, also known as slurred staccato bowing. Second Topic: Accidentals and Key Signature

Estimated # of Lessons: 6-7

Learning Targets: ● I can identify sharp, natural, and flat accidental symbols. ● I can understand half and whole step finger patterns to support intonation. ● I can identify the sharps in a key signature.

Essential Questions: ● What do we need to work on? How did we do? ● How can we make our music sound better together?

Learning Activities: ● On page 20, students now officially learn what natural and flat symbols mean, vs. the sharp that they have been familiar with since 3rd grade, reinforcing half steps vs. whole steps. ● We begin to learn key signatures by identifying the sharps, talking about which notes would become naturals and then start identifying the key signature for each concert song we’ve do or will do at the String Festival. ● String Festival songs contain new accidentals to learn (Batman Theme or Fiddles on Fire). Third Topic: Forward and Backward Extensions

Estimated # of Lessons: 3-4

Learning Targets: ● I can play using forward and backward extensions.

Learning Activities: ● In some of the pieces we’re learning for the String Festival, most notably The Batman Theme, students must learn new fingerings low 1 (backward extension) or high 3 or 4 (forward extension) for notes like Bb or G#. ● We do warm-ups, finger exercises, etc. to strengthen these skills before trying them in songs. ● The passages that employ these skills are isolated to mastery and then put into the song with many repetitions to ensure confidence and accuracy.

392

Grade 5 Orchestra Unit 2 Fourth Topic: Ritardando, Accelerando, and A Tempo

Estimated # of Lessons: 3-4

Learning Targets: ● I can play varied tempos — Adagio, Moderato, and Allegro — with familiar pieces. ● I can follow ritardando, accelerando, and a tempo markings.

Learning Activities: ● Students review Adagio, Moderato, and Allegro tempo terms and experience familiar songs and warm=ups with different tempos. ● Students work on watching conductor and beat patterns playing familiar warm-ups like the Orchestra String Crossing Song and D Major Scale with tempo speeding up or slowing down (ritardando and accelerando). ● Through repertoire like The Abandoned Funhouse, students read and learn ritardando, “rit.” and a tempo concepts and symbols. Fifth Topic: Navigation Markings

Estimated # of Lessons: 4

Learning Targets: ● I can follow navigation markings including first and second endings, Dal Segno, Da Capo, and Coda.

Learning Activities: ● Students must know the navigation markings like first and second ending, Dal Segno, Da Capo, and Coda, which are taught through supplemental music pieces like the Batman Theme. Sixth Topic: String Festival

Estimated # of Lessons: 9-11

Learning Targets: ● I can perform String Festival repertoire with technical accuracy, ensemble awareness, and expressive intent.

393

Grade 5 Orchestra Unit 2 ● ● ●

Sectionals occur where students get focused instruction for their instrument and music part in each piece. Students get to work with a guest conductor who brings an outside wealth of experience and knowledge. High School Chamber Orchestra groups will perform for students, answer questions, mentor students throughout the day, and perform with them at the conclusion of the event.

394

Grade 6 Orchestra

Grade 6 Orchestra Grade 6 Orchestra introduces students to the fundamentals of playing in an ensemble while building the habits that support lifelong musicianship. Students develop posture, tone, music reading, and ensemble listening while learning how individual preparation contributes to the success of the group. Through rehearsal and performance, they begin to practice with purpose, build confidence as independent musicians, and discover the joy of making music together as an orchestra. Orchestra Begins: Playing Together 10-15 Lessons

From Rehearsal to Stage: Honing the Ensemble 10-15 Lessons

The Independent Musician: Audition Preparation and Performance 8-10 Lessons

We begin our year learning what it means to be part of an orchestra. From our first sounds to our first songs, we explore how posture, technique, and teamwork help us play together. Each rehearsal brings new skills as we learn to read music, produce good tone, and listen to each other. Together, we're building the foundation for our musical journey.

With our foundation in place, we're discovering how musicians prepare for performance. Through rehearsal, we learn how small improvements lead to big results on stage. By listening, adjusting, and supporting one another, we turn notes on a page into expressive music that we're excited to share with an audience.

Now that we've learned to listen and perform as an ensemble, we turn inward to develop our skills as independent musicians — because the strength of an orchestra depends on the preparation each player brings to the room. We learn how to practice with purpose, breaking music into sections, identifying challenges, and applying strategies that actually work. Through audition preparation, we build confidence, manage nerves, and discover what we're capable of when we take ownership of our own musical growth.

395

Grade 6 Orchestra Unit 1

Course Name: Grade 6 Orchestra Unit 1 Title: Orchestra Begins: Playing Together

Est. # of Lessons:

10-15

Unit Overview: We begin our year learning what it means to be part of an orchestra. From our first sounds to our first songs, we explore how posture, technique, and teamwork help us play together. Each rehearsal brings new skills as we learn to read music, produce good tone, and listen to each other. Together, we're building the foundation for our musical journey. STAGE 1: DESIRED RESULTS Established Goals ● ●

Pr5.3.E.6a: Identify and apply strategies to address performance challenges. Pr6.1.E.6a: Perform with expression and technical accuracy a varied repertoire of music.

Transfer Goals ●

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Understandings ●

● ●

●

The way a performer practices has a predictable effect on the level of proficiency with the piece and overall musicianship. A skillful ensemble player manages posture, tone production, intonation, and listening simultaneously. Tone production on a string instrument depends on the relationship between bow speed, weight, and contact point — small adjustments produce significant results. Playing in an orchestra requires listening across sections, not just to yourself. Rehearsal habits and ensemble procedures

● ● ●

How do we work together to produce a quality sound? What do I/we need to focus on in this practice session? How did it go? How do I/we use musical elements (rhythm, melody, tempo) to communicate ideas?

396

Grade 6 Orchestra Unit 1 established early in the year shape the quality of every performance that follows. Knowledge ● ● ● ● ● ● ●

●

Articulation Listening across an ensemble Instrument hold (right-left) Posture Rehearsal etiquette Continued emphasis on melody, blend, balance, dynamics, tempo, cueing, Grade .5 level music: ○ Keys of D and G, and relative minors ○ Meters: 4/4, 2/4, 3/4 ○ Rhythms: Quarter notes, eight note pairs, whole notes, half notes ○ Melody: Step-wise motion, repetition ○ Composition: Block scoring, no divided parts, predictable form Grade 1.5 level concert music: ○ Keys of D and G and relative minors ○ Meters: 4/4, 2/4, 3/4 ○ Rhythms: Quarter notes, eighth notes, dotted quarter ○ Melody: Mostly step-wise, arpeggios ○ Composition: limited solo writing, occasional divided parts, doubled bass line in bass and cello, some doubling in Viola and Violin II

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ● ● ● ● ●

I can play Grade 1.5 music. I can match a pitch on my instrument. I can keep a steady beat with a large ensemble. I can produce a resonant sound on my instrument. I can play in the keys of D, G and relative minors. I can sight-read Grade .5 music and /or a simple melody I can make adjustments to my playing depending on how others are playing. I can recognize when I am playing in or out of sync with an ensemble. I can play open string rhythms and count out loud I can respond to visual cues from a conductor. I can adjust my volume to blend with the ensemble. I can follow rehearsal expectations and contribute positively to group practice.

Key Vocabulary: tone, resonance, bow distribution, bow spacing, and bow speed, articulation, posture, pitch, cue, balance, dynamics, downbeat, cut-off STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ●

Performance rubric assessing individual accuracy and ensemble cohesion

Formative Assessment ● ● ●

Participation in daily warm-ups and sectionals Teacher observation of response to visual and auditory cues Small group/drop-in- drop-out checks for

397

Grade 6 Orchestra Unit 1 ● ● ●

Conductor cue response rubric, scored during final rehearsal or performance Peer feedback form analyzing tone, blend, and balance in concert run-through Score annotation review, evaluating use of markings and rehearsal prep

Criteria: ● ● ● ● ●

● ● ●

pulse and entrances Section accuracy cohesion during rhythm drills In-the-moment-prompts (“Who had the melody? Did we support them?”) Peer feedback on blend or pulse following group exercises

Accurate rhythm, pitch, articulation, and expressive nuance Clear ensemble balance and section blend (especially in Chorales) Demonstrated awareness of section role (melody, harmony, accompaniment) Responsiveness to conductor cues for phrasing, dynamics, and tempo changes Use of musical vocabulary when describing context, structure, or interpretation STAGE 3: LEARNING PLAN

First Topic: Entering Together on Cue

Estimated # of Lessons: 3-4

Learning Targets: ● I can respond to visual cues from a conductor. ● I can keep a steady beat with a large ensemble. ● I can follow rehearsal expectations and contribute positively to group practice.

Learning Activities: ● 3 part Round warm-ups for developing visual and auditory cue awareness ● Silent conducting cue practice for building response time and ensemble cohesion ● Verbal count-offs followed by silent entrances for transferring verbal rhythm knowledge to ensemble behavior ● Layered entrances (by section or row) for strengthening awareness of ensemble listening and role Second Topic: Maintaining Steady Pulse

Estimated # of Lessons: 3-4

Learning Targets: ● I can keep a steady beat with a large ensemble. ● I can make adjustments to my playing. depending on how others are playing. ● I can recognize when I am playing in or out of

Essential Questions: ● How do we work together to produce a quality sound? ● What do I /we need to focus on in this practice session? How did it go?

398

Grade 6 Orchestra Unit 1

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sync with an ensemble. I can respond to visual cues from a conductor.

Learning Activities: ● Section drop-in/drop-out pulse drills for reinforcing steady beat awareness ● Pulse tapping with decaying visual cues for developing internal pulse control ● Layered rhythms by section for strengthening interdependent ensemble timing ● “Bow-in-the-air” warm-ups for physically anchoring pulse to body movement ● Peer-led tempo exercises for building conductor awareness and ensemble trust ● Rehearsal excerpts with metronome comparison for applying pulse accuracy in context ● Tapping and Counting Out Loud practice for refining independent tempo tracking ● Section trade-offs on rhythmic patterns for improving timing consistency across the group Third Topic: Listening Across the Ensemble

Estimated # of Lessons: 4-6

Learning Targets: ● I can match a pitch on my instrument. ● I can produce a resonant sound on my instrument. ● I can make adjustments to my playing depending on how others are playing. ● I can adjust my volume to blend with the ensemble.

Essential Questions: ● How do we work together to produce a quality sound? ● How do I use musical elements (e.g., rhythm, melody, tempo) to communicate ideas?

Learning Activities: ● Section volume matching for improving balance and blend ● Inner voice spotlighting for developing accompaniment awareness ● Ensemble freeze-and-reflect for checking ensemble pulse and balance ● Identify-the-melody activities for recognizing who should be heard ● Bow-in-air visual drills for synching the pulse of the group) ● Balance-to-melody exercises for adjusting dynamic levels to match musical roles

399

Grade 6 Orchestra Unit 2

Course Name: Grade 6 Orchestra Unit 2 Title: From Rehearsal to Stage: Honing the Ensemble

Est. # of Lessons:

10-15

Unit Overview: With our foundation in place, we're discovering how musicians prepare for performance. Through rehearsal, we learn how small improvements lead to big results on stage. By listening, adjusting, and supporting one another, we turn notes on a page into expressive music that we're excited to share with an audience. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Pr5.3.E.6a: Identify and apply strategies to address performance challenges. Pr6.1.E.6a: Perform with expression and technical accuracy a varied repertoire of music. Re9.1.E.6a: Apply teacher-provided criteria to evaluate musical works or performances. Re8.1.E.6a: Identify and describe how expressive qualities are used in performers’ interpretations of musical works.

Transfer Goals ●

●

Understandings ● ● ●

Essential Questions ● ● ●

Knowledge ● ●

Ensemble blend and balance Phrase shape and expressive intent

Skills (Framed as Learning Targets) ●

I can play crescendos and diminuendos with control.

400

Grade 6 Orchestra Unit 2 ● ● ● ● ●

Role of dynamics and articulation in performance Identifying melody and accompaniment Concert etiquette and performance preparation Using vocabulary to reflect and respond Baroque (detached) style vs. Chorale (sustained) style

Key Vocabulary: balance, dynamics, expression, crescendo, diminuendo, staccato, legato, accent, marcato, sustained, detached, détaché, spiccato, phrase, melody, accompaniment, subdivision, style, performance

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I can play staccato, legato, accent, and marcato sounds I can begin to shape musical phrases using dynamics and articulation. I can listen across the ensemble and adjust my playing to match the melody or steady pulse. I can adjust my playing to support the melody or pulse section. I can perform confidently and professionally as part of a concert ensemble. I can follow concert etiquette and contribute to a successful performance. I can use musical vocabulary to describe and evaluate a performance. I can reflect on how I played during rehearsal and think about how to improve next time. I can provide kind, helpful feedback to others during rehearsal.

Controlled use of crescendos and diminuendos Clear execution of staccato, legato, accent, and marcato articulations Evidence of intentional phrase shaping using dynamics and articulation Active listening across the ensemble to match melody or steady pulse Adjustments made to support the melodic line or pulse section Confident, professional performance demeanor within the ensemble

Formative Assessment ● ● ● ● ● ● ●

Daily warm-up participation and sectionals Observation during rehearsal-based exercises (phrasing drills, listening checks, spotlighting sections) Section play-throughs for rhythmic accuracy and ensemble pulse Peer feedback prompts (“Who had the melody? Did we support them?”) Short, in-the-moment reflection tasks after run-throughs Self-assessment checklists (prior to concert/dress rehearsal) Informal teacher check-ins and coaching during expressive rehearsal segments

401

Grade 6 Orchestra Unit 2 ● ● ● ●

Appropriate concert etiquette and stage behavior Accurate use of musical vocabulary when describing performance Thoughtful reflection identifying strengths and next steps Respectful, specific, and constructive peer feedback STAGE 3: LEARNING PLAN

First Topic: Interpreting the Music: Dynamics, Style, and Phrasing

Estimated # of Lessons: 3-4

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do I use the tools/techniques/principles I have to produce the sound I want?

Learning Activities: ● Canon drills for exploring contrast in articulation and expression Dynamic shaping with a phrase arc for visualizing and performing phrase contours ● Score marking and listening excerpts for identifying expressive markings and hearing how professionals interpret them ● Articulation switch-up drills for applying staccato, legato, accent, and marcato to the same rhythm pattern ● Peer small group exercises for imitating phrasing and tone in small groups ● Repertoire rehearsal with expressive spotlighting for isolating and shaping expressive moments in the concert piece(s) Second Topic: Listening Across the Ensemble

Estimated # of Lessons: 2-4

Learning Targets: Essential Questions ● I can listen across the ensemble and adjust ● How do musicians grow through rehearsal, my playing to match the melody or steady reflection, and feedback? pulse. ● How do I use the tools/techniques/principles ● I can shape musical phrases using dynamics I have to produce the sound I want? and articulation. ● I can adjust my playing to support the melody or pulse section. Learning Activities: ● Melody-finder rehearsals for identifying the main musical line and adjusting balance accordingly

402

Grade 6 Orchestra Unit 2 ● ● ● ● ● ● ●

Pulse-spotting exercises for listening to where the beat is strongest (e.g., lower strings/violas) and aligning tempo Layered phrase-building by section for improving awareness of vertical and horizontal ensemble structure “Bow-in-the-air” exercises for visual, rhythmic synchronizing and body movement Dynamic leveling drills where sections play at different dynamic levels and adjust in real time to support blend Call-and-hold exercises with melody/accompaniment hand-offs to develop timing and balance sensitivity Rehearsal freeze moments for students to identify “Who has the melody?” or “Who is driving the tempo right now?” Role-switching play-throughs where students trade off playing melody/accompaniment lines in rehearsal excerpts

Third Topic: Preparing for Performance

Estimated # of Lessons: 2-3 (timed with concert performance)

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians grow through rehearsal, reflection, and feedback?

Learning Activities: ● Mock concert run-throughs for developing confidence and pacing awareness ● Staging walk-through and entrance/exit practice for reinforcing concert etiquette ● Concert countdown checklist for reviewing final details (instruments, music, attire, behavior) ● Pre-performance tuning and focus routines for managing nerves and building poise ● Peer feedback on stage presence and professionalism for reinforcing expectations ● Rehearsal-to-concert reflection prompts for tracking individual and group readiness ● Dress rehearsal debrief for identifying final adjustments before performance Fourth Topic: Reflecting and Responding

Estimated # of Lessons: 1-2 (timed with concert performance)

Learning Targets: ● I can use musical vocabulary to describe and evaluate a performance. ● I can reflect on how I played during rehearsal and think about how to improve next time. ● I can provide kind, helpful feedback to others during rehearsal.

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians grow through rehearsal, reflection, and feedback?

403

Grade 6 Orchestra Unit 2 Learning Activities: ● Post-concert reflection form or shared google doc for identifying personal growth and goals ● Class discussion using concert video/audio playback for shared feedback ● Two stars and a wish peer feedback activity for low-stakes critique practice ● Performance rubric walkthrough for introducing key criteria (tone, rhythm, expression, ensemble skills) ● "What went well / What could improve" board or handout for whole-class review ● Listening to a professional or peer performance and describing it using musical vocabulary

404

Grade 6 Orchestra Unit 3

Course Name: Grade 6 Orchestra Est. # of Lessons: Unit 3 Title: The Independent Musician: Audition Preparation and Performance

8-10

Unit Overview: Now that we've learned to listen and perform as an ensemble, we turn inward to develop our skills as independent musicians — because the strength of an orchestra depends on the preparation each player brings to the room. We learn how to practice with purpose, breaking music into sections, identifying challenges, and applying strategies that actually work. Through audition preparation, we build confidence, manage nerves, and discover what we're capable of when we take ownership of our own musical growth. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Pr5.1.E.6a: Develop and refine artistic techniques and work for performance. Pr5.3.E.6a: Identify and apply strategies to address performance challenges. Pr6.1.E.6a: Perform with expression and technical accuracy a varied repertoire of music. Re9.1.E.6a: Apply teacher-provided criteria to evaluate musical works or performances

Transfer Goals ●

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Understandings ● ● ● ● ● ●

Good performances are the result of planning, effort, and self-discipline, not luck Musicians improve more when they practice smart, not just longer Musical elements are connected, not separate How a musician thinks and feels affects how they play Mistakes are tools for learning, not failures The goal is progress and musicianship, not perfection. Knowledge

Reflecting and Growing as a Musician: Reflect on strengths, challenges, and growth as a developing independent musician (Self-directed Learners) Responding: Evaluate their own performance using established criteria. Use feedback to refine their performance (Critical Thinkers, Effective communicators) Connecting: Connect effective practice habits to personal growth, responsibility, and perseverance and recognize how independent musicianship skills support success beyond the orchestra classroom. (Responsible citizen) Essential Questions

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What does it mean to practice like a musician, not just play? How do posture, technique, and tone quality affect my performance? How can I prepare mentally to perform/sightread at my best? How can I make my music expressive, not just correct? How does feedback and reflection help me grow as a musician?

Skills (Framed as Learning Targets)

405

Grade 6 Orchestra Unit 3 ● ● ● ● ●

Characteristics of an effective individual practice session How to prepare a short musical excerpt, scale, or solo for performance Basic expectations of a solo/audition performance (start, tempo, posture, tone, accuracy) Musicians improve through reflection, feedback, and revision Nervousness is normal and can be managed with preparation

Key Vocabulary: audition, excerpt, adjudication, performance, preparation, practice strategy, reflection, feedback, tone quality, intonation, rhythm, tempo, dynamics, technique, articulation, posture, bowing, practice skills; isolate, repetition, slow practice, chunking, metronome, drone

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I can practice independently using teachermodeled strategies I can break music into small sections and rehearse them effectively I can identify problem spots and apply targeted practice strategies I can begin to use a metronome to maintain steady tempo I can perform a short solo, scale or excerpt with appropriate: tone quality, rhythm accuracy, Intonation, technique and posture I can begin and end a performance confidently and independently I can evaluate my performance using a rubric or checklist I can apply teacher and peer feedback to improve performance I can set realistic short-term practice goals

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: Solo or Audition-Style Performance ● ●

●

● ●

Students perform a prepared excerpt, scale, or solo individually Performance is assessed using a rubric including: tone quality,rhythm accuracy, intonation, technique/posture, musical expression, preparation, stage presence (confidence and presentation) Student reflects, either verbally or written, after the performance Student submits a practice plan showing preparation process Self assessment completed alongside teacher scoring (formal/informal). Student sight-reads a simple melody.

Formative Assessment ● ● ● ● ● ● ●

Practice logs or reflection journals Exit tickets (e.g., “One thing I practiced well today…”) Peer feedback checklists Teacher observation during rehearsal Play-through checkpoints (partial excerpts) Self-assessment spoken or using performance rubrics Think-aloud modeling followed by student application

Criteria: ● ●

Produces a clear, steady, and expressive sound Plays the correct rhythms and keeps a

406

Grade 6 Orchestra Unit 3

● ● ● ●

steady beat Plays in tune with correct notes Demonstrates proper technique and posture for their instrument Uses dynamics and phrasing to make the music expressive Performs smoothly, showing focused practice and self-assurance STAGE 3: LEARNING PLAN

First Topic: Independent Practice & Preparation

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions: ● I can begin to use a metronome to maintain ● What does it mean to practice like a musician, steady tempo not just play? ● I can break music into small sections to ● How do posture, technique, and tone quality practice effectively. affect my performance? ● I can identify challenging passages and use ● How can I make my music expressive, not just strategies to improve them. correct? ● I can create a personal practice plan for a ● How does feedback and reflection help me short excerpt, scales and arpeggios, or solo. grow as a musician?

Learning Activities: ● Introduction to sight-reading strategies (e.g., scanning for key/time signature, clapping rhythms before playing) using simple Grade .5 melodies ● Teacher models slow practice, chunking, repetition, and metronome use. Students practice short excerpts using these strategies ● Students create a weekly practice plan for their solo, scales and/or excerpt ● Students practice in pairs, giving each other specific feedback on challenging measures ● Students write what strategy worked best and what they need to work on next Second Topic: Performance Skills & Musical Expression

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions ● I can perform required scales and arpeggios ● How do posture, technique, and tone quality at required tempo affect my performance? ● I can perform a prepared excerpt with ● How can I make my music expressive, not just accurate rhythm, intonation, and tone correct? ● I can demonstrate proper posture, technique, and instrument handling ● I can add dynamics, phrasing, and expression to make my performance musical

407

Grade 6 Orchestra Unit 3 Learning Activities: ● Guided sight-reading practice using short, unfamiliar excerpts at a slow tempo; students identify challenges and apply targeted strategies before performing ● Small-group rehearsals focusing on tone, rhythm, and intonation ● Small group practice open string modeling for tone, bow control, bow placement ● Students experiment with dynamics, articulation, and phrasing in their excerpt ● Students perform in front of peers in a low-stress setting to practice focus and stage presence ● Record a short performance; students watch themselves and identify areas for improvement Third Topic: Feedback, Reflection & Audition Mindset

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions: ● I can use teacher and peer feedback to ● How does feedback and reflection help me improve my performance. grow as a musician? ● I can reflect on my growth and set goals for ● How can I prepare mentally to perform/sightfuture practice. read at my best? ● I can manage performance anxiety and present myself confidently. ● I can sight-read a simple melody. Learning Activities: ● Students perform excerpts for a small group, then give and receive structured feedback using a rubric. (Glows and grows) ● Students complete a self-assessment reflection noting strengths, challenges, and next steps. What went well? What would you change? ● The teacher leads a brief session on deep breathing, positive visualization, and performance confidence techniques ● Students practice entering the adjudication space, saying their name, acclimating, and performing a mock audition ● Students practice and perform silent, sight reading strategies ● Students rehearse their excerpts with peer feedback one last time before summative performance ● Students practice sight-reading a simple melody alone or with a partner

408

Grade 7-8 Orchestra

Grades 7-8 Orchestra We build on our Grade 6 foundation and take our musicianship to the next level. We explore the bounce and energy of swing, deepen our expressive choices as we prepare for a formal concert, find our role in a full symphonic ensemble alongside winds and percussion, and close the year with small ensemble work — rehearsing independently, developing leadership, and preparing for auditions. Throughout, we set goals, give and receive feedback, and discover what it means to own our sound as musicians. From Fundamentals to Feel: Stepping into the World of Swing 10-15 Lessons

From Rehearsal to Stage 2.0: Interpretation & Expression 10-15 Lessons

Symphonic Voices: Finding Your Role in a Larger Ensemble 8-10 lessons

Own Your Sound: Building SelfDirected Musicians 6-8 lessons

Building on our ensemble fundamentals from Grade 6, we're stepping into the world of Swing. Through exploring articulation, phrasing, and the distinctive feel of jazz, we discover how bow speed, weight, and spacing create the bounce and energy of this popular style. As we prepare for our first performance, we're learning that swing isn't just a technique, it's a way of feeling the music together.

With our ensemble foundation in place, we're going deeper into what it means to prepare for a performance. We work on tone, timing, and expression — learning to listen across sections, follow a conductor, and make choices about how our music should sound and feel. Through rehearsal, peer feedback, and reflection, we move from playing the notes to performing the music. All of this comes together at our formal concert, where we share what we've built as an ensemble.

Now we experience the unique challenge of performing in a full symphonic ensemble. As string players join with winds and percussion, we learn to adjust our tone, timing, and listening to balance within a more diverse soundscape. Through focused rehearsals, critical listening, and reflection, we discover how to adapt and lead within a full orchestral context.

Now we explore the fundamentals of small ensemble collaboration. Working in duets, trios, or quartets, we choose accessible music and rehearse with increased independence. We're learning how to communicate musically and verbally with peers, organize rehearsal time, and perform informally for classmates. Through this work, we develop early leadership skills and discover how group dynamics, listening, and rehearsal habits shape a successful performance.

409

Grade 7-8 Orchestra Unit 1

Course Name: Grades 7-8 Orchestra Est. # of Lessons: Unit 1 Title: From Fundamentals to Feel: Stepping into the World of Swing

10-15

Unit Overview: Building on our ensemble fundamentals from Grade 6, we're stepping into the world of Swing. Through exploring articulation, phrasing, and the distinctive feel of jazz, we discover how bow speed, weight, and spacing create the bounce and energy of this popular style. As we prepare for our first performance, we're learning that swing isn't just a technique—it's a way of feeling the music together. STAGE 1: DESIRED RESULTS Established Goals ●

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● ● ● ●

Pr4.2.E.7a: Demonstrate and explain how the selection of music to perform is influenced by personal interest, context, and technical skill. Pr4.3.E.7a: Demonstrate understanding of expressive qualities (such as dynamics, phrasing, and articulation) through performance. Pr5.1.E.7a: Rehearse to refine technical accuracy and expressive qualities, using self-assessment and feedback from others. Pr6.1.E.7a: Perform with expression and technical accuracy a varied repertoire of music. Re7.2.E.7a: Identify and describe how context and genre influence the structure and style of a piece. Cn11.0.E.7a: Explain how musical works are influenced by the time, place, and social setting in which they were created.

Transfer Goals ●

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Understandings ● ●

●

Practice of learned techniques has a predictable effect on proficiency and the quality of performance. A quality performance is bigger than the individual performers; ensemble success depends on listening, balance, and shared responsibility. A skillful performer manages the multifaceted nature of participation in an ensemble, combining technical accuracy with expressive intent.

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers) Connecting: Analyze relationships between music and the other arts, other disciplines, varied contexts, and daily life (Critical Thinkers, Responsible Citizens) Essential Questions

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How do we work together to produce a unified and expressive ensemble sound in a swing style? What do I—and we—need to focus on in this rehearsal to improve our performance? How did it go? How can musical elements like rhythm, form, and articulation help communicate the character of a swing? How does understanding the context of a piece change the way we interpret and

410

Grade 7-8 Orchestra Unit 1 ●

Every performance and rehearsal provides opportunities for feedback from self and others to refine technique, expression, and confidence.

● ● ●

Knowledge

perform it? What strategies help us balance technical precision with musical expression when preparing a complex piece? How can peer and self-assessment lead to more effective rehearsal and performance? What makes a performance feel meaningful to the audience—and to us as musicians? Skills (Framed as Learning Targets)

Fundamental Triplet bowing ● I can play Grade 1.5 level concert or popular Bow speed, weight and spacing music with correct notes, rhythms, and Ensemble listening (balance and blend) dynamics. Rehearsal etiquette ● I can use the correct bow speed, weight and Melodic phrasing and section roles space for swing style . Swing style form and articulation ● I can perform comfortably in the keys of D, G Expressive elements in performance and C major. Conducting cues and ensemble response ● I can adjust my pitch and volume to match Grade 1.5 level concert music: others in my section. ○ Keys of D, G, C major and relative ● I can follow the conductor’s beat pattern and minors respond to cues for starts and cut-offs. ○ Meters: 4/4, 2/4, ¾ easy cut-time ● I can recognize when my section is playing ○ Rhythms: Quarter notes, eighth the main melody or supporting harmony. notes, dotted quarter, simple ● I can reflect on my performance using clear, syncopation musical language. ○ Melody: Mostly step-wise, Advanced arpeggios, and broken thirds ● I can play Grade 2 level concert or Swing ○ Composition: limited solo writing, music accurately and with expression. occasional divided parts, doubled ● I can apply advanced bowing concepts Cello and Bass.. (weight, speed, space) to create a clear swing ● Grade 2 level concert music style. ○ Keys of D, G, C, and relative minors ● I can perform fluently in D, G, C major , and e ○ Meters: 4/4, 2/4, 3/4, cut-time, 6/8 minor. ○ Rhythms: Sixteenth notes, limited ● I can listen across the ensemble and make sixteenth/eighth note real-time adjustments to pitch, tone, and combinations, simple balance. quarter/eighth-note rhythms in 6/8 ● I can visually track and respond to conductor ○ Melody: Idiomatic writing for cues, including tempo changes and dynamics. instruments ● I can recognize my ensemble role (melody, ○ Composition: some solo writing; counter line, harmony, or accompaniment) divide four part, double Cello and and adjust accordingly. Bass. ● I can evaluate my own and others’ performances using musical vocabulary and Key Vocabulary: tone, position, posture, triplets, ensemble goals. articulation, bow weight, bow speed, bow spacing, legato, sustained, dynamics, melody, counter● ● ● ● ● ● ● ● ●

411

Grade 7-8 Orchestra Unit 1 melody, harmony, accompaniment, ensemble, phrasing, balance, blend, tempo. STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● ● ● ●

●

Performance rubric assessing individual accuracy and ensemble cohesion Conductor cue response rubric, scored during final rehearsal or performance Peer feedback form analyzing tone, blend, and balance in concert run-through Score annotation review, evaluating use of markings and rehearsal prep

● ● ● ●

Criteria:

● ●

●

● ● ● ●

Accurate rhythm, pitch, articulation, and expressive nuance Clear ensemble balance and section blend (especially in swing style) Demonstrated awareness of section role (melody, harmony, accompaniment) Responsiveness to conductor cues for phrasing, dynamics, and tempo changes Use of musical vocabulary when describing context, structure, or interpretation

Participation in daily warm-ups and ensemble sectionals Teacher observation of response to visual and auditory cues “Down the row” performance checks for rhythm, articulation, or melody Annotated score check-ins (highlighted phrases, dynamics, tricky spots) Exaggerated style rehearsals to reinforce articulation and tone color Practice goal reflections (written or verbal) Peer feedback using simplified ensemble rubric Self-assessment of swing style and ensemble balance

STAGE 3: LEARNING PLAN First Topic: Swing Style & Ensemble Roles

Estimated # of Lessons: 3-4 lessons

Fundamental:

Essential Questions: ● How can musical elements like rhythm, form, and articulation help communicate the character of a swing piece? ● How does understanding the context of a piece change the way we interpret and perform it?

● ● ● ●

I can play Grade 1.5 level concert or popular music with correct notes, rhythms, and dynamics. I can use the correct bow speed, weight, and spacing for swing style. I can perform comfortably in the keys of D, G, and C major. I can recognize when my section is playing

412

Grade 7-8 Orchestra Unit 1 the main melody or supporting harmony. Advanced: ● ● ● ●

I can play Grade 2 level concert or swing music accurately and with expression. I can apply advanced bowing concepts (weight, speed, space) to create a clear swing style. I can perform fluently in D, G, C major, and e minor. I can recognize my ensemble role (melody, counter line, harmony, or accompaniment) and adjust accordingly.

Learning Activities: ● Engage in 3 part canon drills to solidify the swing style and swing bowing ● Highlight and annotate students' parts to mark melody, counter-melody, or accompaniment roles. ● Engage in call-and-response conducting drills to practice entering and cutting off with clear visual cues. ● Facilitate ensemble discussions or quick writes around these questions: “What role do I play in this section?” “How did we do as a team in terms of timing, style, and blend?” ● Compare two contrasting ensemble recordings and describe what makes one more cohesive than the other using musical vocabulary. Second Topic: Practicing for Performance

Estimated # of Lessons: 3-4 lessons

Fundamental:

Essential Questions: ● How do we work together to produce a unified and expressive ensemble sound in a swing style? ● What do I — and we — need to focus on in this rehearsal to improve our performance? How did it go? ● What strategies help us balance technical precision with musical expression when preparing a complex piece?

● ●

I can adjust my pitch and volume to match others in my section. I can follow the conductor's beat pattern and respond to cues for starts and cut-offs.

Advanced: ● ●

I can listen across the ensemble and make real-time adjustments to pitch, tone, and balance. I can visually track and respond to conductor cues, including tempo changes and dynamics.

Learning Activities: ● Mark challenging sections in music using rehearsal annotations (e.g., accidentals, dynamics,

413

Grade 7-8 Orchestra Unit 1

● ● ● ● ● ● ●

rhythm). Practice “silent rehearsal” techniques (shadow bowing, shadow fingering). Use rehearsal logs or goal cards to reflect on section goals and progress. Perform mini-sectionals focused on tricky licks or rhythms, with peer feedback. Practice ensemble listening games to align entrances, cutoffs, and phrasing. Use score study (projected or printed) to identify balance and melody movement. Record short rehearsals and self-assess using a tone/blend/style checklist. Exit activity: identify one section that improved and one to revisit next time.

Third Topic: Performance Reflection and Goal Setting

Estimated # of Lessons: 2-3 lessons

Fundamental:

Essential Questions:

●

I can reflect on my performance using clear, musical language.

Advanced: ●

● ●

How can peer and self-assessment lead to more effective rehearsal and performance? What makes a performance feel meaningful to the audience — and to us as musicians?

I can evaluate my own and others' performances using musical vocabulary and ensemble goals.

Learning Activities: ● Listen to a recording of the ensemble’s most recent performance and complete a guided reflection using a rubric or checklist. ● Engage in a class discussion analyzing what went well and what could improve, focusing on ensemble blend, style, and transitions. ● Identify a favorite moment in the performance and annotate the score to show what made it effective (dynamics, articulation, etc.). ● Set one individual and one ensemble-based goal for the next unit or piece of music. ● Complete a “musician’s journal” prompt reflecting on personal growth since the start of the unit. ● Watch video excerpts of professional performances of similar swing style music and compare ensemble practices. ● Pair-share peer feedback using sentence starters (e.g., “One thing I noticed about your section was…”). ● Rehearse a small excerpt from the performance again with focus on applying post-performance feedback. ● Practice identifying technical, expressive, and stylistic vocabulary in student writing and discussion. ● Submit a short exit ticket: “What’s one thing you now know about performing in a large ensemble that you didn’t know at the beginning of this unit?”

414

Grade 7-8 Orchestra Unit 2

Course Name: Grades 7-8 Orchestra Unit 2 Title: From Rehearsal to Stage 2.0: Interpretation & Expression

Est. # of Lessons:

10-15

Unit Overview: With our ensemble foundation in place, we're going deeper into what it means to prepare for a performance. We work on tone, timing, and expression — learning to listen across sections, follow a conductor, and make choices about how our music should sound and feel. Through rehearsal, peer feedback, and reflection, we move from playing the notes to performing the music. All of this comes together at our formal concert, where we share what we've built as an ensemble. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

Pr4.3.E.7a: Demonstrate understanding of expressive qualities (such as dynamics, phrasing, and articulation) through performance. Pr5.1.E.7a: Rehearse to refine technical accuracy and expressive qualities, using self-assessment and feedback from others. Pr5.3.E.7a: Apply strategies to rehearse, refine, and perform music in ways that respond to feedback and support ensemble goals. Pr6.1.E.7a: Perform with expression and technical accuracy a varied repertoire of music. Re9.1.E.7a: Evaluate music using musical criteria and musical vocabulary, explaining how well music achieves its intended purpose.

Transfer Goals ●

●

Understandings ● ● ●

● ● ●

Skills (Framed as Learning Targets)

415

Grade 7-8 Orchestra Unit 2 ● ● ● ● ● ● ●

Key Vocabulary: balance, dynamics, expression, crescendo, diminuendo, staccato, legato, accent, marcato, martele, phrase, melody, accompaniment, subdivision, style, performance

Fundamental: ● ● ● ● ● ● ● ● ● ●

I can play crescendos and diminuendos with control. I can play staccato, legato, accent, and marcato sounds. I can begin to shape musical phrases using dynamics and articulation. I can listen across the ensemble and adjust my playing to match the melody or steady pulse. I can adjust my playing to support the melody or pulse section. I can perform confidently and professionally as part of a concert ensemble. I can follow concert etiquette and contribute to a successful performance. I can reflect on how I played during rehearsal and think about how to improve next time. I can use musical vocabulary to describe and evaluate a performance. I can provide kind, helpful feedback to others during rehearsal.

Advanced: ● ● ● ● ● ● ●

I can shape musical phrases with intentional expressive choices across an entire piece. I can explain why I made specific dynamic and articulation decisions in my performance. I can make real-time adjustments to balance and blend based on what I hear across sections. I can demonstrate expressive intent and technical accuracy throughout a full concert performance. I can identify specific moments in performance where ensemble balance or expression could be refined. I can evaluate my own and others' performances using specific musical criteria and ensemble goals. I can connect feedback I receive to concrete adjustments in my playing.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

416

Grade 7-8 Orchestra Unit 2 Summative Assessment

Formative Assessment

Assessment tools: ● Performance rubric (individual or sectionbased) ● Small-group or sectional check-ins prior to performance ● Short post-concert written or verbal reflection

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Criteria: ● Tone quality and resonance ● Accuracy of rhythm and pitch ● Ensemble pulse and alignment ● Articulation and dynamic expression ● Balance and blend within the ensemble ● Stage presence and performance etiquette ● Use of musical vocabulary in postperformance reflection

●

● ●

Daily warm-up participation and sectionals Observation during rehearsal-based exercises (phrasing drills, listening checks, spotlighting sections) “Drop-In-Drop-Out” play-throughs for rhythmic accuracy and ensemble pulse Peer feedback prompts (“Who had the melody? Did we support them?”) Short, in-the-moment reflection tasks after run-throughs Self-assessment checklists (prior to concert/dress rehearsal) Informal teacher check-ins and coaching during expressive rehearsal segments

STAGE 3: LEARNING PLAN First Topic: Interpreting the Music: Dynamics, Style, and Phrasing

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do I use the tools/techniques/principles I have to produce the sound I want?

Fundamental: ● ● ●

I can play crescendos and diminuendos with control. I can play staccato, legato, accent, and marcato sounds. I can begin to shape musical phrases using dynamics and articulation.

Advanced: ● ●

I can shape musical phrases with intentional expressive choices across an entire piece. I can explain why I made specific dynamic and articulation decisions in my performance.

Learning Activities:

417

Grade 7-8 Orchestra Unit 2 ● ● ● ● ● ● ●

Call-and-response phrasing drills for exploring contrast in articulation and expression “Same phrase, different style” activity for practicing stylistic interpretation (e.g., play the same 4measure phrase in Marcato (detached) then as a chorale (sustained)) Dynamic shaping with a phrase arc for visualizing and performing phrase contours Score marking and listening excerpts for identifying expressive markings and hearing how professionals interpret them Articulation switch-up drills for applying staccato, legato, accent, and marcato to the same rhythm pattern Peer echo exercises for imitating phrasing and tone in small groups Repertoire rehearsal with expressive spotlighting for isolating and shaping expressive moments in the concert piece(s)

Second Topic: Listening Across the Ensemble (Advanced)

Estimated # of Lessons: 2-4 lessons

Learning Targets:

Essential Questions ● How do musicians grow through rehearsal, reflection, and feedback? ● How do I use the tools/techniques/principles I have to produce the sound I want?

Fundamental: ● ●

I can listen across the ensemble and adjust my playing to match the melody or steady pulse. I can adjust my playing to support the melody or pulse section.

Advanced: ● ● ●

Learning Activities: ● Melody-finder rehearsals for identifying the main musical line and adjusting balance accordingly ● Pulse-spotting exercises for listening to where the beat is strongest (e.g., lower strings) and aligning tempo ● Layered phrase-building by section for improving awareness of vertical and horizontal ensemble structure ● Dynamic leveling drills where sections play at different dynamic levels and adjust in real time to support blend ● Call-and-hold exercises with melody/accompaniment hand-offs to develop timing and balance sensitivity ● Rehearsal freeze moments for students to identify “Who has the melody?” or “Who is driving the

418

Grade 7-8 Orchestra Unit 2 tempo right now?” Third Topic: Preparing for Performance

Estimated # of Lessons: 2-3 lessons (timed with concert performance)

Learning Targets:

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians grow through rehearsal, reflection, and feedback?

Fundamental: ● ● ●

I can perform confidently and professionally as part of a concert ensemble. I can follow concert etiquette and contribute to a successful performance. I can reflect on how I played during rehearsal and think about how to improve next time.

Advanced: ● ●

I can demonstrate expressive intent and technical accuracy throughout a full concert performance. I can identify specific moments in performance where ensemble balance or expression could be refined.

Learning Activities: ● Mock concert run-throughs for developing confidence and pacing awareness ● Staging walk-through and entrance/exit practice for reinforcing concert etiquette ● Concert countdown checklist for reviewing final details (instruments, music, attire, behavior) ● Pre-performance tuning and focus routines for managing nerves and building poise ● Peer feedback on stage presence and professionalism for reinforcing expectations ● Rehearsal-to-concert reflection prompts for tracking individual and group readiness ● Dress rehearsal debrief for identifying final adjustments before performance Fourth Topic: Reflecting and Responding

Estimated # of Lessons: 1-2 lessons (timed with concert performance)

Learning Targets:

Essential Questions: ● What makes a musical performance expressive and meaningful? ● How do musicians grow through rehearsal, reflection, and feedback?

Fundamental: ●

I can use musical vocabulary to describe and evaluate a performance.

419

Grade 7-8 Orchestra Unit 2 ●

I can provide kind, helpful feedback to others during rehearsal.

Advanced: ● ●

I can evaluate my own and others' performances using specific musical criteria and ensemble goals. I can connect feedback I receive to concrete adjustments in my playing.

Learning Activities: ● Post-concert reflection form or shared google doc for identifying personal growth and goals ● Class discussion using concert video/audio playback for shared feedback ● Performance rubric walkthrough for introducing key criteria (tone, rhythm, expression, ensemble skills) ● "What went well / What could improve" board or handout for whole-class review ● Listening to a professional or peer performance and describing it using musical vocabulary

420

Grade 7-8 Orchestra Unit 3

Course Name: Grades 7-8 Orchestra Unit 3 Title: Symphonic Voices: Finding Your Role in a Larger Ensemble

Est. # of Lessons:

8-10

Unit Overview: Now we experience the unique challenge of performing in a full symphonic ensemble. As string players join with winds and percussion, we learn to adjust our tone, timing, and listening to balance within a more diverse soundscape. Through focused rehearsals, critical listening, and reflection, we discover how to adapt and lead within a full orchestral context. STAGE 1: DESIRED RESULTS Established Goals ●

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Pr4.2.E.7a: Perform a selected piece of music demonstrating understanding of balance, blend, and the role of individual parts within an ensemble. Pr5.3.E.7a: Apply strategies to rehearse, refine, and perform music in ways that respond to feedback and support ensemble goals. Pr6.1.E.7a: Demonstrate technical accuracy, appropriate tone, and expressive intent in ensemble performance.

Transfer Goals ●

●

Understandings ● ● ●

Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Responding: Engage thoughtfully with diverse musical genres, using musical vocabulary to analyze and reflect on performances and compositions (Effective Communicators, Critical Thinkers Essential Questions

● ● ● ●

421

Grade 7-8 Orchestra Unit 3

●

section’s role (melody, harmony, accompaniment). String players must develop fluency in Band oriented keys to perform confidently in a full symphonic ensemble.

Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets) Fundamental: ● ● ● ● ● ● ● ● ●

I can play scales and excerpts in C, a, G, and e with accurate notes and intonation. I can sight-read short passages in stringoriented keys with growing confidence. I can listen across the ensemble and respond to what I hear in real time. I can follow visual and musical cues in a full ensemble setting. I can recognize when I am carrying the melody or supporting the ensemble. I can adjust my volume, tone, and articulation to blend with a full ensemble. I can play my part accurately and in sync with players in other sections. I can rehearse with increased independence, using feedback to improve. I can reflect on my progress in contributing to the ensemble's sound.

Advanced: ● ● ● ● ● ●

I can play scales and excerpts in C, a, G, F, Bb and e with expressive control and accurate intonation. I can sight-read passages in these keys and identify patterns that help me navigate them fluently. I can identify how my part connects with other sections in the score. I can anticipate cues and balance shifts before they happen based on score awareness. I can demonstrate appropriate balance when playing alongside winds and percussion. I can make independent decisions about tone and dynamic level based on my role in the texture.

422

Grade 7-8 Orchestra Unit 3 ● ●

I can describe my role in a piece using musical vocabulary. I can lead a sectional moment and help peers improve accuracy, balance, or expression.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● ● ●

●

Performance rubric (individual and sectionbased) Ensemble self-assessment checklist Short written or verbal reflection on ensemble role

● ● ●

Criteria: ● ● ● ● ● ●

Accuracy of rhythm, pitch, and key signature fluency (C, a, G, e) Ensemble balance and blend (especially across winds/strings/percussion) Independent contribution to section and full ensemble Awareness of melodic/harmonic role within texture Adaptation to conductor feedback and rehearsal goals Use of musical vocabulary in reflection or discussion

● ●

STAGE 3: LEARNING PLAN First Topic: Building Fluency in Full OrchestraFriendly Keys

Estimated # of Lessons: 2-3 lessons

Learning Targets:

Essential Questions: ● How can I build confidence playing in keys I don’t normally use in an Orchestra?

Fundamental: ● ●

I can play scales and excerpts in C, a, G, and e with accurate notes and intonation. I can sight-read short passages in stringoriented keys with growing confidence.

423

Grade 7-8 Orchestra Unit 3 Advanced: ● ●

I can play scales and excerpts in C, a, G, and e with expressive control and accurate intonation. I can sight-read passages in these keys and identify patterns that help me navigate them fluently.

Learning Activities: ● Daily scale routines in C, a, G, e for developing fluency and tuning accuracy ● Technique etudes or excerpts that feature string-oriented key signatures ● Call-and-response exercises using these keys to reinforce listening and intonation ● Tuning games or partner checks focused on sharp key alignment ● Sight-reading warmups in these keys to build visual and motor familiarity Second Topic: Listening Across the Ensemble

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How can listening help me understand my role in a symphonic piece?

Fundamental: ● ●

I can listen across the ensemble and respond to what I hear in real time. I can follow visual and musical cues in a full ensemble setting.

Advanced: ● ●

I can identify how my part connects with other sections in the score. I can anticipate cues and balance shifts before they happen based on score awareness.

Learning Activities: ● Call-and-response phrases between sections for developing ensemble awareness ● Score follow-along or guided listening tasks for identifying melody and accompaniment ● Partner rehearsal across instrument families (e.g., clarinet with viola) for exploring texture ● Layered entrances and exits to practice recognizing section roles ● Echo and imitation games to strengthen ensemble listening skills Third Topic: Balancing Role and Tone

Estimated # of Lessons: 2-3 lessons

Learning Targets:

Essential Questions ● How do I know whether I should stand out or blend in during a piece of music?

.Fundamental:

424

Grade 7-8 Orchestra Unit 3

● ●

I can recognize when I am carrying the melody or supporting the ensemble. I can adjust my volume, tone, and articulation to blend with a full ensemble.

Advanced: ● ●

I can demonstrate appropriate balance when playing alongside winds and percussion. I can make independent decisions about tone and dynamic level based on my role in the texture.

Learning Activities: ● Dynamic layering by role (melody vs. background) to develop balance ● Tone matching warm-ups between winds and strings for blend ● “Take the Lead” rehearsal moments where different sections try leading the same passage ● Volume shaping exercises to adjust to changes in orchestration ● Reflection prompts asking students to describe their role in a specific passage Fourth Topic: Independent Contribution in the Large Ensemble

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● What does it mean to play independently while still supporting the ensemble?

Fundamental: ● I can play my part accurately and in sync with players in other sections. ● I can rehearse with increased independence, using feedback to improve. ● I can reflect on my progress in contributing to the ensemble's sound. Advanced: ● I can describe my role in a piece using musical vocabulary. ● I can lead a sectional moment and help peers improve accuracy, balance, or expression.

425

Grade 7-8 Orchestra Unit 4

Course Name: Grades 7-8 Orchestra Unit 4 Title: Own Your Sound: Building Self-Directed Musicians

Est. # of Lessons:

6-8

Unit Overview: Now we explore the fundamentals of small ensemble collaboration. Working in duets, trios, or quartets, we choose accessible music and rehearse with increased independence. We're learning how to communicate musically and verbally with peers, organize rehearsal time, and perform informally for classmates. Through this work, we develop early leadership skills and discover how group dynamics, listening, and rehearsal habits shape a successful performance. This unit lays the groundwork for Own Your Sound 2.0 in High School by emphasizing teamwork, communication, and self-awareness. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

● ●

Transfer Goals ●

●

Understandings ● ●

Musical independence means being able to rehearse, refine, and perform with confidence without needing a conductor. Ensemble leadership is shared among

● ●

What does it take to rehearse and perform confidently without a conductor? How do we decide who leads, and what does

426

Grade 7-8 Orchestra Unit 4

●

● ●

members and includes cueing, communication, and problem-solving. Rehearsal is a reflective process, not just repetition. Progress requires setting goals, listening critically, and making intentional adjustments. Teamwork in music mirrors real-life collaboration, requiring accountability, trust, and shared ownership. Musicianship grows through authentic experience. When students take responsibility for their own sound and support the success of their peers.

● ● ● ●

Knowledge ● ● ● ● ● ● ●

leadership look like in a small ensemble? What strategies help a group stay organized and make progress during rehearsal? How do the skills we use in a musical ensemble relate to teamwork in other areas of life? What does it mean to take ownership of my own musical growth? How do I turn feedback into action that actually improves my playing?

Skills (Framed as Learning Targets) Fundamental: ● ● ● ● ● ● ● ● ● ●

I can select music that fits my group's size and our playing abilities. I can help my group start and stop together without a conductor. I can rehearse with a partner or small group and improve our music over time. I can take responsibility for being prepared and helping my group stay focused. I can explain how I helped my group rehearse and perform successfully. I can explain the purpose of an audition and what is expected of me. I can prepare audition music using effective practice strategies. I can demonstrate correct posture, bowing, and tone during an audition. I can perform audition material with steady tempo and accurate notes. I can reflect on my performance and identify areas for improvement.

Advanced: ● ● ● ●

I can contribute ideas during rehearsal by setting small goals and offering suggestions. I can take initiative in organizing my group's rehearsal approach. I can listen carefully and adjust my playing to match others in tone, volume, and style. I can identify what my group needs to work

427

Grade 7-8 Orchestra Unit 4

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on and suggest a strategy to address it. I can connect the teamwork skills I use in rehearsal to other areas of school and life. I can evaluate my group's performance using musical vocabulary and suggest next steps. I can independently plan and manage my audition preparation. I can demonstrate musical expression, dynamics, and articulation in my performance. I can perform scales and excerpts with accurate intonation and rhythm. I can apply feedback to improve my audition performance. I can perform confidently under performance pressure.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● ● ●

●

Performance rubric (individual and small group-based) Ensemble self-assessment checklist Short written or verbal reflection on group process and role

● ●

Criteria: ● ● ● ● ● ●

●

STAGE 3: LEARNING PLAN

428

Grade 7-8 Orchestra Unit 4 First Topic: Building Your Ensemble

Estimated # of Lessons: 1-2 lessons

Learning Targets:

Essential Questions: ● How do we decide who leads, and what does leadership look like in a small ensemble? ● What strategies help a group stay organized and make progress during rehearsal?

Fundamental: ● ●

I can select music that fits my group's size and our playing abilities. I can help my group start and stop together without a conductor.

Advanced: ● ●

I can contribute ideas during rehearsal by setting small goals and offering suggestions. I can take initiative in organizing my group's rehearsal approach.

Learning Activities: ● Small groups of students choose a Chorale or 4 part etude from “The First 10 minutes” ● Advanced small groups may choose from different repertoire, such as duets, trios, quartets ● Students set daily practice goals for the group. ● Students collaborate in choosing a group leader and one student who will maintain a steady beat using tapping or count-out-loud. ● Students will rotate their seating during ensemble rehearsals to hone leadership skills required from the Principal players Second Topic: Rehearsing with Independence and Initiative

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● What does it take to rehearse and perform Fundamental: confidently without a conductor? ● How do the skills we use in a musical ● I can rehearse with a partner or small group ensemble relate to teamwork in other areas and improve our music over time. of life? ● I can take responsibility for being prepared and helping my group stay focused. Advanced: ● ●

I can listen carefully and adjust my playing to match others in tone, volume, and style. I can identify what my group needs to work on and suggest a strategy to address it.

429

Grade 7-8 Orchestra Unit 4 Learning Activities: ● Practice counting off the group (“1, 2, ready, go”) ● Practice playing to a steady beat provided by a student ● Sectional coaching available by request (teacher supports rather than leads). ● Reflection protocols used during peer feedback rounds and self-assessment check-ins. Third Topic: Performing and Reflecting as an Ensemble

Estimated # of Lessons: 2-3 lessons

Learning Targets:

Essential Questions ● What does it take to rehearse and perform confidently without a conductor? ● How do the skills we use in a musical ensemble relate to teamwork in other areas of life?

Fundamental: ●

I can explain how I helped my group rehearse and perform successfully.

Advanced: ● ●

I can connect the teamwork skills I use in rehearsal to other areas of school and life. I can evaluate my group's performance using musical vocabulary and suggest next steps.

Estimated # of Lessons: 4-5 lessons

Learning Targets:

Essential Questions

Fundamental: ● ● ● ● ●

I can explain the purpose of an audition and what is expected of me. I can prepare audition music using effective practice strategies. I can demonstrate correct posture, bowing, and tone during an audition. I can perform audition material with steady tempo and accurate notes. I can reflect on my performance and identify areas for improvement.

● ●

What does it mean to take ownership of my own musical growth? How do I turn feedback into action that actually improves my playing?

430

Grade 7-8 Orchestra Unit 4 Advanced: ● ● ● ● ●

I can independently plan and manage my audition preparation. I can demonstrate musical expression, dynamics, and articulation in my performance. I can perform scales and excerpts with accurate intonation and rhythm. I can apply feedback to improve my audition performance. I can perform confidently under performance pressure.

Learning Activities: ● Final informal recording using phone or ● Students use a simplified rubric to give and receive peer feedback. ● Students reflect individually on their growth, their ensemble’s development, and connections to other team experiences (e.g., sports, clubs, future careers). ● Review a sample audition sheet and discuss expectations (scales, excerpts, tempo, tone) ● Model chunking, slow practice, repetition, and goal setting using audition excerpts ● Perform in small groups or for a partner with peer feedback (glow and grow) ● Students evaluate posture, tone, rhythm, and note accuracy after performing ● Short written or verbal reflection: What went well? What needs work ● Students create a multi-day practice plan leading up to the performance ● Students record themselves performing and analyze tone, intonation, and musicality ● Simulate real performance/audition conditions (entering, tuning, performing without stopping) ● Analyze rubrics aligned to performance/audition criteria ● Discuss managing nerves, focus techniques, and performance mindset.

431

Grades 9-12 String Orchestra Grades 9-12 String Orchestra String Orchestra is where technique meets artistry and individual players become an ensemble. Across four units, we build and refine the skills that define great string playing — tone production, bow technique, intonation, and deep ensemble listening — and we apply them to an increasingly expressive and diverse repertoire. We rehearse with intention, reflect on our growth, and perform with confidence. By the end of the year, we understand what it means not just to play the notes but to make music together — music that communicates something real to the people listening. Unit 1: Foundations of Ensemble Excellence 10 Lessons

Unit 2: From Rehearsal to Stage — Refining Our Ensemble Voice 10 Lessons

Unit 3: Sonic Frontiers 10 Lessons

Unit 4: Own Your Sound 2.0: The Joy of Performance 10 Lessons

We begin the year by returning to what makes string playing extraordinary — tone production, bow technique, and the deep listening that only an ensemble demands. Together we rebuild our bow hold, refine our intonation across sections, and establish the rehearsal habits that will carry us all year. From drone tuning and articulation warm-ups to our first full ensemble runthroughs, every skill we develop here becomes the

With our technical foundation secure, we turn to the expressive work that separates a string orchestra from a collection of string players. We dig into bow articulation — legato, staccato, marcato — and discover how subtle changes in bow speed, weight, and placement transform the character of a phrase. We balance melody across violin sections, listen for blend between violas, cellos, and bass, and learn what it means to interpret music rather than just

We step into the sound world of contemporary music written for string orchestra — music shaped by film, jazz, pop, and musical theatre traditions, and by composers who have expanded what strings can do and say. We explore how groove, layered texture, and orchestration create character and momentum, and we consider how a composer's cultural background and artistic context influence the choices we make as performers. Rehearsals push us toward flexibility and independence: reading our parts with greater confidence, listening across

This is where everything comes together. In our final unit, we take greater ownership of our musicianship — making real decisions about tone, bowing, articulation, phrasing, and expression within popular and contemporary string repertoire. Rehearsals push us toward independence: listening across sections, leading within our own, and shaping ensemble sound collaboratively. Through sectionals, full ensemble work, and reflection, we ask what it means to perform with confidence, authenticity, and a genuine sense of who we are as an

432

Grades 9-12 String Orchestra foundation for everything that follows. We close this unit with our first performance — proof of what we can already create together.

perform it. This unit culminates in a formal concert — our chance to demonstrate what a string orchestra sounds like when it truly plays as one.

sections in real time, and making interpretive decisions that serve the music. Performances and reflections ask us to think about what it means to be musical storytellers — and how performing contemporary repertoire expands our sense of what's possible.

orchestra.

433

Grades 9-12 String Orchestra Unit 1

Course Name: Grades 9-12 String Orchestra Unit 1 Title: Foundations of Ensemble Excellence

Est. # of Lessons: 10

Unit Overview: We begin the year by returning to what makes string playing extraordinary — tone production, bow technique, and the deep listening that only an ensemble demands. Together we rebuild our bow hold, refine our intonation across sections, and establish the rehearsal habits that will carry us all year. From drone tuning and articulation warm-ups to our first full ensemble run-throughs, every skill we develop here becomes the foundation for everything that follows. We close this unit with our first performance — proof of what we can already create together with strings alone. STAGE 1: DESIRED RESULTS Established Goals ●

●

Transfer Goals ●

●

Understandings ●

●

The way a string player practices bow technique and intonation has a direct and predictable effect on the quality of ensemble sound. Tone production on a string instrument depends on the precise relationship between bow speed, weight, and contact point — small adjustments produce significant results. Tuning in a string ensemble is not fixed — it requires constant listening, adjusting, and

● ● ● ●

How does the way we use the bow shape the sound we create together? How does listening across sections help us stay in tune and in balance? What rehearsal habits help us improve — and how do we know when they're working? How does individual technique affect the sound of the whole ensemble?

434

Grades 9-12 String Orchestra Unit 1

● ●

matching across sections. A skillful ensemble player manages posture, bow technique, intonation, and listening simultaneously. Rehearsal habits established early in the year shape the quality of every performance that follows. Knowledge

● ● ● ● ● ● ● ● ● ● ●

Articulation: Détaché, Legato, and Staccato Bowings Bow Hold and Instrument Position Posture and Playing Habits Drone Tuning and Intonation Timbre and Tone Production Listening in and Across an Ensemble Melody, Blend, Balance, and Dynamics Rehearsal Etiquette and Ensemble Procedures Key Signatures and Rhythmic Notation Criteria for Tone, Rhythm, Balance, and Blend Rehearsal Strategies and Goal Setting

Key Vocabulary: tone, intonation, balance, blend, dynamics, tempo, cue, ensemble, timbre, rehearsal, feedback, détaché, legato, staccato, bow hold, drone, articulation

Skills (Framed as Learning Targets) Fundamental ● ● ●

● ● ● ● ● ● ● ●

I can maintain correct bow hold and instrument position throughout a rehearsal. I can stand or sit with correct posture that supports tone production and bow technique. I can produce a focused, resonant tone by identifying and adjusting timbre using appropriate bow speed, weight, and placement. I can tune using drones and adjust my intonation to match my section. I can execute basic bow articulations — détaché, legato, and staccato — with consistency. I can read key signatures and rhythmic notation accurately in my part. I can follow rehearsal etiquette and ensemble procedures to contribute to productive rehearsal time. I can identify and fix mistakes during rehearsals by listening and responding. I can apply feedback from my director and peers to make my playing better. I can use rehearsal strategies to improve challenging parts in my music. I can show expression and emotion in my playing based on what the composer intended.

Advanced ● ●

I can diagnose intonation and balance issues across sections and apply targeted rehearsal strategies independently. I can lead my section by modeling correct bow technique, tone production, and ensemble listening.

435

Grades 9-12 String Orchestra Unit 1 ● ●

I can evaluate ensemble blend between violin sections, violas, and cellos using precise musical vocabulary. I can set specific goals for my own growth and track progress across rehearsals.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● Foundational Ensemble Performance (concert, in-class performance, or recorded run-through demonstrating tone, rhythm, blend, and basic expression) ● Section or Individual Performance Check (short excerpt assessing tone quality, rhythmic accuracy, intonation, and response to cues) ● Performance Reflection (brief written or verbal reflection focused on rehearsal strategies, progress, and next goals) Criteria: ● Accurate notes and rhythms appropriate to the repertoire ● Consistent tone quality and basic intonation control ● Appropriate balance and blend within the ensemble ● Evidence of expressive intent through dynamics and phrasing ● Use of feedback and rehearsal strategies to improve performance ● Professional rehearsal habits and ensemble awareness

● ● ● ● ● ●

Drone Tuning Check: brief sectional pause where students tune to a drone and adjust to match their section. Rehearsal Strategy Checks: Observation of students applying feedback, marking music, and improving targeted sections. Listening and Adjustment Spot Checks: Brief pauses where students identify and correct balance, rhythm, or tone issues. Cue Response Checks: Observation of entrances, releases, tempo changes, and basic expressive cues. Recording and Playback Reflection: Short rehearsal recordings used to identify strengths and areas for improvement. Exit Reflection or Check-In: Quick written or verbal response to prompts such as: What improved today? What should we focus on next?

STAGE 3: LEARNING PLAN First Topic: Establishing Fundamental Playing Habits

Estimated # of Lessons: 4-5 lessons

Learning Targets:

Essential Questions: ● How does the way we use the bow shape the sound we create together?

436

Grades 9-12 String Orchestra Unit 1

Fundamental ● ● ●

● ● ● ●

●

How does individual technique affect the sound of the whole ensemble?

Advanced ● ●

Learning Activities: ● Posture checks to establish healthy playing habits ● Tone building exercises with drones ● Articulation warm-ups focused on tone quality and consistency ● Instrument placement and bow hold reminders embedded into daily rehearsal ● Call-and-response rhythm and articulation exercises to reinforce clarity and accuracy ● Director modeling followed by student imitation to establish sound expectations ● Rehearsal pauses for students to self-assess tone, posture, and focus Second Topic: : Listening, Ensemble Awareness, and Rehearsal Skills

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions: ● How does listening across sections help us stay in tune and in balance? ● What rehearsal habits help us improve — and

Fundamental

437

Grades 9-12 String Orchestra Unit 1 ● ● ●

how do we know when they're working?

Advanced ● ●

I can evaluate ensemble blend between violin sections, violas, and cellos using precise musical vocabulary. I can set specific goals for my own growth and track progress across rehearsals.

Estimated # of Lessons: 4-6 lessons

Learning Targets:

Essential Questions: ● What rehearsal habits help us improve — and how do we know when they're working? ● How does individual technique affect the sound of the whole ensemble?

Fundamental ● ●

Advanced ● ●

I can lead my section by modeling correct bow technique, tone production, and ensemble listening. I can set specific goals for my own growth and track progress across rehearsals.

438

Grades 9-12 String Orchestra Unit 1 Learning Activities: ● Dynamic contrast exercises applied directly to concert repertoire ● Phrasing and shaping drills emphasizing melody and musical direction ● Cue-response practice for starts, releases, and expressive changes ● Short run-throughs focused on continuity, focus, and expressive intent ● Recording and playback of rehearsal excerpts to identify expressive strengths ● Reflection prompts asking students how musical elements helped communicate ideas

439

Grades 9-12 String Orchestra Unit 2

Course Name: Grades 9-12 String Orchestra Unit 2 Title: From Rehearsal to Stage: Refining Our Ensemble Voice

Est. # of Lessons: 10

Unit Overview: With our technical foundation secure, we turn to the expressive work that separates a string orchestra from a collection of string players. We dig into bow articulation — legato, staccato, marcato — and discover how subtle changes in bow speed, weight, and placement transform the character of a phrase. We balance melody across violin sections, listen for blend between violas, cellos, and bass, and learn what it means to interpret music rather than just perform it. This unit culminates in a formal concert — our chance to demonstrate what a string orchestra sounds like when it truly plays as one. STAGE 1: DESIRED RESULTS Established Goals ●

●

Transfer Goals ●

●

Understandings ●

●

Articulation choices — legato, staccato, marcato — are interpretive decisions, not just technical ones; they determine how music communicates character and style. A string orchestra achieves expressive unity when each player understands their role — melody, inner voice, or bass line — and adjusts their sound accordingly.

Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners) Performing Works of Music: Practice and refine technical skill, expressive intent, and cultural understanding to communicate a musical piece that pays respect to the composition and individual artistry. (Effective Communicators, Information Analysts)

Essential Questions ● ● ●

How do articulation and phrasing choices change what music communicates? How does knowing your role in the ensemble — melody, inner voice, bass line — change the way you play? How do reflection and peer feedback move us from technically correct to musically compelling?

440

Grades 9-12 String Orchestra Unit 2 ● ● ●

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Phrase shaping requires intentional bow distribution and dynamic gradation across the full arc of a musical idea. Leadership and collaboration within a string ensemble strengthen the quality and confidence of the whole group. Reflection, peer feedback, and targeted rehearsal strategies are how string players move from technically correct to musically compelling. Context, genre, and cultural background influence how music is interpreted and performed.

●

Knowledge ●

● ● ● ● ● ● ● ● ● ●

Scales and exercises directly improve repertoire performance Balance and blend across sections to achieve a unified ensemble sound The evolving roles of melody, harmony, and accompaniment within complex textures Listening across sections to maintain precision, pulse, and expressive cohesion Refining tone, articulation,bowings, and dynamics to match style and musical intent Interpreting the conductor’s gestures to shape phrasing and ensemble expression Individual responsibility for preparation, focus, and contribution to ensemble success Stage presence and musicianship as extensions of rehearsal discipline Major/minor scales Bow articulations (legato, staccato, marcato) Dynamic shaping and phrasing Position work (as developmentally appropriate)

What does it take to perform music rather than just play the notes?

Skills (Framed as Learning Targets) Fundamental ● ● ● ● ● ● ● ● ●

I can play a two-octave scale with consistent tone, intonation, and bow distribution. I can perform détaché, legato, and staccato bowings with consistency and apply the correct articulation style to the repertoire. I can shape a phrase from beginning to peak to resolution using bow distribution, dynamic shading, and crescendo and diminuendo. I can balance my sound within my section and across the full string orchestra. I can identify my role — melody, inner voice, or bass line — and adjust my playing accordingly. I can interpret conductor cues and phrasing marks to shape a unified musical interpretation. I can listen to a peer's performance and identify one specific strength and one area to improve using musical vocabulary. I can reflect on rehearsals and performances using musical vocabulary to describe growth. I can demonstrate stage presence and focus during performance.

Advanced ● ●

I can perform a two-octave scale with accurate intonation across all positions and consistent tone production throughout. I can execute martelé, spiccato, bowings with

441

Grades 9-12 String Orchestra Unit 2

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● ● ● ● ● ●

control and independently select the appropriate articulation based on musical character. I can shape long phrases across multiple measures using subtle dynamic gradations and intentional bow distribution that matches the ensemble's interpretation. I can independently refine bowing choices to serve the musical intent of a passage. I can listen across sections — violins, violas, cellos, basses — and adjust intonation and blend in real time. I can anticipate and respond to the phrasing and timing of other sections without direct guidance. I can analyze a peer's tone, intonation, or bow technique and offer targeted, actionable suggestions for improvement. I can demonstrate leadership through consistent bow technique, musical initiative, and rehearsal focus. I can use ensemble listening to diagnose and solve problems related to pitch, rhythm, and alignment independently.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ● Formal Ensemble Performance (concert or recorded performance demonstrating technical accuracy, expressive intent, and ensemble cohesion) ● Section or Role-Based Performance Check (focused excerpt assessing balance, blend, phrasing, and role awareness) ● Performance Reflection (written or verbal reflection using musical vocabulary to evaluate growth, preparation, and ensemble contribution) Criteria: ● Accurate performance of notes, rhythms, and expressive markings ● Clear balance and blend across sections ● Intentional shaping of tone, articulation,

Formative Assessment ●

●

● ●

●

Peer Feedback Round: structured listening moment where students observe a section or small group and respond using musical vocabulary. Balance and Blend Spot Checks: Brief rehearsal pauses where students identify ensemble roles (melody, harmony, accompaniment) and adjust dynamics to support unity. Cue Response Checks: Targeted observation of entrances, releases, tempo changes, and phrasing in response to conductor gestures. Ensemble Listening Checks: Short rehearsal moments where students diagnose issues related to intonation, pulse, or alignment and adjust in real time Recording and Playback Reflection: Occasional rehearsal recordings used to

442

Grades 9-12 String Orchestra Unit 2

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and dynamics to match style and musical intent Effective response to conductor cues, phrasing, and expressive gestures Awareness of ensemble role (melody, harmony, accompaniment, counter line) and appropriate dynamic adjustment Consistent ensemble listening resulting in aligned pulse, intonation, and phrasing Professional stage presence demonstrating focus, preparation, and confidence Use of musical vocabulary to reflect on performance quality and personal growth

●

evaluate tone, balance, phrasing, and ensemble cohesion using musical vocabulary. Rehearsal Reflection or Exit Prompt: Quick written or verbal responses focused on growth, focus, and next rehearsal priorities.

STAGE 3: LEARNING PLAN First Topic: Refining Ensemble Sound and Balance

Estimated # of Lessons:: 3-4 lessons

Learning Targets:

Essential Questions: ● How do articulation and phrasing choices change what music communicates? ● How does knowing your role in the ensemble — melody, inner voice, bass line — change the way you play?

Fundamental ● ● ●

● ● ● ●

Advanced ●

I can diagnose intonation and balance issues across sections and apply targeted

443

Grades 9-12 String Orchestra Unit 2

●

rehearsal strategies independently. I can lead my section by modeling correct bow technique, tone production, and ensemble listening.

Learning Activities: ● Drone tuning and chorale warm-ups focused on balance, blend, keys and intonation across sections ● Articulation studies ● Layered entrance exercises to identify melody, harmony, accompaniment, and counterlines ● Dynamic shaping drills where sections rotate foreground and background roles ● Tuning and balance checks across sections to refine tone color and blend ● Rehearsal pauses for students to verbally identify ensemble roles and adjust volume accordingly ● Short sectional focus on tone matching and pitch center before reintegrating into full ensemble Second Topic: : Shaping Interpretation Through Rehearsal

Estimated # of Lessons: 3-4 lessons

Learning Targets:

Essential Questions ● How do articulation and phrasing choices change what music communicates? ● How do reflection and peer feedback move us from technically correct to musically compelling?

Fundamental ● ● ●

Advanced ● ●

I can evaluate ensemble blend between violin sections, violas, cellos, and bass using precise musical vocabulary. I can set specific goals for my own growth and track progress across rehearsals.

Learning Activities: ● Students silently identify one issue (intonation, rhythm, articulation, balance) Replay and correct ● Director or peer gives specific feedback, student replays implementing change ● Students identify rhythmic challenge and subdivide aloud on one pitch ● Perform chorale-style passage evaluating dynamic, tone, timbre, balance, projection. ● Track tempo/accuracy across rehearsals setting target tempos ● Sections perform for each other, ensemble evaluates ● Short sectional focus on tone matching and pitch center before reintegrating into full ensemble

444

Grades 9-12 String Orchestra Unit 2 Third Topic: From Preparation to Performance

Estimated # of Lessons: 4-6 lessons

Learning Targets: Fundamental

Essential Questions: ● How do reflection and peer feedback move us from technically correct to musically compelling? ● What does it take to perform music rather than just play the notes?

● ●

●

I can show expression and emotion in my playing based on what the composer intended. I can produce a focused, resonant tone by identifying and adjusting timbre using appropriate bow speed, weight, and placement. I can listen to a peer's performance and identify one specific strength and one area to improve using musical vocabulary.

Advanced ● ●

I can lead my section by modeling correct bow technique, tone production, and ensemble listening. I can set specific goals for my own growth and track progress across rehearsals.

445

Grades 9-12 String Orchestra Unit 3

Course Name: Grades 9-12 String Orchestra Est. # of Lessons: 10 Unit 3 Title: Sonic Frontiers: Exploring Modern Sound and Contemporary String Repertoire Unit Overview: We step into the sound world of contemporary music written for string orchestra — music shaped by film, jazz, pop, and musical theatre traditions, and by composers who have expanded what strings can do and say. We explore how groove, layered texture, and orchestration create character and momentum, and we consider how a composer's cultural background and artistic context influence the choices we make as performers. Rehearsals push us toward flexibility and independence: reading our parts with greater confidence, listening across sections in real time, and making interpretive decisions that serve the music. Performances and reflections ask us to think about what it means to be musical storytellers — and how performing contemporary repertoire expands our sense of what's possible STAGE 1: DESIRED RESULTS Established Goals ●

●

Transfer Goals ●

●

Understandings ●

● ●

Advanced musicians balance independence and ensemble awareness to contribute meaningfully to the overall sound of the orchestra. Analyzing a composer’s context and use of musical elements provides insight into artistic intent and interpretation. Musicians serve as cultural storytellers and

Essential Questions ● ● ● ●

How do groove, rhythm, and style influence the character of modern music? How do musicians balance individual expression with ensemble unity? How do performers shape the character and style of a musical work? How do orchestration and musical texture help composers communicate emotion and

446

Grades 9-12 String Orchestra Unit 3

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innovators, exploring new sounds and ideas through performance. Engaging with contemporary repertoire expands musicians’ creative, technical, and expressive capacity. Reflection, experimentation, and risktaking are essential to artistic growth and musical discovery.

story?

Knowledge ●

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Performer agency, understanding how musicians shape contemporary music through responsiveness, nuance, and interpretive decisions. Modern string orchestra repertoire often draws from film, musical theatre, pop, and jazz traditions Contemporary composers and arrangers use groove, rhythmic drive, and syncopation to create energy and momentum. Contemporary composers and arrangers use orchestration, texture, and tone color to shape musical character and support storytelling in modern repertoire Ostinato patterns and repeated accompaniment figures provide harmonic and rhythmic support for melodies Texture and tone color help shape emotional storytelling in film and stage music Modern arrangements often feature distinct melodic and accompaniment roles within the ensemble Effective performance requires active listening and ensemble awareness to maintain groove, balance, and blend Musicians interpret stylistic elements such as articulation, phrasing, and rhythmic feel to match the character of the music Ensemble performance of modern repertoire requires flexibility, collaboration, and expressive communication

Skills (Framed as Learning Targets) Fundamental: ● ● ● ● ●

I can perform modern string orchestra repertoire with accurate rhythm, tone, and ensemble awareness. I can identify musical elements such as groove, syncopation, melody, and accompaniment in modern repertoire. I can adjust tone, articulation, and dynamics to match the style and character of contemporary music. I can listen across the ensemble to maintain balance, blend, and steady pulse. I can use musical vocabulary to describe and evaluate ensemble performances.

Advanced: ● ● ● ● ●

I can analyze how motif, texture, and orchestration shape musical character in modern repertoire. I can adjust my playing to support melody or accompaniment roles within the ensemble. I can interpret articulation, phrasing, and rhythmic style to perform music in an authentic contemporary style. I can collaborate with peers to refine ensemble balance, groove, and expressive choices. I can reflect on how performing modern repertoire expands my understanding of musical style and expression.

Key Vocabulary: Groove, syncopation, backbeat, riff, hook, ostinato, motif, texture, tone color, timbre, orchestration, accompaniment, melody,

447

Grades 9-12 String Orchestra Unit 3 articulation, phrasing, balance, swing, blend, style STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ●

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Concert, in-class performance, or recorded performance of modern string orchestra repertoire demonstrating stylistic awareness and ensemble collaboration. Students demonstrate the ability to perform music influenced by film, musical theatre, and popular styles while maintaining ensemble balance and expressive intent. Written or verbal reflection in which students analyze how musical elements such as groove, orchestration, texture, and phrasing shape the character of a piece and influence ensemble performance decisions. Students may reflect on rehearsal strategies, interpretive choices, and how listening across the ensemble affects musical outcomes. Performance of a short excerpt demonstrating a student’s ability to execute their melodic or accompaniment role with rhythmic accuracy, stylistic articulation, and ensemble awareness. This assessment highlights how students contribute to the overall orchestration and texture of the ensemble

Criteria: ● ● ● ●

Accurate performance of rhythms, pitches, and entrances in modern repertoire Consistent pulse and stylistic interpretation of rhythmic patterns such as syncopation or groove-based accompaniment Understanding of melodic and accompaniment roles within the ensemble texture Intentional use of tone, articulation, phrasing, and dynamics to support the style and character of the music

Formative Assessment ●

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Ensemble Role Awareness Students identify whether their part functions as melody, accompaniment, rhythmic groove, or harmonic support and adjust dynamics, articulation, and tone to support the ensemble texture Groove and Rhythm Spot Checks: Students rehearse short excerpts focusing on groove, syncopation, and rhythmic precision, first in sections and then as a full ensemble, reflecting on how rhythmic accuracy and pulse affect the overall character of the music Listening and Balance Challenges: Sections rehearse layered passages independently, then reassemble and evaluate how well melody, accompaniment, and rhythmic patterns balance within the ensemble. Students discuss adjustments needed to improve blend, clarity, and ensemble cohesion. Score or Part Annotation Tasks: Students mark important musical elements directly in their parts, such as: melody vs accompaniment roles, repeated patterns or ostinatos, articulation and phrasing choices, dynamic changes that shape texture This helps students understand how orchestration and texture function in the music. Students listen to short rehearsal recordings and evaluate ensemble performance using unit vocabulary such as: groove, balance, blend, articulation, phrasing, texture Students identify one strength and one area for improvement.

448

Grades 9-12 String Orchestra Unit 3 ● ● ●

Active listening to maintain balance, blend, and alignment across the ensemble Use of musical vocabulary to describe how groove, texture, orchestration, and style shape the musical character of the work Evidence of musical independence and responsiveness during rehearsal and performance STAGE 3: LEARNING PLAN

First Topic: Understanding Contemporary Musical Language

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can identify and interpret rhythmic patterns, groove, and stylistic features in contemporary repertoire ● I can recognize melody, accompaniment, repeated patterns, and texture in modern works ● I can describe and apply tone color, articulation, phrasing, and dynamics to match the style of the music ● I can analyze how texture, layering, orchestration, and repeated motifs shape the character, contrast, and expressive intent of a piece ● I can make informed performance choices that support the composer’s intent and enhance ensemble interpretation.

Essential Questions: ● How do groove, rhythm, and articulation shape the character of contemporary music? ● How do melody, accompaniment, and texture work together to create ensemble balance and musical expression? ● How do orchestration, tone color, and layering influence the overall sound and story of a piece? ● How can understanding stylistic features help performers make informed choices in interpretation and expression?

Learning Activities: ● Listen to and identify groove, syncopation, melody/accompaniment roles, texture, and articulation, and discuss how they shape the character of the music. ● Mark rhythmic patterns, repeated motifs, articulation, phrasing, dynamics, and texture in individual parts. ● Highlight melody vs accompaniment roles and their contribution to ensemble sound. ● Rehearse short excerpts focusing on pulse, syncopation, and rhythmic drive. Sections rehearse independently, then combine for full-ensemble alignment ● Experiment with layer-focused rehearsal to understand ensemble texture. ● Discuss how tone color, dynamics, and articulation affect the overall sound ● Explore different articulations and phrasing choices within excerpts, comparing interpretations to identify what best matches the style..

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Grades 9-12 String Orchestra Unit 3 ● ●

Respond to questions such as:How does this groove or articulation shape the music’s character?How does my part support the ensemble texture and overall style? What small adjustments can improve the ensemble sound? Record short passages during rehearsal; students listen and evaluate balance, blend, articulation, phrasing, and style, identifying strengths and areas for improvement.

Second Topic: Listening, Balance, and Ensemble Blend

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can actively listen across the ensemble to maintain balance, blend, and rhythmic alignment ● I can identify and perform my role as melody, accompaniment, or rhythmic support in a way that contributes to the overall ensemble sound ● I can adjust tone, dynamics, articulation, and phrasing in response to ensemble needs ● I can collaborate with peers to refine texture, groove, and stylistic interpretation during rehearsal ● I can reflect on ensemble decisions and suggest or implement adjustments to improve clarity, cohesion, and expressiveness.

Essential Questions: ● How does active listening affect the clarity and balance of an ensemble performance? ● How do melody, accompaniment, and rhythmic support work together to create a cohesive sound? ● What strategies can musicians use to respond to the ensemble in real time and enhance musical expression? ● How do individual musical choices impact the overall style, groove, and character of the performance?

Learning Activities: ● ● ● ● ● ●

Sections rehearse independently, focusing on melody/accompaniment roles, pulse, and dynamics. Reassemble as a full ensemble to evaluate balance, blend, and cohesion, making adjustments as needed Students identify their role (melody, accompaniment, rhythmic support) and adjust tone, articulation, phrasing, and dynamics to support the ensemble Practice syncopated or groove-driven passages in sections, then together, emphasizing timing, energy, and stylistic consistency. Provide constructive feedback and reflect on ensemble balance, blend, texture, and stylistic choices, using rehearsal recordings or short in-class run-throughs. Quick rehearsal exercises focusing on blending, phrasing, articulation, and expressive interpretation across the ensemble.

Third Topic: Performer Choice and Musical Interpretation.

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can make informed stylistic and

Essential Questions: ● How can musicians make individual choices

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Grades 9-12 String Orchestra Unit 3

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expressive choices to enhance the character of a piece I can interpret articulation, phrasing, dynamics, and tone in ways that reflect both personal musicality and ensemble style. I can respond to other performers in real time, adjusting to support melody, accompaniment, and rhythmic flow. I can collaborate with peers to refine passages that allow performer flexibility, ensuring cohesion while maintaining expressive intent. I can reflect on how personal and ensemble choices contribute to the overall musical communication with the audience.

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while maintaining ensemble unity? How does interpreting phrasing, dynamics, and articulation affect musical expression and style? What responsibilities do performers have to the ensemble when making flexible or interpretive decisions? How do personal musical ideas shape the overall character and energy of the performance?

Learning Activities: ● ● ● ● ●

Students experiment with different articulations, phrasing, or dynamics in small excerpts, then share choices with the ensemble to find a unified interpretation Sections or featured groups explore optional parts, riffs, or layered accompaniment to understand how their choices impact ensemble texture and style Students give and receive constructive feedback focused on stylistic authenticity, energy, and musical communication Students practice responding to melody, accompaniment, and rhythmic changes in real time, reinforcing listening, awareness, and flexibility Quick discussions: How did my choices support the ensemble? Which interpretation felt most authentic to the style? How did collaborating with peers enhance the expressive result?

Fourth Topic: Refining, Performing, and Reflecting on Contemporary Works

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can maintain focus, professionalism, and confidence during rehearsals and performances ● I can apply stylistic interpretation, articulation, phrasing, and dynamics consistently across the ensemble ● I can listen critically to balance, blend, and ensemble cohesion, making adjustments in real time ● I can reflect on my performance and the ensemble’s performance, identifying strengths, challenges, and next steps

Essential Questions: ● What makes a performance meaningful and engaging for an audience? ● How do musicians prepare mentally and emotionally for performance? ● How can reflection and feedback improve both individual and ensemble performance? ● How do individual choices and collaboration shape the overall character of a performance?

451

Grades 9-12 String Orchestra Unit 3 ●

I can connect my ensemble participation to collaboration, communication, and personal growth as a musician

Learning Activities: ● Perform excerpts or full pieces, focusing on balance, blend, articulation, phrasing, and stylistic consistency ● Sections or featured parts rehearse challenging passages, applying stylistic interpretation and technical precision ● Students give and receive feedback on ensemble cohesion, expression, and performance choices, then apply adjustments ● Record rehearsal excerpts or performances; students analyze tone, balance, phrasing, and stylistic execution, noting areas for improvement. ● Discuss strategies for stage presence, confidence, and connecting with the audience. ● Reflect on how rehearsal and performance choices demonstrate learning, ensemble collaboration, and musical identity, acknowledging risk-taking and creativity.

452

Grades 9-12 String Orchestra Unit 4

Course Name: Grades 9-12 String Orchestra Unit 4 Title: Own Your Sound 2.0: The Joy of Performance

Est. # of Lessons: 10

Unit Overview: This is where everything comes together. In our final unit, we take greater ownership of our musicianship — making real decisions about tone, bowing, articulation, phrasing, and expression within popular and contemporary string repertoire. Rehearsals push us toward independence: listening across sections, leading within our own, and shaping ensemble sound collaboratively. Through sectionals, full ensemble work, and reflection, we ask what it means to perform with confidence, authenticity, and a genuine sense of who we are as an orchestra. STAGE 1: DESIRED RESULTS Established Goals ●

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Cr1.1.E.HSa: Generate musical ideas for performance through exploration, improvisation, or interpretation within a selected style or genre. Pr5.1.E.HSa: Apply rehearsal strategies and feedback to refine technical accuracy and expressive qualities with increasing independence. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble or performance context. Re7.2.E.HSa: Analyze how context, genre, and cultural background influence the interpretation and performance of musical works. Re9.1.E.HSa: Evaluate performances using criteria related to expression, style, communication, and artistic impact. Pr4.2.E.HSa: Demonstrate understanding of structure, style, and context of musical works through prepared ensemble performance.

Transfer Goals ●

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Understandings ● ●

Effective ensemble performance requires preparation, attentive listening, and shared responsibility among orchestra sections. String musicians develop leadership and

Creating and Sharing Original Music: Develop original ideas that convey emotion, tell stories, and communicate with others through the writing, improvisation, and recording of music (Effective Communicators) Performing Works of Music: Practice and refine technique, expressive intent, and cultural understanding to communicate musical ideas that pay respect to the composition and individual artistry (Effective Communicators, Information Analysts) Reflecting and Growing as a Musician: Set goals, accept feedback, and apply selfreflection to grow as musicians (Self-Directed Learners, Critical Thinkers) Collaborating and Leading in Music: Communicate meaning, demonstrate confidence, collaborate effectively, and take ownership of musical growth to develop the capacity to lead, reflect, and engage in lifelong connection with the arts (Effective Communicators, Responsible Citizens, SelfDirected Learners)

Essential Questions ●

What does it mean to truly own your sound — and how do you know when you've found it?

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Grades 9-12 String Orchestra Unit 4

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collaboration skills by listening most carefully and taking responsibility for how your sound serves the whole Music provides a means for selfexpression, connection, and communication beyond words. A musician who can honestly evaluate their own playing, and their ensemble's, is developing a skill that lasts long after the final concert. The difference between playing notes and making music lives in the decisions, about tone, phrasing, articulation, and expression, that each musician makes and owns.

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Knowledge ● ● ● ● ● ● ● ●

How do musicians prepare not just technically but emotionally for a performance that communicates something real? What makes the difference between a string orchestra that plays together and one that performs together? Looking back across this year — what kind of musician have you become, and what does this ensemble sound like now?

Skills (Framed as Learning Targets)

Musical leadership and collaboration within Fundamental a string orchestra and individual sections ● I can prepare my part accurately by practicing Rehearsal strategies, goal-setting, and selfrhythms, notes, bowings, and fingerings so I management as part of effective arrive rehearsal-ready. performance preparation ● I can contribute to a unified orchestra sound Communication through tone, phrasing, by adjusting my tone, intonation, balance, and articulation, expression, and stage presence dynamics within my section and the full Listening, balance, and blend across violin, ensemble. viola, cello, and bass sections during ● I can perform with expressive phrasing, rehearsal and performance articulation, and dynamics to communicate Responsibility for individual preparation musical style and intent. and contribution to collective ensemble ● I can maintain focus, professionalism, and success confidence during rehearsals and live Evaluating performance quality through performances. reflection, peer feedback, and attentive ● I can evaluate ensemble performances using listening appropriate musical vocabulary and identify The relationship between musicianship, areas for improvement. confidence, and effective artistic ● I can reflect on how performing in a string communication orchestra develops skills such as teamwork, Audience engagement as an important discipline, and creative collaboration. element of expressive performance

Key Vocabulary: ensemble, section, balance, blend, intonation, tone quality, bowing, articulation, phrasing, interpretation, dynamics, expression, musicianship, rehearsal, preparation, leadership, collaboration, communication, focus, reflection, feedback, stage presence, performance practice

Advanced ●

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I can demonstrate leadership within my section or ensemble through clear communication, attentive listening, and positive rehearsal habits. I can apply rehearsal strategies—such as goal setting, sectional work, and self-assessment—

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Grades 9-12 String Orchestra Unit 4

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to improve both my individual playing and the ensemble’s performance. I can reflect on how performing in a string orchestra develops skills such as teamwork, discipline, and creative collaboration.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ●

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Culminating Ensemble or Featured Performance: Concert performance, informal performance share-out, or recorded performance demonstrating individual preparation, expressive playing, and contribution to the overall string orchestra sound. Performance Reflection: Written, audio, or verbal reflection describing preparation, ensemble collaboration, musical expression, and personal growth throughout the unit. Peer or Section Feedback Contribution: Structured feedback within sections or the full ensemble demonstrating listening skills, constructive communication, and ensemble awareness.

Criteria: ● ● ● ● ● ●

Evidence of individual preparation, including accurate notes, rhythms, bowings, and rehearsal readiness Contribution to a unified orchestra sound through intonation, balance, blend, phrasing, and dynamics Demonstration of leadership, collaboration, and shared responsibility within the ensemble or section Clear communication of musical expression, style, and interpretive intent Professional stage presence, focus, and confidence during rehearsal and performance Use of appropriate musical vocabulary to

Formative Assessment Formative Assessments: ●

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Rehearsal Readiness Checks: Observation of individual preparation, focus, and responsibility during rehearsals, including accuracy of notes, rhythms, and bowings. Leadership and Collaboration Observations Informal monitoring of communication, active listening, and positive rehearsal habits within sections and across the full orchestra. Rehearsal Strategy Check-Ins: Short reflections or discussions on goal setting, rehearsal focus, and progress toward ensemble and individual performance readiness. Performance Run-Through Feedback: Peer and self-feedback focused on expressive playing, section balance, phrasing, intonation, and stage presence. Reflection Prompts or Exit Check-Ins: Brief responses to prompts such as: How did today’s rehearsal support our ensemble and individual performance goals? What helped our playing feel confident, expressive, and authentic? How did I contribute to the overall sound and balance of my section and the orchestra?

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Grades 9-12 String Orchestra Unit 4

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evaluate performance quality and ensemble effectiveness Thoughtful reflection identifying strengths, challenges, and next steps for growth Connection between musical participation and transferable skills such as teamwork, communication, and self-management STAGE 3: LEARNING PLAN

First Topic: Style, Groove, and Musical Identity through String Interpretation ●

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I can interpret musical phrasing, articulation, and stylistic nuance to communicate expression and intent on stage. I can contribute to a unified orchestra sound by balancing tone, phrasing, dynamics, and section blend with others.

Estimated # of Lessons: 3-4 lessons Essential Questions: ● How do string musicians use tone, phrasing, articulation, and style to express personal identity and emotion through sound? ● How do individual and section contributions shape the overall music we create and share as an orchestra?

Learning Targets: ● Guided listening to pop, rock, funk, film, or contemporary wind-band crossover pieces to identify groove, feel, phrasing, and stylistic norms. ● Compare-and-contrast exercises between standard concert band/orchestra tone/articulation and pop-style articulation, bowing, balance, and phrasing in string parts. ● Rhythm-section–inspired groove exercises applied to full ensemble textures, focusing on section blend and interplay between melody and accompaniment. ● Class discussion: What makes this music feel authentic versus, and how can strings achieve that effect? ● Small-group rehearsals emphasizing consistent groove, expressive phrasing, and section cohesion over precision alone. ● Reflection on how personal listening habits and musical preferences influence interpretation, stylistic choices, and ensemble expression. Second Topic: Ownership, Flexibility, and Section Leadership in Performance

Estimated # of Lessons: 3-4 lessons

Learning Targets: ● I can take ownership of my preparation by learning my part accurately, including notes, rhythms, bowings, and fingerings, and arriving rehearsal-ready. ● I can demonstrate leadership within my

Essential Questions: ● How can musicians lead within their section and contribute to the success of the full orchestra? ● How does taking ownership of preparation and rehearsal strategies impact both

456

Grades 9-12 String Orchestra Unit 4

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section or the full orchestra through clear communication, attentive listening, and positive rehearsal habits. I can apply rehearsal strategies, such as goal setting, sectional focus, and selfassessment—to improve both my individual playing and the ensemble’s collective performance.

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individual and ensemble performance? How do individual choices and flexibility in performance affect the overall sound and energy of the orchestra?

Learning Activities: ● Flexible ensemble groupings, including featured sections, solos, and layered textures, to explore leadership and individual contribution. ● Student-driven decisions about balance, blend, bowing, articulation, and texture within the ensemble. ● Exploration of optional parts, solos, riffs, or groove layers, emphasizing stylistic expression and ensemble cohesion. ● Section- or student-led rehearsal blocks focusing on communication, expressive phrasing, and feel within sections and across the orchestra. ● Class discussion: How does leadership differ in pop/contemporary music versus traditional orchestral settings? Third Topic: Performance as Communication and Connection

Estimated # of Lessons: 4-6 lessons

Learning Targets: ● I can maintain focus, professionalism, and confidence while performing, contributing to the overall expressive and cohesive sound of the orchestra. ● I can evaluate our ensemble’s performance using musical vocabulary, reflecting on intonation, balance, phrasing, and stylistic expression, and identify next steps for growth. ● I can articulate how performing as part of a string orchestra builds transferable skills in teamwork, discipline, creative collaboration, and effective musical communication.

Essential Questions: ● What makes a string orchestra performance meaningful, expressive, and engaging for an audience? ● How do musicians prepare individually and collectively—mentally, emotionally, and musically—for a confident performance?

Learning Activities ● Informal performance formats (in-the-round, run-throughs, shared performances) to practice expressive communication and ensemble cohesion. ● Focus on stage presence, confidence, expressive tone, phrasing, and connection with the audience over perfection. ● Class discussion: What does the audience need to feel the emotion, style, and energy of this music? ● Recording and playback to reflect on ensemble energy, tone, balance, and communication, not just

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Grades 9-12 String Orchestra Unit 4

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accuracy. Reflection on how performing contemporary or stylistically diverse music shapes the orchestra’s collective identity and expressive voice. Celebration of risk-taking, ownership, stylistic choices, and growth within individual parts and ensemble performance.

458

Grades 9-12 Advanced Chamber Orchestra Grades 9-12 Chamber Orchestra Chamber Orchestra builds on the technical and ensemble foundation developed in earlier orchestral study and raises the expectations for independence, collaboration, and musical leadership. Through repertoire spanning the Baroque era to contemporary works influenced by jazz, film, and popular traditions, students refine their tone, ensemble awareness, and stylistic understanding while learning to make musical decisions together. By the end of the year, musicians perform with greater artistic confidence and a deeper sense of shared responsibility for the ensemble’s sound and identity. Unit 1: Chamber Ensemble Foundations

Unit 2: Holiday and Popular Orchestral Traditions

Unit3: Masterworks and Solo Literature

Unit 4: Modern Styles and Contemporary Orchestra

We begin the year by building the technical and collaborative foundation that will carry us through every performance ahead. Through Baroque repertoire by composers like Bach, Vivaldi, and Telemann, we sharpen our ensemble skills, welcome new members into the group, and begin developing the kind of musical independence that chamber playing demands. We practice listening deeply, cueing each other, and making real musical decisions together — without a conductor. This unit sets the tone for who we are as an ensemble and what we expect from one another.

With our ensemble identity in place, we expand our range. Holiday and popular orchestral music — including works inspired by artists like the Trans-Siberian Orchestra — challenges us to bring our skills into new stylistic territory. We focus on dynamic contrast, rhythmic precision, and adapting our sound to serve a wider range of musical styles. The unit builds toward our winter concert, where we share our work with the community and discover how music connects people across traditions.

Now we take on some of the most significant works in the orchestral canon. Drawing from the Baroque, Classical, and Romantic periods — composers like Mozart, Grieg, Holst, and Copland — we deepen our understanding of phrasing, interpretation, and the relationship between soloists and the ensemble. We study not just the notes but the history and intent behind them. This is where we grow as musical thinkers, learning to bring a composer's vision to life while expressing our own artistic voice. We may also join with wind and band students to perform full orchestral works, expanding our ensemble experience even further.

Everything we've built — our ensemble communication, technical precision, stylistic knowledge, and artistic confidence — comes together in this final unit. We move into twentieth century and contemporary music, including works shaped by jazz, film, and popular traditions, and we encounter new challenges in rhythm, texture, and interpretation. We also step into the world of ensemble recording, where the demands of consistency and detail push us in ways that live performance doesn't. The year closes with a spring performance or recording project that reflects not just how we play, but who we've become as musicians, highlighting the ensemble’s growth, stylistic versatility, and musical expression.

459

Grades 9-12 Advanced Chamber Orchestra Unit 1

Course Name: Grades 9-12 Chamber Orchestra Unit Title: Unit 1-Chamber Ensemble Foundations & Baroque Style

Est. # of Lessons: 10-12 Lessons

Unit Overview: We begin the year by building the technical and collaborative foundation that will carry us through every performance ahead. Through Baroque repertoire by composers like Bach, Vivaldi, and Telemann, we sharpen our ensemble skills, welcome new members into the group, and begin developing the kind of musical independence that chamber playing demands. We practice listening deeply, cueing each other, and making real musical decisions together — without a conductor. This unit sets the tone for who we are as an ensemble and what we expect from one another. STAGE 1: DESIRED RESULTS Established Goals ●

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Pr4.1.E.HSa: Select, analyze, and interpret musical works for presentation demonstrating understanding of ensemble roles and musical structure Pr4.2.E.HSa: Demonstrate understanding of structure, expressive qualities, and context of musical works through prepared ensemble performance Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble Re9.1.E.HSa: Evaluate performances and rehearsals using criteria related to tone quality, rhythm accuracy, balance, blend, and expressive intent Cn11.0.HSa: Demonstrate understanding of relationships between music and the historical and cultural context in which it was created

Transfer Goals ●

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Understandings ●

Individual musical choices and collaboration directly affect the quality,

Performing & Creating: Independently apply advanced technical skills and stylistic understanding to prepare and present expressive performances, and collaboratively shape phrasing, articulation, and interpretation within ensemble and chamber music settings Collaborating & Leading: Actively guide ensemble rehearsals and small chamber groups, demonstrating musical leadership, effective communication, and ensemble decision-making Reflecting & Responding: Critically evaluate their own and others’ performances, rehearsals, and musical choices, using selfassessment, peer feedback, and analytical listening to refine technical accuracy, expressive intent, and stylistic interpretation Connecting: Relate musical skills, stylistic understanding, and historical context to repertoire spanning multiple periods and traditions, applying knowledge beyond the rehearsal room

Essential Questions ●

How do individual decisions and ensemble collaboration shape a cohesive, expressive

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Grades 9-12 Advanced Chamber Orchestra Unit 1

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cohesion, and expressiveness of ensemble performance in chamber and orchestra settings Knowledge of historical, cultural, and stylistic context informs interpretation and deepens musical understanding Ongoing reflection, self-assessment, and peer feedback are essential tools for improving technical skill and expressive intent

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Knowledge ● ● ● ● ● ● ● ● ●

Understand the principles of musical independence within a chamber ensemble Recognize the characteristics of Baroque style, including articulation, ornamentation, and phrasing Analyze previously studied Baroque repertoire to reinforce ensemble cohesion and interpretive decisions Identify the role of inner voices and counterpoint in shaping ensemble sound Understand how tone production, balance, and blend affect ensemble clarity Explain the difference between solo and accompaniment roles within chamber and orchestral context Recognize the function of three-octave scales and arpeggios as tools for technical development and stylistic preparation Understand leadership strategies for guiding small ensembles, including cueing and phrasing Connect Baroque works to historical context and composer intent

performance? How does understanding the historical, cultural, and stylistic context of music inform interpretation and performance? How can self-reflection and peer feedback guide technical improvement and expressive musical choices? Who are we as an ensemble, and what habits and standards define us?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

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I can perform scales, arpeggios, and repertoire passages with technical accuracy, intonation, and appropriate articulation I can apply musical independence to perform confidently in small chamber groups and full ensemble without a conductor I can demonstrate effective ensemble communication through cueing, listening, and balancing inner voices I can interpret Baroque repertoire using appropriate phrasing, ornamentation, and stylistic nuance I can lead small ensemble rehearsals or sectionals, guiding phrasing, tempo, and expressive decisions I can reflect on personal and peer performance to identify specific strengths and areas for growth in technique and ensemble communication I can use rehearsal strategies to refine tone quality, balance, blend, and articulation I can connect historical and stylistic context to performance decisions

Key Vocabulary: musical independence, chamber ensemble, counterpoint, ornamentation, phrasing, articulation, tone production, balance, blend, détaché, legato, spiccato, martelé, Solo, accompaniment, inner voices, scale, arpeggio, leadership, cueing, rehearsal strategies STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

461

Grades 9-12 Advanced Chamber Orchestra Unit 1 Summative Assessment

Formative Assessment Formative assessments:

Assessment Tools: ●

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Performance of a selected Baroque piece in a small ensemble setting without a conductor, demonstrating leadership and musical independence Performance of previously studied Baroque repertoire with the full chamber orchestra, emphasizing tone, balance, and stylistic interpretation Performance of three-octave scales and arpeggios aligned with the unit repertoire to demonstrate technical accuracy and expressive application Guided small group rehearsal or sectionals, demonstrating cueing, phrasing, and ensemble focus Written or verbal reflection on chamber and full ensemble performances, addressing strengths, areas for growth, and strategies for improvement Constructive peer feedback on rehearsal or performance, using specific musical terminology and focusing on technical and expressive aspects

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Short demonstrations of three-octave scales and arpeggios aligned with repertoire keys Teacher observation of small ensemble rehearsals focusing on cueing, listening, and ensemble communication Performance of short excerpts demonstrating articulation, phrasing, and stylistic characteristics of Baroque repertoire by composers such as Johann Sebastian Bach and Antonio Vivaldi Informal assessment during section rehearsals to evaluate tone production, intonation, and ensemble blend Students offer brief verbal feedback to chamber groups focusing on balance, articulation, and musical interpretation Short written or verbal reflection identifying rehearsal challenges and strategies for improvement

Criteria: ● ● ● ● ● ● ●

Accurate notes, rhythms, and articulation appropriate to the repertoire Consistent tone quality and intonation control Appropriate balance and blend within the ensemble, including inner voices Evidence of stylistic understanding and expressive intent (phrasing, dynamics, ornamentation) Demonstrated musical independence and ensemble leadership Use of reflection, peer feedback, and rehearsal strategies to improve performance Professional rehearsal habits and awareness of ensemble cohesion

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Grades 9-12 Advanced Chamber Orchestra Unit 1 STAGE 3: LEARNING PLAN First Topic: Ensemble Communication and Chamber Collaboration

Estimated # of Lessons: 3-4 Lessons

Learning Targets: ● Demonstrate ensemble listening skills that support balance, blend, and unified performance ● Use visual and musical cues to coordinate entrances, tempo, and phrasing ● Collaborate with peers to rehearse and refine chamber ensemble repertoire ● Apply rehearsal strategies to improve ensemble cohesion and performance accuracy.

Essential Questions: ● How do musicians communicate within an ensemble without a conductor? ● How does listening influence balance, blend, and musical expression?

Learning Activities: ● ● ● ●

Chamber ensemble rehearsals emphasizing cueing and listening Balance exercises alternating melody and accompaniment roles Visual cueing practice for entrances and tempo changes Peer feedback discussions focusing on ensemble communication

Second Topic: Baroque Style and Interpretation

Estimated # of Lessons: 3-4 Lessons

Learning Targets: Essential questions: ● Identify stylistic characteristics of Baroque ● What musical elements define Baroque string repertoire orchestral style? ● Demonstrate articulation and phrasing ● How does understanding historical style appropriate to Baroque performance influence interpretation? practice ● Apply stylistic elements such as terraced dynamics and clear articulation in ensemble repertoire ● Analyze how historical style influences performance decisions. Learning Activities: ● Listening and style analysis of excerpts by Johann Sebastian Bach and Antonio Vivaldi ● Articulation and phrasing exercises focused on Baroque bowing style ● Score study and discussion of stylistic markings in repertoire ● Ensemble rehearsal applying Baroque articulation and phrasing.

463

Grades 9-12 Advanced Chamber Orchestra Unit 1 Third Topic: Technical Foundations for Ensemble Performance

Estimated # of Lessons: 3-4 Lessons

Learning Targets: ● Perform scales and arpeggios related to ensemble repertoire with accurate intonation ● Demonstrate consistent tone production and bow control ● Apply technical skills to improve ensemble precision and expressive performance ● Evaluate individual technical strengths and areas for improvement

Essential questions: ● How do technical skills support expressive ensemble performance? ● How can musicians refine technique to improve ensemble cohesion?

Learning Activities: ● Scale and arpeggio warm-ups connected to repertoire keys ● Tone production and bow control exercises ● Sectional rehearsals addressing technical challenges ● Excerpt performance and reflection on technical progress

464

Grades 9-12 Advanced Chamber Orchestra Unit 2

Course Name: Grades 9-12 Chamber Orchestra Unit Title: Unit 2- Holiday & Popular Orchestral Traditions

Est. # of Lessons: 10-12 Lessons

Unit Overview: With our ensemble identity in place, we expand our range. Holiday and popular orchestral music — including works inspired by artists like the Trans-Siberian Orchestra — challenges us to bring our skills into new stylistic territory. We focus on dynamic contrast, rhythmic precision, and adapting our sound to serve a wider range of musical styles. The unit builds toward our winter concert, where we share our work with the community and discover how music connects people across traditions. STAGE 1: DESIRED RESULTS Established Goals ●

●

Pr4.1.E.HSa: Select, analyze, and interpret musical works for presentation demonstrating understanding of ensemble roles and musical structure. Pr4.2.E.HSa: Demonstrate understanding of structure, expressive qualities, and context of musical works through prepared ensemble performance. Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble. Re9.1.E.HSa: Evaluate performances and rehearsals using criteria related to tone quality, rhythm accuracy, balance, blend, and expressive intent. Cn10.0.HSa: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Transfer Goals ●

●

Understandings ●

Skilled musicians adapt their technical and expressive approach to serve the

Performing & Creating: Independently apply advanced technical skills and stylistic understanding to prepare and present expressive performances, and collaboratively shape phrasing, articulation, dynamics, and musical character within ensemble settings across varied holiday and popular orchestral repertoire Collaborating & Leading: Actively guide ensemble rehearsals and section work, demonstrating musical leadership, effective communication, and shared ensemble decision-making to achieve balance, blend, and stylistic cohesion Reflecting & Responding: Critically evaluate their own and others’ performances, rehearsals, and musical choices using selfassessment, peer feedback, and analytical listening to refine technical accuracy, ensemble precision, and expressive intent Connecting: Relate musical skills, stylistic understanding, and cultural context to repertoire associated with holiday traditions and popular orchestral music, applying musical knowledge in both performance and community-centered musical experiences Essential Questions

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How does musical style shape the way

465

Grades 9-12 Advanced Chamber Orchestra Unit 2

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character of diverse musical styles — including popular and holiday traditions — without sacrificing ensemble precision. Orchestral music participates in cultural life; performing for a community audience is itself a form of musical meaningmaking. Dynamic contrast, rhythmic precision, and stylistic authenticity are not just technical goals — they are the means by which an ensemble communicates character and connects with an audience. Effective rehearsal requires musicians to diagnose specific challenges, apply targeted strategies, and evaluate results — not simply repeat passages.

● ● ●

Knowledge ● ● ● ● ● ●

● ● ●

Understand the stylistic characteristics of holiday and popular orchestral arrangements Recognize how melody, accompaniment, and texture interact in popular and seasonal repertoire Analyze how dynamic contrast and articulation contribute to expressive performance Explain how ensemble balance and section cohesion affect audience perception Recognize how holiday and popular orchestral traditions reflect cultural practices and community celebration Connect performance practices to cultural traditions, community celebrations, and audience expectations, recognizing how holiday and popular orchestral repertoire reflects shared cultural practices Understand the role of rehearsal strategies in preparing music with complex rhythms and layered textures Identify techniques for adapting classical string skills to modern, popular, and seasonal repertoire Recognize ways to interpret and communicate stylistic nuance in diverse

we approach articulation, dynamics, and expression in performance? What does it mean to perform music that carries cultural meaning for an audience? How do we rehearse smarter — not just harder — when preparing complex, stylistically varied repertoire? How do we adapt our skills to serve different musical styles and communities?

Skills (Framed as Learning Targets) ●

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●

● ● ●

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I can perform holiday and popular arrangements with rhythmic precision, accurate intonation, and stylistically appropriate articulation I can balance melody and accompaniment within the ensemble for clarity and expressive effect I can apply ensemble rehearsal strategies to address section-specific challenges and texture I can lead ensemble rehearsals that support both soloist and accompaniment roles, making interpretive decisions informed by score study and historical context I can lead section rehearsals with stylistic confidence, using specific musical language to address balance, articulation, and dynamics across varied repertoire I can collaborate with peers to interpret dynamic contrast, articulation, and phrasing I can demonstrate leadership in guiding small groups or sections toward polished performance I can reflect on rehearsal strategies and performance choices to evaluate what is working and adjust for the demands of stylistically varied repertoire I can connect performance to audience

466

Grades 9-12 Advanced Chamber Orchestra Unit 2 repertoire

expectations and community traditions

Key Vocabulary: arrangement, accompaniment, melody, texture, dynamics, articulation, balance, blend, rhythm, sectional rehearsal, ensemble cohesion, community traditions, audience expectation, stylistic interpretation, expressive intent, groove, syncopation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Assessment Tools: ● ● ● ●

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Performance in class, concert, or recorded setting demonstrating tone, rhythm, balance, and stylistic expression Short excerpt from holiday or popular repertoire assessing intonation, rhythmic accuracy, articulation, and response to cues Written or verbal reflection on rehearsal strategies, expressive choices, and technical progress Constructive feedback on section or ensemble performance, using specific musical terminology and focusing on expressive intent and ensemble cohesion

Criteria: ● ● ● ● ● ●

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Performance of short rhythmic patterns and articulation exercises related to repertoire style Informal rehearsal assessment focusing on melody/accompaniment balance and ensemble blend Students perform short excerpts from repertoire to demonstrate rhythmic precision and stylistic interpretation Students listen to another section and provide feedback on balance, articulation, and dynamics Brief reflection identifying effective rehearsal techniques used to improve performance Observation of ensemble readiness and rehearsal focus leading up to performance events

Accurate notes, rhythms, and articulation appropriate to the repertoire Consistent tone quality and intonation control Balance and blend appropriate to ensemble texture and section responsibilities Evidence of stylistic understanding, dynamic contrast, and expressive phrasing Use of rehearsal strategies and feedback to improve performance Professional rehearsal habits and ensemble awareness STAGE 3: LEARNING PLAN

467

Grades 9-12 Advanced Chamber Orchestra Unit 2 First Topic: Style and Interpretation in Holiday and Popular Repertoire

Estimated # of Lessons: 3-4 Lessons

Learning Targets: ● Identify stylistic characteristics commonly found in holiday and popular orchestral repertoire ● Demonstrate appropriate articulation, phrasing, and dynamics in stylistically varied music ● Analyze musical structure and expressive elements within ensemble repertoire.

Essential Questions: ● How does musical style influence interpretation and performance decisions? ● How can musicians communicate musical character through articulation, phrasing, and dynamics?

Learning Activities: ● Listening and discussion of stylistic differences in orchestral holiday and popular repertoire ● Score study identifying melody, accompaniment patterns, and expressive markings ● Articulation and phrasing exercises related to current repertoire ● Rehearsal of ensemble repertoire applying stylistic interpretation. Second Topic: Ensemble Balance, Blend, and Musical Communication

Estimated # of Lessons: 3-4 Lessons

Learning Targets: ● Demonstrate ensemble listening skills that support balance and blend ● Adjust tone production, articulation, and dynamics to support ensemble cohesion ● Collaborate with peers to rehearse and refine ensemble repertoire

Essential Questions: ● How do musicians adjust their playing to support the overall ensemble sound? ● How does listening influence balance, blend, and musical expression?

Learning Activities: ● Sectional rehearsals focusing on tone quality, intonation, and ensemble roles ● Balance exercises alternating melody and accompaniment lines ● Ensemble listening activities focusing on blend and dynamic balance ● Peer feedback on ensemble sound and musical clarity. Third Topic: Rehearsal Strategies and Performance Preparation

Estimated # of Lessons: 2-3 Lessons

Learning Targets: ● Apply rehearsal strategies to refine technical accuracy and expressive performance ● Evaluate ensemble and individual performances using musical criteria

Essential Questions: ● How can rehearsal strategies improve ensemble performance? ● How does reflection help musicians grow and refine their performances?

468

Grades 9-12 Advanced Chamber Orchestra Unit 2 ●

Use feedback and reflection to improve performance readiness

Learning Activities: ● Guided rehearsal strategies addressing challenging passages ● Section leaders or small groups leading focused rehearsal segments ● Performance run-throughs followed by reflection and discussion ● Listening to rehearsal recordings to evaluate ensemble sound and accuracy

469

Grades 9-12 Advanced Chamber Orchestra Unit 3

Course Name: Grades 9-12 Chamber Orchestra Unit Title: Unit 3- Masterworks & Solo Literature

Est. # of Lessons: 10-12 Lessons

Unit Overview: Now we take on some of the most significant works in the orchestral canon. Drawing from the Baroque, Classical, and Romantic periods — composers like Mozart, Grieg, Holst, and Copland — we deepen our understanding of phrasing, interpretation, and the relationship between soloists and the ensemble. We study not just the notes but the history and intent behind them. This is where we grow as musical thinkers, learning to bring a composer's vision to life while expressing our own artistic voice. We may also join with wind and band students to perform full orchestral works, expanding our ensemble experience even further. STAGE 1: DESIRED RESULTS Established Goals ●

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Pr4.1.E.HSa: Select, analyze, and interpret musical works for presentation demonstrating understanding of ensemble roles and musical structure. Pr4.2.E.HSa: Demonstrate understanding of structure, expressive qualities, and context of musical works through prepared ensemble performance. Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities. Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble. Re9.1.E.HSa: Evaluate performances and rehearsals using criteria related to tone quality, rhythm accuracy, balance, blend, and expressive intent. Cn11.0.HSa: Demonstrate understanding of relationships between music and the historical and cultural context in which it was created.

Transfer Goals ●

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Performing & Creating: Independently apply advanced technical skills, expressive intent, and stylistic understanding to prepare and present expressive performances of significant orchestral works and solo literature, shaping phrasing, articulation, and interpretation in ways that honor the composition while allowing for individual musical artistry. (Effective Communicators, Information Analysts) Collaborating & Leading: Actively contribute to and guide ensemble rehearsals and chamber music settings, demonstrating musical leadership, confident communication, and shared decision-making while supporting both solo and ensemble roles. (Effective Communicators, Responsible Citizens, SelfDirected Learners) Reflecting & Responding: Set personal musical goals and critically evaluate their own and others’ performances using selfassessment, peer feedback, and analytical listening to refine technique, interpretation, and expressive performance. (Self-Directed Learners, Critical Thinkers) Connecting: Relate technical skills, stylistic understanding, and historical context to masterworks and solo repertoire, recognizing how musical traditions, composers, and performers influence interpretation and performance practice.(Information Analysts,

470

Grades 9-12 Advanced Chamber Orchestra Unit 3 Responsible Citizens)

Understandings ●

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Advanced musicians balance individual independence with ensemble awareness in order to support both solo and ensemble roles and contribute meaningfully to the overall sound of the orchestra Analyzing a composer’s historical context and use of musical elements provides insight into artistic intent and interpretation Interpretation of masterworks requires musicians to make informed artistic decisions about phrasing, articulation, dynamics, and tone Musicians serve as interpreters of musical tradition, bringing historical works to life while expressing their own musical voice Reflection, experimentation, and thoughtful risk-taking are essential to artistic growth and refined musical performance

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ● ● ● ●

Understand the stylistic and historical characteristics of Baroque, Classical, and Romantic repertoire Recognize the difference between solo and accompaniment roles in orchestral works Analyze phrasing, dynamics, and articulation to create stylistically informed interpretations Explain how composers’ intentions and historical context inform performance choices Understand how to blend and balance within an ensemble while supporting featured soloists Identify strategies for interpreting complex score markings and phrasing directions Recognize the function of technical skills (scales, arpeggios, bowing patterns) in

How do musicians balance individual expression with ensemble unity? How do performers shape the character and style of a musical work? How do orchestration and musical texture help composers communicate emotion and musical ideas? How does understanding a composer’s historical and cultural context influence interpretation and performance? ADD: How do we bring historical works to life with both fidelity and our own artistic voice?

Skills (Framed as Learning Targets) ● ● ● ● ●

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I can perform masterworks with technical accuracy, stylistic fidelity, and expressive intent I can execute solo and accompaniment passages with proper balance and phrasing I can interpret complex score markings and phrasing directions in historical repertoire I can apply ensemble listening skills to support featured soloists and maintain cohesive sound I can lead rehearsals and recording sessions with professional precision, guiding collaborative decisions about style, balance, and expressive intent I can reflect on personal and ensemble performance to make informed adjustments to phrasing, interpretation, and historical stylistic choices

471

Grades 9-12 Advanced Chamber Orchestra Unit 3 preparation for advanced repertoire Connect individual practice and rehearsal to effective ensemble performance

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Key Vocabulary: Soloist, accompaniment, phrasing, articulation, style, interpretation, historical context, blend, balance, ensemble communication, score markings, dynamics, expressive intent, technical preparation, rehearsal strategies

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I can collaborate in rehearsal to refine dynamics, articulation, and stylistic elements I can connect historical and cultural context to informed interpretation I can demonstrate readiness to combine with other ensembles for full orchestral works

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assessment Tools: ●

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Performance of selected masterwork(s) in chamber and/or full ensemble settings, including solo and accompaniment passages Short excerpt from masterwork repertoire assessing tone, rhythm, stylistic interpretation, and ensemble responsiveness Written or verbal reflection analyzing personal and ensemble performance, focusing on phrasing, stylistic interpretation, and technical mastery

Criteria: ● ● ● ● ● ●

Formative Assessment ● ● ● ● ● ●

Students perform selected passages from masterworks to demonstrate phrasing, articulation, and stylistic understanding Informal performance focusing on balance between featured soloists and ensemble accompaniment Short discussion or written response analyzing phrasing, dynamics, or articulation within the score Teacher observation during sectional rehearsal to assess tone, intonation, and ensemble cohesion Students provide constructive comments on ensemble or chamber performances Brief reflection describing challenges and strategies used to refine ensemble performance

Accurate notes, rhythms, and articulation aligned with repertoire and style Consistent tone quality and intonation control across solo and ensemble passages Stylistically informed phrasing, dynamics, and expressive intent Balance and blend that supports soloists and ensemble cohesion Effective rehearsal and section leadership strategies Use of reflection and feedback to refine performance

472

Grades 9-12 Advanced Chamber Orchestra Unit 3 STAGE 3: LEARNING PLAN First Topic: Score Study and Composer Intent

Estimated # of Lessons: 3-4 Lessons

Learning Targets: ● Analyze musical structure, orchestration, and texture in masterworks and solo literature ● Explain how a composer’s historical and cultural context influences musical style and interpretation ● Identify primary and secondary musical material within ensemble repertoire ● Apply understanding of musical structure and composer intent to inform performance decisions

Essential Questions: ● How do performers shape the character and style of a musical work? ● How does understanding a composer’s historical and cultural context influence interpretation and performance? ● How do orchestration and musical texture help composers communicate emotion and musical ideas?

Learning Activities: ● ● ● ● ●

Students examine selected excerpts from ensemble repertoire to identify musical structure, thematic material, and orchestration Brief discussion or research connecting composers and historical context to stylistic features in the repertoire Students listen to professional recordings and discuss interpretive choices, orchestration, and expressive elements Students rehearse ensemble excerpts while applying insights about musical structure, texture, and composer intent Students reflect on how understanding the score and composer context influences their approach to performance

Second Topic: Ensemble Roles, Listening, and Orchestral Texture

Estimated # of Lessons: 2-3 Lessons

Learning Targets: ● Demonstrate ensemble listening skills that support balance, blend, and clarity of musical texture ● Identify and perform varying ensemble roles, including melody, accompaniment, and supporting lines ● Adjust tone, articulation, and dynamics to support orchestral texture and ensemble cohesion ● Apply awareness of solo and ensemble roles during rehearsal and performance

Essential Questions: ● How do musicians balance individual expression with ensemble unity? ● How do orchestration and musical texture help composers communicate emotion and musical ideas?

473

Grades 9-12 Advanced Chamber Orchestra Unit 3 ● ● ● ● ●

Learning Activities: Students identify melody, countermelody, accompaniment, and harmonic support within ensemble repertoire Students rehearse passages focusing on listening across sections to refine balance, blend, and intonation Students rehearse excerpts highlighting the relationship between solo lines and supporting ensemble parts Small groups refine ensemble roles, tone color, and articulation to support overall orchestral texture Students evaluate ensemble balance and clarity of musical texture during full ensemble rehearsals

Third Topic: Musical Interpretation and Performer Choice

Estimated # of Lessons: 3-4 Lessons

Learning Targets: ● Demonstrate expressive performance through phrasing, articulation, tone color, and dynamics ● Make informed interpretive decisions based on stylistic understanding and musical context ● Evaluate performances and rehearsals using established musical criteria ● Apply feedback and reflection to refine expressive and stylistic performance.

Learning Activities: ● Students explore phrasing, articulation, and dynamic shaping within selected repertoire excerpts ● Students listen to multiple professional recordings and discuss interpretive differences ● Students rehearse challenging passages with a focus on expressive shaping and stylistic accuracy ● Section leaders or small groups propose interpretive ideas for phrasing, articulation, or dynamics ● Students reflect on rehearsal recordings or performances, identifying interpretive strengths and areas for growth

474

Grades 9-12 Advanced Chamber Orchestra Unit 4

Course Name: Grades 9-12 Chamber Orchestra Est. # of Lessons:10-12 Lessons Unit Title: Unit 4- Modern Styles & Contemporary Orchestra Unit Overview: Everything we've built — our ensemble communication, technical precision, stylistic knowledge, and artistic confidence — comes together in this final unit. We move into twentieth-century and contemporary music, including works shaped by jazz, film, and popular traditions, and we encounter new challenges in rhythm, texture, and interpretation. We also step into the world of ensemble recording, where the demands of consistency and detail push us in ways that live performance doesn't. The year closes with a spring performance or recording project that reflects not just how we play, but who we've become as musicians, highlighting the ensemble’s growth, stylistic versatility, and musical expression. STAGE 1: DESIRED RESULTS Established Goals ●

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Pr4.1.E.HSa: Select, analyze, and interpret musical works for presentation demonstrating understanding of ensemble roles and musical structure Pr4.2.E.HSa: Demonstrate understanding of structure, expressive qualities, and context of musical works through prepared ensemble performance Pr5.1.E.HSa: Apply teacher-provided and student-developed criteria to rehearse, evaluate, and refine technical accuracy and expressive qualities Pr6.1.E.HSa: Perform music with technical accuracy, expressive intent, and stylistic understanding appropriate to the ensemble Re9.1.E.HSa: Evaluate performances and rehearsals using criteria related to tone quality, rhythm accuracy, balance, blend, and expressive intent Cn10.0.HSa: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music Cn11.0.HSa: Demonstrate understanding of relationships between music and the historical and cultural context in which it was created

Transfer Goals ●

●

475

Grades 9-12 Advanced Chamber Orchestra Unit 4 Responsible Citizens) Understandings ●

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Contemporary orchestral music draws on jazz, film, and popular traditions, requiring musicians to expand their technical and stylistic toolkit beyond classical training. Recording demands a different kind of precision than live performance — consistency, detail, and the ability to hear and evaluate subtle errors in real time. Synthesizing everything learned across a year — technique, stylistic knowledge, ensemble communication — is itself a creative act that defines an ensemble's artistic identity. The relationships, habits of communication, and shared commitment built over a year shape the quality and character of every performance. Performing for a live audience and preparing music for recording require different approaches to precision, consistency, and expressive communication

Essential Questions ●

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Knowledge ● ● ● ● ●

Characteristics of twentieth-century, jazz, and popular orchestral styles Recognize differences in ensemble technique and interpretation between live performance and recording Analyze rhythmic, harmonic, and textural elements that define modern repertoire Understand how to adapt classical string techniques to contemporary stylistic demands Recognize the importance of precision, consistency, and expressive detail in both

How does contemporary orchestral music reflect the world it comes from — and what does that mean for how we interpret it? What changes — and what stays the same — when we move from the concert stage to the recording studio? How has this year changed the way you think about yourself as a musician and as a member of this ensemble? How do we synthesize everything we've learned — and who have we become? In what ways do the demands of live performance differ from recording, and how can musicians adapt to each context?

Skills (Framed as Learning Targets) ● ● ● ●

I can perform modern and contemporary repertoire with stylistically accurate articulation, rhythm, and tone quality I can adapt classical technique to meet the demands of jazz, popular, or contemporary orchestral styles I can demonstrate ensemble precision and consistency in both live and recording contexts I can compare live and recorded performances through critical self-reflection, evaluating my growth as a musician across the full year

476

Grades 9-12 Advanced Chamber Orchestra Unit 4

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live and recorded performances Explain how rehearsal strategies support polished ensemble performance and recording quality Understand how collaborative decisionmaking affects ensemble interpretation and cohesion Connect stylistic knowledge and technical skills to creative interpretation in contemporary repertoire

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Key Vocabulary: modern, contemporary, jazz, popular style, recording, live performance, ensemble precision, rhythm, harmony, texture, articulation, stylistic adaptation, expressive detail, interpretation, collaboration, ensemble decisionmaking, rehearsal strategies

I can apply collaborative decision-making in phrasing, articulation, and dynamics I can lead or guide sections to achieve polished ensemble performance I can reflect on individual and ensemble performance to improve technical accuracy and expressive intent I can analyze and interpret modern repertoire using knowledge of style, texture, and historical context I can demonstrate professional rehearsal strategies to prepare for live performance and recording

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment ●

Assessment Tools: ● ● ● ●

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Performance in class, concert, or recording setting demonstrating stylistic accuracy, rhythm, articulation, and tone Short excerpt assessing technical precision, expressive choices, and adaptation to contemporary stylistic demands Collaborative recording of selected repertoire, emphasizing accuracy, stylistic interpretation, and expressive Written or verbal reflection analyzing differences between live and recorded performance, technical execution, and ensemble cohesion Constructive peer feedback on live or recorded performances, focusing on ensemble precision, stylistic accuracy, and expressive intent

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Performance of rhythmic patterns emphasizing contemporary articulation and precision Informal performance of repertoire passages focusing on articulation, tone, and rhythmic accuracy Listening to rehearsal recordings and identifying areas for improvement in balance, articulation, and ensemble precision Teacher observation during sectional rehearsal assessing consistency and clarity in contemporary repertoire Students evaluate recorded or live performances and provide targeted feedback Short reflection analyzing differences between live performance and recorded ensemble playing

Criteria: ●

Accurate notes, rhythms, and articulation

477

Grades 9-12 Advanced Chamber Orchestra Unit 4

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appropriate to repertoire and style Consistent tone quality, intonation, and stylistic accuracy Balance, blend, and ensemble cohesion in live and recording settings Evidence of expressive intent, dynamic contrast, and stylistic interpretation Application of rehearsal strategies and peer feedback to improve performance Professional rehearsal habits and ensemble awareness

STAGE 3: LEARNING PLAN First Topic: Understanding Contemporary Orchestral Style

Estimated # of Lessons: 4-5 Lessons

Learning Targets: ● Identify stylistic characteristics found in contemporary orchestral and crossover repertoire ● Demonstrate rhythmic precision and stylistic articulation appropriate to modern orchestral music ● Analyze how rhythm, texture, and orchestration shape musical character in contemporary works ● Apply stylistic understanding to inform expressive performance decision

Essential Questions: ● How do rhythm, groove, and stylistic elements shape the character of modern orchestral music? ● How do performers adapt their playing to different musical styles and traditions?

Learning Activities: ● Students listen to excerpts from contemporary orchestral works and identify stylistic characteristics such as rhythmic drive, articulation patterns, and orchestration choices ● Warm-ups and rehearsal exercises emphasizing rhythmic precision, articulation, and stylistic feel common in modern orchestral music ● Students examine selected repertoire to identify texture, orchestration, and stylistic elements unique to contemporary works ● Students rehearse selected passages from ensemble repertoire while applying stylistic articulation, rhythmic precision, and tone color ● Students discuss how contemporary musical language differs from earlier orchestral styles studied earlier in the year

478

Grades 9-12 Advanced Chamber Orchestra Unit 4 Second Topic: Ensemble Precision and Contemporary Performance Practice

Estimated # of Lessons: 4-5 Lessons

Learning Targets: ● Recognize the importance of precision, consistency, and expressive detail in both live and recorded ensemble performances ● Explain how rehearsal strategies support polished ensemble performance and highquality recording outcomes ● Demonstrate rhythmic precision, articulation clarity, and stylistic accuracy in contemporary orchestral repertoire ● Apply rehearsal feedback and critical listening to refine ensemble balance, timing, and musical expression.

Essential Questions: ● How do precision and consistency contribute to effective ensemble performance? ●

How do rehearsal strategies help musicians achieve clarity, balance, and rhythmic alignment?

Learning Activities: ● Students rehearse short excerpts emphasizing pulse stability, articulation clarity, and rhythmic precision within contemporary repertoire ● Sections rehearse challenging rhythmic passages independently, focusing on articulation consistency and ensemble timing before combining in full ensemble rehearsal ● Students mark rhythmic patterns, repeated motifs, articulation, phrasing, and dynamic changes within their individual parts to support coordinated ensemble performance ● Students apply targeted rehearsal techniques (slow practice, rhythmic subdivision, sectional repetition) to improve ensemble clarity and timing ● Students perform selected excerpts and evaluate ensemble precision, rhythmic alignment, and articulation clarity through guided discussion or rehearsal recordings Third Topic: Recording, Reflection, and Artistic Presentation

Estimated # of Lessons: 2-3 Lessons

Learning Targets: ● Explain how rehearsal strategies support polished ensemble performance and highquality recording outcomes ● Demonstrate attention to precision, balance, tone quality, and expressive detail in both live and recorded performances ● Evaluate recorded performances using musical criteria such as tone quality, rhythmic accuracy, balance, blend, and stylistic interpretation.

Essential Questions: ● What changes — and what stays the same — when we move from the concert stage to the recording studio? ● How do the demands of live performance differ from recording, and how can musicians adapt to each context?

Learning Activities:

479

Grades 9-12 Advanced Chamber Orchestra Unit 4

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Students record rehearsal excerpts or full performances and listen critically to evaluate tone quality, balance, phrasing, rhythmic precision, and stylistic execution Students perform selected repertoire and provide constructive peer feedback focused on ensemble cohesion, expression, and musical interpretation Students apply insights from rehearsal recordings to refine articulation, balance, phrasing, and ensemble timing in subsequent rehearsals Students discuss strategies for confident performance, stage presence, and connecting with an audience through expressive and stylistically informed playing Students reflect on how rehearsal strategies, collaboration, and creative risk-taking contributed to ensemble performance and their development as musicians

480