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Curriculum Management System

MONROE TOWNSHIP SCHOOLS

Course Name: Piano II Grades: 9-12

For adoption by all regular education programs Board Approved: <Type Date Here> as specified and for adoption or adaptation by all Special Education Programs in accordance with Board of Education Policy # 2220.

Table of Contents

Monroe Township Schools Administration and Board of Education Members Page 3

Mission, Vision, Beliefs, and Goals Page 4

Core Curriculum Content Standards Page 5

Scope and Sequence Pages 6-9

Goals/Essential Questions/Objectives/Instructional Tools/Activities Pages 10-43

Pages 48-49

Quarterly Benchmark Assessment Page 44-47

Monroe Township Schools Administration and Board of Education Members

ADMINISTRATION Dr. Kenneth R. Hamilton, Superintendent

Dr. Jeff C. Gorman, Assistant Superintendent

BOARD OF EDUCATION Ms. Kathy Kolupanowich, Board President

Mr. Ira Tessler, Board Vice President Ms. Amy Antelis

Mr. Marvin I. Braverman Mr. Ken Chiarella Mr. Lew Kaufman

Mr. Louis C. Masters Mr. Doug Poye

Mr. Anthony Prezioso Jamesburg Representative

Mr. Robert Czarneski

WRITER’S NAME Robert Byrnes

CURRICULUM SUPERVISOR

Robert Mele

mailto:[email protected]

Mission, Vision, Beliefs, and Goals

Mission Statement

The Monroe Public Schools in collaboration with the members of the community shall ensure that all children receive an exemplary education by well-trained committed staff in a safe and orderly environment.

Vision Statement

The Monroe Township Board of Education commits itself to all children by preparing them to reach their full potential and to function in a global society through a preeminent education.

Beliefs

1. All decisions are made on the premise that children must come first. 2. All district decisions are made to ensure that practices and policies are developed to be inclusive, sensitive and meaningful to our diverse population. 3. We believe there is a sense of urgency about improving rigor and student achievement. 4. All members of our community are responsible for building capacity to reach excellence. 5. We are committed to a process for continuous improvement based on collecting, analyzing, and reflecting on data to guide our decisions. 6. We believe that collaboration maximizes the potential for improved outcomes. 7. We act with integrity, respect, and honesty with recognition that the schools serves as the social core of the community. 8. We believe that resources must be committed to address the population expansion in the community. 9. We believe that there are no disposable students in our community and every child means every child.

Board of Education Goals

1. Raise achievement for all students paying particular attention to disparities between subgroups. 2. Systematically collect, analyze, and evaluate available data to inform all decisions. 3. Improve business efficiencies where possible to reduce overall operating costs. 4. Provide support programs for students across the continuum of academic achievement with an emphasis on those who are in the middle. 5. Provide early interventions for all students who are at risk of not reaching their full potential. 6. To Create a 21st Century Environment of Learning that Promotes Inspiration, Motivation, Exploration, and Innovation.

Common Core State Standards (CSSS)

The Common Core State Standards provide a consistent, clear understanding of what students are expected to learn, so teachers and parents know what they need to do to help them. The standards are designed to be robust and relevant to the real world, reflecting the knowledge and skills that our young people need for success in college and careers. With American students fully prepared for the future, our communities will be best positioned to compete successfully in the global economy.

Links: 1. CCSS Home Page: http://www.corestandards.org 2. CCSS FAQ: http://www.corestandards.org/frequently-asked-questions 3. CCSS The Standards: http://www.corestandards.org/the-standards 4. NJDOE Link to CCSS: http://www.state.nj.us/education/sca 5. Partnership for Assessment of Readiness for College and Careers (PARCC): http://parcconline.org

http://www.corestandards.org/

http://www.corestandards.org/the-standards

http://www.corestandards.org/the-standards

http://www.state.nj.us/education/sca

http://parcconline.org/

Scope and Sequence

Quarter 1

Unit Topics(s)

I. Moving Beyond the Five-Finger Position Skills/Theory: A. Time signatures B. Melodic intervals C. Harmonic intervals D. Triads E. Dynamic markings F. Musical symbols G. Notation H. Fingerings I. Various forms and structures J. C Major scale Examples of Repertoire: “Blow the Man Down” – Sea chantey “Lullaby” – Brahms “Lonesome Road” – American folksong “Puff, the Magic Dragon” – Yarrow/Lipton “Abide With Me” – Hymn Hanon exercises II. Keys, Chords and Inversions Skills/Theory A. Sharps and flats B. Accidentals C. Naturals D. I, IV, V, V7 chords E. Chord progressions F. Blues progressions G. Inversions H. Key signatures I. C Major and G Major scales J. G Major blues scale K. Extended positions

Examples of Repertoire: “Joy to the World” – Handel “Cockles and Mussels” – Irish folksong “Can-Can” – Offenbach “Blues for Wynton Marsalis” – Konowitz “On Top of Old Smoky” – American folksong Rosamunde Ballet Music – Schubert “Country Gardens” – Morris dance Hanon exercises

Scope and Sequence

Quarter 2

Unit Topic(s)

I. Rhythms, Culture and Style Skills/Theory A. Key signatures B. C Major, G Major, F Major scales C. Rests D. Tetrachords E. Tempo markings F. Accents G. Staccato and legato H. Slurs and ties I. Chord progressions J. Inversions K. Syncopation L. Arpeggios M. Style Examples of Repertoire “Why Am I Blue?” – Konowitz “Good People” – Konowitz “Little Brown Jug” – Appalachian folksong “Chiapanecas” – Mexican folksong “O Sole Mio” – di Capua “O Tannenbaum” – German carol “Deck the Halls” – Old Welsh air “Linus and Lucy” (Peanuts theme) – Guaraldi “Gaudeamus Igitur” – College song Hanon exercises

II. Expanded Tonalities

Skills/Theory A. Minor scales B. Relative minor scales C. Minor chords D. Chord progressions E. Fermatas F. Pedaling G. Arpeggios H. Dynamic markings I. Notation J. Syncopation K. Musical genres L. Style/Interpretation Examples of Repertoire “Greensleeves” – English air “Go Down, Moses” – American spiritual “Jericho” – American spiritual “Air” – Bach “I Swear” – Baker/Myers “Hey, Jude” – Lennon/McCartney Excerpts from Hansel and Gretel – Humperdinck “Nocturne” – Field Hanon exercises

Scope and Sequence

Quarter 3

Unit Topic(s)

I. Composers, Style, and Innovations Skills/Theory A. Characteristics of musical periods C. Forms and structures B. Chords and progressions D. Style E. Musical genres F. Advances in harmony and melody G. Critiquing H. Musicality Content Papers/Oral Presentations/Discussions of composers, genres, musical periods, and style II. New Key Signatures, Inversions, and Rhythms Skills/Theory A. Key signatures and tonalities B. Circle of fifths C. Chords and progressions D. Diminished chords E. Inversions F. Musical genres G. Duple meter/triple meter H. Ledger lines I. Dynamics J. Critiquing K. Musicality

Examples of Repertoire A. “Scarborough Fair” – Simon B. “Raisins and Almonds” – Hebrew folksong C. “The Entertainer” – Joplin D. “Maple Leaf Rag” – Joplin E. “Alexander’s Ragtime Band” – Berlin F. “Estrellita” – Ponce G. “He’s Got the Whole World in His Hands” – American spiritual H. “Amazing Grace” – American spiritual I. “I Got Rhythm” – Gershwin

Scope and Sequence

Quarter 4

Unit Topic(s)

I. Classical Repertoire Skills/Theory A. Characteristics of musical periods B. Articulation/style C. Musical forms D. Tempo markings E. Musical symbols F. Harmonic structure G. Enharmonic notes H. Major/minor/diminished chords I. Tonic/subdominant/dominant chords J. Inversions Examples of Repertoire: “Minuet” – Bach “Musette” – Bach “Prelude in e minor” – Chopin “Arioso” – Scarlatti “Waltz of the Flowers” – Tchaikovsky “Traumeri” – Schumann “Minuet in G” – Beethoven “To a Wild Rose” – MacDowell “My Grandmother’s Minuet” – Grieg “Blue Danube Waltz” – Strauss “Sonata in C” – Mozart “Fur Elise” – Beethoven “German Dance” – Haydn

II. Popular Repertoire Skills/Theory A. Notation B. Swing rhythm C. Off-beat rhythms D. Syncopation E. Rubato F. Simple/Complex meters G. Key signatures H. 8va sign I. Ledger lines J. Grace notes K. Style/Interpretation Examples of Repertoire “Over the Rainbow” – Arlen/Harburg “At Last” – Warren/Gordon “Have Yourself a Merry Little Christmas” – Martin/Blane “Chattanooga Choo-Choo” – Warren/Gordon “Good Vibrations” – Wilson/Love “Jump” – Roth “We Are the Champions” – Mercury “Call Me Maybe” – Jepson/Crowe “California Dreamin’” - Phillips/Phillips “Singin’ in the Rain” – Brown/Freed “The Long and Winding Road” – Lennon/McCartney “All My Lovin’” – Lennon/McCartney “The Rose” – McBroom “Honky Cat” – John

Quarter I – Unit 1 Moving Beyond the Five-Finger Position

Stage 1 Desired Results ESTABLISHED GOALS 1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.

1.3.12.B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance.

1.3.12.B.2 Analyze how the elements of music are manipulated in original or prepared musical scores.

1.4.12.A.2 Speculate on the artist’s intent, using discipline specific arts terminology and citing embedded clues to substantiate the hypothesis.

1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive critique and observation of the elements of art and principles of design, and use the criteria to evaluate works of music from diverse cultural contexts and historical eras.

Transfer Students will be able to independently use their learning to…

• Utilize knowledge of time signatures and intervals to improve technique and foster heightened musicality.

• Determine how musical symbols affect the interpretation of compositions. • Perform technically challenging passages with increased skill.

Meaning

UNDERSTANDINGS Students will understand that…

• Music is based upon both melodic and harmonic intervals that combine to produce artistic expression.

• Various forms and structures in music help to convey the spirit and emotion of the music.

• Musical notation affects how a musician performs a piece of music.

ESSENTIAL QUESTIONS

• How do intervals form both melodies and chords?

• What effect does a time signature have on the performance of a piece of music?

• How does a composer’s use of musical symbols affect the musician’s performance of a piece of music?

Acquisition Students will know…

• Melodic and harmonic intervals, ranging from the 2nd to the 7th and octave.

• Various time signatures. • Dynamics. • Crescendo and diminuendo symbols and

terms. • The marking D.C. al Fine. • Staccato markings. • The purpose of the fermata. • The difference between ties and slurs. • The meaning of ritardando. • The 8va symbol. • Rhythmic values.

Students will be skilled at… • Identifying notes in treble and bass

clefs. • Identifying both melodic and harmonic

intervals. • Writing harmonic intervals. • Determining how time signatures affect

the rhythmic performance of music. • Counting rhythm patterns accurately in

4/4, 3/4, and 2/4 time. • Utilizing musical symbols as guides to

musical interpretation. • Playing technical exercises with skill. • Recognizing how musical forms affect

• Musical notation. • Tetrachords. • Various musical forms.

the mood of a piece of music.

Stage 2 - Evidence Evaluative Criteria Assessment Evidence

• Accurate identification and writing of melodic and harmonic intervals

• Accurate counting of rhythm patterns in both treble and bass clefs

• Knowledge and use of musical symbols • Knowledge of music theory • Musicality while playing • Playing of technical exercises with skill • Critiques • Rubrics *

PERFORMANCE TASK(S): • Using “Blow the Man Down,” students will identify the melodic intervals in the treble clef

and the melodic and harmonic intervals in the bass clef. They will recognize and discuss patterns formed in the music by the use of intervals, using this knowledge as a performance guide. The time signature of 3/4 will be discussed, focusing on how the repeated patterns in the bass create a lilting, wavelike effect, characteristic of sea chanteys. The purpose of the fermata in measure 12 will be addressed, focusing on its dramatic effect. Using this knowledge, students will rehearse and, eventually, perform the piece in the spirit of a sea chantey.

• Performances of Hanon Exercises Nos. 1 and 2, exercises that focus on the use of the interval of the 6th in repeated patterns.

• The lullaby as a musical form is discussed, focusing on its intent and structure (especially its use of the 3/4 rhythm). Some background information on Johannes Brahms and his fostering of a gentle mood in the piece through his melodic invention follows. Students analyze the use of melodic intervals in the treble melody (especially the use of the octave) and repeated melodic and harmonic intervals in the bass. Students examine the composer’s use of slurs in the piece as an interpretive tool. Using this knowledge, students rehearse and perform the piece, evoking the mood of a cradle song.

• Well-expressed perspective • Insightful discussion • Quality of contributions • Rubrics *

OTHER EVIDENCE: • Pre and post tests on melodic and harmonic intervals • Performance of “Lone Star Waltz,” demonstrating skill with patterns of 6ths, staccato playing,

and playing 8va • Quiz on writing 7ths and octaves in both clefs • Class discussions

Stage 3 – Learning Plan Summary of Key Learning Events and Instruction

Suggested Learning Events: • Pre-Test on melodic and harmonic intervals • Review of intervals • Use of mnemonic devices to identify intervals • Looking at a musical piece and identifying notes in each clef • Guided practice sessions • Teacher and student discussions • Debate and discussion circles • In-class performances • Critiques of performances • Theory quizzes and tests • Post-test on melodic and harmonic intervals

Suggested Learning Resources:

• Alfred’s Basic Adult Piano Course, Level 1 • Piano Adventures (Popular Repertoire), Level 3A • Hanon: The Virtuoso Pianist • Selected supplemental piano pieces • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly. Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation. 3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly.

Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance. Music Theory 4 – A firm grasp of the elements of music theory is consistently evident. Knowledge learned during the unit is effectively applied to new tasks. 3 – A developing grasp of the elements of music theory is displayed, although some problems with the transfer of knowledge to new situations are evident. 2 – Although some partial knowledge is discernible, and effort is clearly in evidence, effective application of skills is lacking. 1 – New knowledge studied during the unit is able to be applied only with assistance. Difficulty with working independently and consistently is evident. Critiques/Class Discussion 4 – Student is able to articulately express his/her critique with depth and relevance to specific aspects of the subject matter. Student is able to identify and accurately evaluate the aesthetic criteria, utilizing supporting details. Student offers personal interpretations. 3 – Student is able to present his/her critique with general relevance to aspects of the subject matter. Student correctly identifies the aesthetic criteria, using some supporting details. Student offers personal interpretations. 2 – Student offers occasional or very brief comments on the subject matter, referencing some aesthetic criteria and offering a few supporting details. Student offers insubstantial personal interpretations. 1 – Student is unable to offer any substantial critique. Little or no references to aesthetic criteria are made and no supporting details are used. Student offers no personal interpretations.

Quarter 1 – Unit 2 Keys, Chords and Inversions




1.4.12.A.1 Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of music.


1.4.12.B.2 Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown may impact perceptions of its significance/meaning.


• Determine the key signatures of pieces of music and how the key signatures affect a performer’s approach to the study of a musical composition.

• Analyze the construction of pieces of music, using appropriate terminology, in order to glean a deeper understanding of the composer’s intent.

• Apply knowledge of chords and their inversions to the rehearsal process as well as performance techniques.

Meaning UNDERSTANDINGS Students will understand that…

• Key signatures establish the basic tonality of pieces of music.

• The construction of pieces of music is indicative of its style.

• Chords are built upon governing musical principles.

• Inverted chords do not alter tonality, but, instead, enhance the aesthetic qualities of the music and contribute to effective musical expression.

• Composers use various compositional techniques to convey their artistic visions.

• The mastery of scales and exercises is integral to the development of good technique.

ESSENTIAL QUESTIONS • How are chords built? • What part do key signatures play in the

fingering of scales and notes in musical compositions?

• How can the style of a particular piece of music be determined through the composer’s melodic invention and use of chords and progressions?


• The key signatures for C Major and G Major.

Students will be skilled at… • Recognizing how chords and inversions

are formed.

• C Major and G Major scales. • The function of sharps and flats. • The function of the natural sign. • I/IV/V and V7 chord progressions. • 1st and 2nd inversions of chords. • C Major blues progression. • Various musical forms. • Dynamic symbols. • Accidentals and their function.

• Identifying the progression of chords within musical compositions.

• Playing one octave C Major and G Major scales.

• Using dynamics for musical expression. • Describing the mood of a piece based

upon the composer’s use of compositional techniques.

• Identifying, interpreting, and utilizing musical symbols in pieces.

• Evaluating the performances of fellow students, based upon established criteria.

Stage 2 - Evidence

Evaluate Criteria Assessment Evidence • Quality of discussion • Attention to detail • Attentiveness • Development of technique • Interpretive qualities of performances • Rubrics *

PERFORMANCE TASK(S): • Following a discussion of how chords are formed, the I, IV, and V chords in the keys of C

Major and G Major are examined. Students take turns at the board constructing the chords (in root position) dictated by the teacher. Then, the concept of inversions is introduced, focusing on the 1st and 2nd inversions of the three studied chords. The V7 chord in root position is then explored. Pieces previously studied (e.g., “Café Vienna” and “Blow the Man Down”) are analyzed for their use of progressions. Students analyze a piece currently being studied, such as “Joy to the World,” aiding each other in the identification of the chords, progressions, and inversions. As a culminating activity, students take a written test that requires them to identify and write chords, progressions, and inversions..

• Performances of “Chasing the Blues Away” or “Blues for Wynton Marsalis,” pieces in which the student demonstrates his/her ability to play in the style of the piece by “swinging” the notes and tempo.

• Performances of Hanon exercises #3 and #4.

• Insightful analysis • Technical accuracy • Quality of critiques • Rubrics *

OTHER EVIDENCE: • Pre and post tests on chords and inversions • Comparing and contrasting the compositional styles of two pieces, such as “Cockles and

Mussels” and ”Joy to the World” • Performances of C Major and G Major one octave scales • In-class performances of selected pieces

• Homework/Classwork • Critiques


Suggested Learning Events: • Pre-Test on chords and inversions • Discussion of and exercises focusing on keys, chords, progressions, and inversions • Use of mnemonic devices to identify keys • Evaluation of the use of dynamics in pieces as expressive and stylistic devices • Guided practice sessions • Teacher and student discussions • Debate and discussion circles • In-class performances • Critiques of performances • Theory quizzes and tests • Post-test on chords and inversions


• Alfred’s Basic Adult Piano Course, Level 1 • Alfred d’Auberge Piano Course, Book 3 • Hanon: The Virtuoso Pianist • Selected supplemental piano pieces • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly. Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation. 3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly.

Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance. Music Theory 4 – A firm grasp of the elements of music theory is consistently evident. Knowledge learned during the unit is effectively applied to new tasks. 3 – A developing grasp of the elements of music theory is displayed, although some problems with the transfer of knowledge to new situations are evident. 2 – Although some partial knowledge is discernible, and effort is clearly in evidence, effective application of skills is lacking. 1 – New knowledge studied during the unit is able to be applied only with assistance. Difficulty with working independently and consistently is evident. Critiques/Class Discussion 4 – Student is able to articulately express his/her critique with depth and relevance to specific aspects of the subject matter. Student is able to identify and accurately evaluate the aesthetic criteria, utilizing supporting details. Student offers personal interpretations. 3 – Student is able to present his/her critique with general relevance to aspects of the subject matter. Student correctly identifies the aesthetic criteria, using some supporting details. Student offers personal interpretations. 2 – Student offers occasional or very brief comments on the subject matter, referencing some aesthetic criteria and offering a few supporting details. Student offers insubstantial personal interpretations. 1 – Student is unable to offer any substantial critique. Little or no references to aesthetic criteria are made and no supporting details are used. Student offers no personal interpretations.

Quarter 2 – Unit 1 Rhythms, Culture and Style


1.2.12.A.1 Determine how music has influenced world cultures throughout history.





1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive critique and


• Interpret music beyond the written notes, allowing the performer to more fully convey the aesthetic qualities of musical compositions.

• Develop a personal, expressive style of playing that fosters a more personal experience for the performer.

• Identify cultural influences in music, based upon distinctive melodic and rhythmic elements evident in musical compositions.


• Rhythmic devices, such as syncopation, enhance the presentation of musical ideas and aid in the building of mood.

• A musician’s style of playing is the product of a fully engaged approach to a musical composition.

• Various cultures have produced distinctive works of music, imbued with recognizable traits.

ESSENTIAL QUESTIONS • How does syncopation contribute a

distinctive quality to music? • How does the observation of printed

fingerings in music facilitate ease of performance?

• In what ways can cultural influences be identified in pieces of music?


• The key signature of F Major. • The F Major scale. • The construction of tetrachords. • Characteristics of syncopation. • Accent marks. • Values of rests. • Tempo markings. • Arpeggiated chords.

Students will be skilled at… • Playing syncopated rhythms. • Using correct fingerings while playing. • Applying knowledge and skills

developed previously to new pieces of music.

• Determining musical elements in pieces of music that reflect cultural influences.

• Identifying the mood of musical

observation of the elements of art and principles of design, and use the criteria to evaluate works of music from diverse cultural contexts and historical eras.

CCCS:

RI.11-12.7 Integrate and evaluate multiple sources of information presented in different media or formats (visually) as well as in words in order to address a question or solve a problem.

W.11-12.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. SL 11-12.4 Present information, findings, and supporting evidence conveying a clear and distinct perspective such that listeners can follow the line of reasoning. Alternative opposing perspectives are addressed and the organization, development, substance and style are appropriate to purpose, audience, and a range of formal and informal tasks.

• The G Major blues scale. • Legato and staccato symbols.

compositions and how the mood is developed through various means.


• Rhythmic accuracy • Good organizational skills • Structure of ideas • Quality of insights • Quality of discussion • Attention to detail

PERFORMANCE TASK(S): • In the keys of C Major, G Major, and F Major, students will construct a series of chords in

treble clef based on a I-IV-V7-I progression, using inversions for smooth voice leading. Students will first play the progression, which is in 4/4 time, as whole notes, then, half notes, keeping a steady tempo. After they are comfortable with the notes, they play the progression in a syncopated rhythm, based on an eighth note/quarter note/eighth note

• Rubrics *

pattern. When they are proficient at this, they add a bass line of root quarter notes, corresponding to the appropriate chords.

• After the discussion of the cultural influences detectable in Offenbach’s “Can-Can,” the Mexican folk song “Chiapanecas,” and the Italian song ”O Sole Mio,” students select a piece of their choice that they feel reflects the culture or region that produced it. Students research the origins of the composition and analyze the musical elements that reflect cultural influences. Using their iPads, they play a piano version of the piece for the class and discuss their findings.

• Attentiveness • Performance accuracy • Quality of critiques • Rubrics *

OTHER EVIDENCE: • Pre and post tests on syncopated rhythms • Comparing and contrasting the compositional styles of two pieces, such as “Cockles and

Mussels” and Offenbach’s “Can-Can” • Performance of the F Major one octave scale • Performance of Hanon Exercise #5 • In-class performances of selected pieces • Homework/Classwork • Critiques

Stage 3 – Learning Plan

Summary of Key Learning Events and Instruction Suggested Learning Events:

• Pre-Test on syncopation • Oral research reports • Discussion of and exercises focusing on scales, chords, progressions, and inversions • Incorporation of dynamics and musical symbols in pieces as expressive and stylistic devices • Guided practice sessions • Teacher and student discussions • In-class performances • Critiques of performances • Theory quizzes and tests • Post-test on syncopation


• Alfred’s Basic Adult Piano Course, Level 1 • A First Book of Ragtime • Hanon: The Virtuoso Pianist

• A Charlie Brown Christmas • Christmas Songs A-Z • A Joyful Christmas • Selected supplemental piano pieces • iPads • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly. Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation. 3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly. Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance. Music Theory 4 – A firm grasp of the elements of music theory is consistently evident. Knowledge learned during the unit is effectively applied to new tasks. 3 – A developing grasp of the elements of music theory is displayed, although some problems with the transfer of knowledge to new situations are evident. 2 – Although some partial knowledge is discernible, and effort is clearly in evidence, effective application of skills is lacking. 1 – New knowledge studied during the unit is able to be applied only with assistance. Difficulty with working independently and consistently is evident. Critiques/Class Discussion 4 – Student is able to articulately express his/her critique with depth and relevance to specific aspects of the subject matter. Student is able to identify and accurately evaluate the aesthetic criteria, utilizing supporting details. Student offers personal interpretations. 3 – Student is able to present his/her critique with general relevance to aspects of the subject matter. Student correctly identifies the aesthetic criteria,

using some supporting details. Student offers personal interpretations. 2 – Student offers occasional or very brief comments on the subject matter, referencing some aesthetic criteria and offering a few supporting details. Student offers insubstantial personal interpretations. 1 – Student is unable to offer any substantial critique. Little or no references to aesthetic criteria are made and no supporting details are used. Student offers no personal interpretations. Research/Presentation 4 – Information is complete and well-supported by detail. The speaker’s main points are logical and persuasive. The speaker is enjoyable to hear and uses expression for emphasis. 3 – Information is complete with basic supporting details. The speaker’s main points are clear, but not persuasive. The speaker is generally easy to hear and understand. 2 – Important details are missing, or there are few supporting details. The presentation seems to convey only a limited understanding of the topic. The speaker was hard to hear or understand at times. 1 – The presentation does not express or explore main points clearly, thoroughly, or persuasively. The body of the presentation needs organization and supporting details. Control of speaking tone, clarity, and volume is not evident.

Quarter 2 – Unit 2 Expanded Tonalities







• Determine the relative minor keys of major keys. • Build natural, harmonic, and melodic minor scales. • Evaluate the value of a piece of music based on craftsmanship and originality, using

appropriate terminology. • Analyze pieces of classical and contemporary piano music to determine the fundamental

and idiosyncratic elements used in the music..


• The basic tonality of a piece of music establishes the mood of the piece for the performer and listener.

• With variation, the principles governing the construction of major chords are applicable to minor chords.

• Hallmarks of a composition’s style help to make a piece cohesive and meaningful.

• The effective interpretation of musical symbols produces an aesthetically pleasurable experience for the performer and listener.

• Syncopation can produce tension in musical compositions.

• Depending on the desired effect, arpeggiated chords can be played in different ways.

ESSENTIAL QUESTIONS • How are minor keys and scales similar

to yet different from major keys and scales?

• In what ways can the damper pedal be used as a musically expressive tool?

• How does a performer utilize musical symbols to elevate the aesthetic quality of a piece of music?


• The chief characteristics of the three types of minor scales.

• The relative minor keys of C Major, G Major, and F Major.

• The purpose of the damper pedal. • Notation of major and minor chords. • Chord progressions. • Dynamic symbols. • The purpose of the fermata • What an arpeggio is. • Swing rhythm.

Students will be skilled at… • Differentiating between natural,

harmonic, and melodic minor scales. • Analyzing chord progressions in minor

keys. • Performing piano music with note and

rhythmic accuracy. • Performing piano music effectively

using the damper pedal when indicated. • Using arpeggiated chords in an artistic

manner. • Participating in group critiques,

substantiating point of view with supporting details.

• Playing scales in contrary motion.


• Quality of discussion • Attention to detail • Attentiveness • Development of technique • Interpretive qualities of performances • Rubrics *

PERFORMANCE TASK(S): • The concept of relative minor keys is first addressed through lecture, class discussion, and

board work. Students offer examples of familiar pieces that are written in “sad” keys, which are used as a basis for a discussion of the use of the minor third in triads. The teacher plays a succession of chords, asking students to identify which are major and which are minor. Students take turns going to the board and constructing minor chords based on root notes supplied by the teacher.

• Performances of the a minor natural, harmonic, and melodic minor scales. Students play the scales in stages: hands separate, hands together, scales in contrary motion.

• Performance of “Greensleeves,” in which students utilize dynamics, the damper pedal, slurring, and arpeggiated chords.

• Discussion of the American spiritual genre. Performance of the spiritual “Jericho,” in which students display their ability to utilize syncopated rhythms and accents to create a sense of tension and urgency, conveying the text’s meaning.

• Insightful analysis • Technical accuracy • Quality of critiques

OTHER EVIDENCE: • Pre-test on minor keys and chords. • Class discussion on the differences in style of two American spirituals, “Jericho” and ‘Go

• Rubrics * Down, Moses.” Identification of musical elements that distinguish the two pieces and convey the emotional subtext and mood.

• Performances of Hanon Exercises #6 and #7. • In-class performances of selected pieces • Homework/Classwork • Critiques • Post-test on minor keys and chords



• Pre-Test on minor keys and chords • Discussion of and exercises focusing on scales, chords, and progressions • Modeling • Incorporation of dynamics and musical symbols in pieces as expressive and stylistic devices • Guided practice sessions • Teacher and student discussions • In-class performances • Critiques of performances • Theory quizzes and tests • Post-test on minor keys and chords


• Alfred’s Basic Adult Piano Course, Level 1 • Bach: Selections from Anna Magdalena’s Notebook • Hanon: The Virtuoso Pianist • John Thompson Modern Course for the Piano, Second Grade • The Library of Easy Piano Favorites • Selected supplemental piano pieces • Metronome app on iPads • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly. Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation. 3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly. Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance. Music Theory 4 – A firm grasp of the elements of music theory is consistently evident. Knowledge learned during the unit is effectively applied to new tasks. 3 – A developing grasp of the elements of music theory is displayed, although some problems with the transfer of knowledge to new situations are evident. 2 – Although some partial knowledge is discernible, and effort is clearly in evidence, effective application of skills is lacking. 1 – New knowledge studied during the unit is able to be applied only with assistance. Difficulty with working independently and consistently is evident. Critiques/Class Discussion 4 – Student is able to articulately express his/her critique with depth and relevance to specific aspects of the subject matter. Student is able to identify and accurately evaluate the aesthetic criteria, utilizing supporting details. Student offers personal interpretations. 3 – Student is able to present his/her critique with general relevance to aspects of the subject matter. Student correctly identifies the aesthetic criteria, using some supporting details. Student offers personal interpretations. 2 – Student offers occasional or very brief comments on the subject matter, referencing some aesthetic criteria and offering a few supporting details. Student offers insubstantial personal interpretations. 1 – Student is unable to offer any substantial critique. Little or no references to aesthetic criteria are made and no supporting details are used. Student offers no personal interpretations.

Quarter 3 – Unit 1 Composers, Style, and Innovations

Stage 1 Desired Results ESTABLISHED GOALS 1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex scores from diverse cultural contexts. 1.2.12.A.1 Determine how music has influenced world cultures throughout history.

1.2.12.A.2 Justify the impact of innovations in the arts on societal norms and habits of mind in various historical eras.






• Ascertain the value of works of music, based on historical and cultural significance, as well as originality and craftsmanship.

• Evaluate the impact of innovations in the arts from various historical periods in piano works stylistically representative of the times.

Meaning

UNDERSTANDINGS Students will understand that…

• The works of many composers often reflect the cultures in which they were written.

• A composer’s personal style is marked by a distinctive and often innovative use of melody, harmony, and rhythm.

• A composer’s style often evolves over time, influenced by cultural and historical events as well as his own spark of creativity.

• Composers provide guidelines (e.g., tempo markings, dynamics) for performers that allow for personal interpretation.

• Music is an ever-evolving medium of expression.

ESSENTIAL QUESTIONS • When examining the piano music of

specific composers, what stylistic elements are evident?

• How do composers use their personal styles to transmit their perspectives on varying facets of life and existence?

• How do changes in musical taste reflect cultural or historical evolutions?


• Needed background information on composers.

• The primary characteristics of a composer’s’ style.

• Relevant historical and cultural data.

Students will be skilled at… • Identifying and explicating elements of a

composer’s style. • Determining how cultural influences

impact composer’s artistic visions. • Interpreting the use and purpose of

1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts disciplines, using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works.

CCCS: RI.11-12.7 Integrate and evaluate multiple sources of information presented in different media or formats (visually) as well as in words in order to address a question or solve a problem.

W.11-12.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W.11-12.8 Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the task, purpose, audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and following a standard format for citation.

W.9-12.9 Draw evidence from literary or informational texts to support analysis, reflection, and research.

L.11-12.1 Demonstrate command of the conventions of English grammar and usage when writing or speaking.

• Details regarding the creation of specific musical works.

• Definitions of various elements of music and composition.

• How to locate and utilize quality research material.

distinctive musical language within specific works.

• Interpreting pieces of music in multiple ways.

• Supporting interpretive contentions in writing and speaking.

• Incorporating credible research into a paper.

SL.9-12.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led with diverse partners on grades 9-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.)


• Writing style • Formatting and structure • Sophistication of oral and written

arguments • Use of supporting details in writing and

speaking • Incisiveness of class discussion • Rubrics *

PERFORMANCE TASK(S): • Construction of a paper focusing on a particular major composer of piano music:

A. Each student is assigned a particular major composer of piano music (e.g., Robert Schumann, Frederic Chopin, Sergei Rachmaninov). B. Student conducts research focusing on: 1. The composer’s life 2. Cultural/historical influences on the composer 3. Elements and evolution of the composer’s style 4. Influence on contemporaries, succeeding composers, and popular culture 5. In-depth analysis of one piano piece, focusing on style C. Students present findings to the class in an oral presentation. A recording of the analyzed composition is played on their iPads in order to illustrate the major points about the piece. D. Class discussion on information gleaned from the presentation. E. Submission of formal paper.

• Using their iPads, students conduct research on changes in musical styles and tastes from one era to another. For instance, they may focus on the shift from Classicism to Romanticism in the nineteenth-century or ragtime to jazz in the early twentieth-century. Students share conclusions with the class, using musical excerpts.

• (Optional assignment that can be utilized at a future time): Have students research a composer of piano music who is considered a minor figure in musical history (e.g., Enrique Granados, Erik Satie, Cecile Chaminade). Through their exploration of the composer’s career and impact on society, students either support or refute the composer’s musical status. This assignment can be modified so that it focuses on a composer of nationalistic music (e.g. Manuel de Falla, Alexander Scriabin) and the cultural influence of and impact on the respective composer’s culture.

• Sophisticated expression of ideas • Use of supporting evidence • Rubrics *

OTHER EVIDENCE: • Teacher plays two recordings of the same piece (e.g., Schubert’s “Moment Musicale” or

Beethoven’s “Fur Elise”) performed by two different pianists. Students, through impromptu writings and class discussion, convey their assessments of the two performances, focusing on stylistic differences. The class, then, examines the score of the piece as students again listen to the recordings. Students each discuss which performance they find more aesthetically pleasing, based upon specific music criteria. There are no right or wrong conclusions, as long as each conclusion is substantiated.

• Critiques • Class discussion • Homework/Classwork • Use of technology



• Reading and analysis of informational texts on selected composers and musical periods • Graphic organizers • Modeling • Formulation of thesis • Incorporation of supporting details into paper and formatting • Formal paper • Oral presentation • Listening skills • Class discussions/Critiques


• Encyclopedias • Biographies • Online informational sources (e.g., www.composers.cl.ac.uk, www.composers21.com, www.classicfm.com/composers) • CDs • iPads

http://www.composers.cl.ac.uk/

http://www.composers21.com/

Rubrics

Music Theory 4 – A firm grasp of the elements of music theory is consistently evident. Knowledge learned during the unit is effectively applied to new tasks. 3 – A developing grasp of the elements of music theory is displayed, although some problems with the transfer of knowledge to new situations are evident. 2 – Although some partial knowledge is discernible, and effort is clearly in evidence, effective application of skills is lacking. 1 – New knowledge studied during the unit is able to be applied only with assistance. Difficulty with working independently and consistently is evident. Critiques/Class Discussion 4 – Student is able to articulately express his/her critique with depth and relevance to specific aspects of the subject matter. Student is able to identify and accurately evaluate the aesthetic criteria, utilizing supporting details. Student offers personal interpretations. 3 – Student is able to present his/her critique with general relevance to aspects of the subject matter. Student correctly identifies the aesthetic criteria, using some supporting details. Student offers personal interpretations. 2 – Student offers occasional or very brief comments on the subject matter, referencing some aesthetic criteria and offering a few supporting details. Student offers insubstantial personal interpretations. 1 – Student is unable to offer any substantial critique. Little or no references to aesthetic criteria are made and no supporting details are used. Student offers no personal interpretations. Research/Presentation 4 – Information is complete and well-supported by detail. The speaker’s main points are logical and persuasive. The speaker is enjoyable to hear and uses expression for emphasis. 3 – Information is complete with basic supporting details. The speaker’s main points are clear, but not persuasive. The speaker is generally easy to hear and understand. 2 – Important details are missing, or there are few supporting details. The presentation seems to convey only a limited understanding of the topic. The speaker was hard to hear or understand at times. 1 – The presentation does not express or explore main points clearly, thoroughly, or persuasively. The body of the presentation needs organization and supporting details. Control of speaking tone, clarity, and volume is not evident.

Quarter 3 – Unit 2 New Key Signatures, Inversions, and Rhythms





1.4.12.B.2 Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown may impact perceptions of its significance/meaning.


• Discern the basic tonality and shifts in tonality within musical compositions, linking these observations to the inherent artistry of the music.

• Formulate responses to characteristic elements within musical compositions, based on observation, using specific terminology.


• Proper articulation and phrasing leads to an aesthetically effective performance.

• Tonalities are chosen and manipulated by composers to convey specific ideas and emotions.

• Certain musical genres exhibit the manipulation of various identifiable, distinguishing musical elements.

• Established patterns of fingerings for scales aid in the development of technique.

ESSENTIAL QUESTIONS • How does each major and minor scale

serve as the basis for a series of chord progressions?

• What are the differences between major, minor, and diminished chords?

• In what ways do particular musical genres display stylistic characteristics?


• The circle of fifths. • Key signatures for C Major, G Major, D

Major, A Major, F Major, Bb Major, Eb Major, and their relative minor keys.

• Proper fingering of scales. • Sharps and flats. • Dynamics. • Tempo markings

Students will be skilled at… • Interpreting interrelated symbols and

effectively applying their significance to pieces of music.

• Identifying and writing chords in root position as well as 1st, 2nd, and 3rd inversions.

• Playing in a fluid, legato manner. • Playing complex, syncopated rhythms.

• Slurs and ties. • 1st, 2nd, and 3rd inversions of chords. • Chord progressions for all tones of the

fourteen keys being studied. • Major, minor, and diminished chords. • Tonic, dominant, and subdominant

chords. • Triple rhythms. • The system of ledger lines.

• Playing seven major scales. • Moving from one key center to another

in musical compositions..


• Evidence of theoretical knowledge • Rhythmic accuracy • Attention to detail • Quality of contributions • Attentiveness • Rubrics *

PERFORMANCE TASK(S): • Test (written) on key signatures and tonic, dominant, and subdominant chords. Lecture,

board work, worksheets, and class discussions precede the test, focusing on the following elements: A. Determining keys (circle of fifths, placement of sharps and flats in key signatures) B. Key signatures for C Major, G Major, D Major, A Major, F Major, Bb Major, Eb Major, and their relative minor keys (a minor, e minor, b minor, F# minor, d minor, g minor, c minor) C. Tonic, dominant, and subdominant chords in the aforementioned fourteen keys. D. Graphic organizers.

• Following a discussion of triple meters and a review of duple meters and syncopation, students each compose an 8 measure series of rhythms in 4/4 time. The 8 measures incorporate varied rhythms and syncopation. Finished products are notated on the board and the class claps the rhythms, with the left hand keeping a steady beat while the right hand claps the notated rhythms. After this, students apply this technique to the songs “Amazing Grace” and “The Entertainer,” which leads to a class discussion of ragtime as a distinctive genre of American music.

• Test (written) on inversions and chord progressions based on scales. Lecture, board work, worksheets, and class discussions precede the test, focusing on the following elements: A. Review of root position, 1st inversion, and 2nd inversion chords. B. Diminished chords. C. Application of theoretical knowledge to new keys being studied (e.g., e minor and Bb Major). D. Third inversions of chords. E. Graphic organizers.

• Insightful and sophisticated discussion • Quality of analytical thought • Musicality • Evidence of progress in technique • Rubrics *

OTHER EVIDENCE: • Pre-test on key signatures and chords. • Performance of Hanon Exercise #8. • Playing of two octave scales with both hands (C Major, G Major, and F Major) and one octave

scales with both hands (D Major, A Major, Bb Major, Eb Major, a minor, e minor, b minor, F# minor, d minor, g minor, and c minor), using correct fingerings.

• Performances of selected piano pieces. • Critique of a recording of a Scott Joplin rag. • Ability to smoothly transition between key changes in “He’s Got the Whole World in His

Hands.” • Class Discussions/Critiques – Evaluation of students’ contributions and level of insight. • Post-test on key signatures and tonic chords.


Suggested Learning Events:

• Pre-Test on keys and chords • Discussion of and exercises focusing on keys, scales, chords, inversions, and progressions • Modeling • Incorporation of dynamics and musical symbols in pieces as expressive and stylistic devices • Guided practice sessions • In-class performances • Critiques of performances • Theory quizzes and tests • Post-test on keys and chords


• Alfred d’Auberge Piano Course, Book 4 • Alfred’s Basic Adult Piano Course, Level 1 • A First Book of Ragtime • Decade by Decade: 1900s, 1910s, 1920s • Hanon: The Virtuoso Pianist • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly. Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation. 3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly. Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance.

Music Theory 4 – A firm grasp of the elements of music theory is consistently evident. Knowledge learned during the unit is effectively applied to new tasks. 3 – A developing grasp of the elements of music theory is displayed, although some problems with the transfer of knowledge to new situations are evident. 2 – Although some partial knowledge is discernible, and effort is clearly in evidence, effective application of skills is lacking. 1 – New knowledge studied during the unit is able to be applied only with assistance. Difficulty with working independently and consistently is evident. Critiques/Class Discussion 4 – Student is able to articulately express his/her critique with depth and relevance to specific aspects of the subject matter. Student is able to identify and accurately evaluate the aesthetic criteria, utilizing supporting details. Student offers personal interpretations. 3 – Student is able to present his/her critique with general relevance to aspects of the subject matter. Student correctly identifies the aesthetic criteria, using some supporting details. Student offers personal interpretations. 2 – Student offers occasional or very brief comments on the subject matter, referencing some aesthetic criteria and offering a few supporting details. Student offers insubstantial personal interpretations. 1 – Student is unable to offer any substantial critique. Little or no references to aesthetic criteria are made and no supporting details are used. Student offers no personal interpretations.

Quarter 4 – Unit 1 Classical Repertoire


1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex scores from diverse cultural contexts. 1.3.12.B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance.




1.4.12.B.2 Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown


• Compare and contrast the styles of different composers and musical periods, using specific musical terminology.

• Play and interpret piano pieces from various musical periods, nuancing phrases in a stylistically correct manner.

• Describe the emotional responses they have while listening to or playing a piece of piano music.

• Gain perspective on the complexities of musical composition.


• Different periods in music history exhibit differences in their compositional approaches to music.

• The proper articulation of notes and musical phrases is, to a great extent, dictated by the period during which the piece was written.

• Knowledge of chords and progressions aids a performer in his rehearsal and refinement of a piece.

ESSENTIAL QUESTIONS • How does the period during which a

piano piece was written affect a performer’s interpretation of the piece?

• In what ways does the history of music reflect differing approaches to art?

• How can a thoughtful, well-executed performance be an emotional experience for both the performer and listener?


• Background information on various musical periods.

• Hallmarks of various musical periods, such as the Baroque.

• The difference between major, minor, and diminished chords.

Students will be skilled at… • Identifying and analyzing compositional

techniques and how they convey a composer’s perspective.

• Interpreting musical markings and symbols in a sophisticated fashion, dependent upon the musical context.

may impact perceptions of its significance/meaning.

• Tonic, dominant, and subdominant chords.

• The pattern of major, minor, and diminished chords established by major and minor scales.

• Enharmonic notes. • Tempo markings. • Articulation symbols. • The system of ledger lines.

• Listening to the performances of others and analyzing the elements of the performances that provoke emotional responses.

• Analyzing the basic harmonic structure of short piano pieces.

• Participating in discussions and communicating information to others.


• Evidence of theoretical knowledge • Articulation and style • Rhythmic accuracy • Attention to dynamics • Quality of contributions • Insightfulness • Rubrics *

PERFORMANCE TASK(S): • Major performances of piano pieces:

Before the study of a particular piece commences, a short study of the musical period is conducted, concentrating on the stylistic means of musical expression and performance techniques. Each student studies, rehearses, and performs a piano piece representative of the Baroque, Classical, and Romantic Periods. For example, one student may study pieces by Scarlatti, Haydn, and Schumann. Students are assessed on their ability to effectively convey the appropriate style of playing. The performer offers a reflection on his approach to the performance as well as the performance as an emotional experience.

• Class Discussion on various stylistic elements in others’ performances. Students use specific terminology to critique performances, offering their emotional responses in the process.

• Test on 1st, 2nd, and 3rd inversions of chords and progressions. Part of the test will include students’ harmonic analysis of a phrase of music they haven’t seen before.

• Quality of analytical thought • Musicality • Evidence of progress in technique • Depth of thought in critiques • Rubrics *

OTHER EVIDENCE: • Pre-test on the Baroque, Classical, and/or Romantic Periods in music. • Post-test on the Baroque, Classical, and/or Romantic Periods in music. • Performance of Hanon Exercise #9. • Class Discussions/Critiques.


Suggested Learning Events:

• Pre-test on Baroque, Classical, and/or Romantic Periods. • Discussion of selected musical periods (e.g., Classical), focusing on stylistic characteristics and matters of articulation • Modeling • Incorporation of dynamics and musical symbols in pieces as expressive and stylistic devices • Guided practice sessions • Use of iPads to access information on composers’ styles and performance techniques • In-class performances • Critiques of performances • Theory quizzes and tests (inversions, progressions) • Post-test on Baroque, Classical, and/or Romantic Periods.


• Alfred d’Auberge Piano Course, Books 3 and 4 • Alfred’s Basic Adult Piano Course, Level 2 • Anthology of Baroque Keyboard Music • Bach: Selections from Anna Magdalena’s Notebook • Grieg: Lyric Pieces • Hanon: The Virtuoso Pianist • John Thompson Modern Course for the Piano, Grades 2 and 3 • The Library of Easy Piano Favorites • MacDowell: Woodland Sketches • iPads • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly.

Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation. 3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly. Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance.


Quarter 4 – Unit 2 Popular Repertoire




1.3.12.B.3 Improvise works through the conscious manipulation of the elements of music, using a variety of traditional and nontraditional sound sources.



1.4.12.A.3 Develop informed personal responses


• Identify and appreciate the creative uses of harmony and rhythm in popular music. • Play and interpret popular songs in a style and manner appropriate to their genres. • Construct original compositions for the piano that display a basic knowledge of melody,

harmony, and rhythm.


• The music of popular songwriters displays knowledge of music theory, although, sometimes, the rules are broken for personal expression.

• Although not apparent at first, classical and popular music display several similarities.

• Musical techniques work conjointly to produce artistic visions.

• Rubato is an effective interpretive tool in music.

ESSENTIAL QUESTIONS • In what ways is popular music similar to

classical music? • How does popular music use melody,

harmony, and rhythm innovatively? • How can a performer interpret a piece

of music so that it becomes personal expression, extending beyond the printed notation?


• Swing rhythm. • Offbeat rhythms. • Grace notes. • 8va sign. • Accent markings. • The system of ledger lines. • Dynamic markings.

Students will be skilled at… • Interpreting songs in a manner that

reflects both the music and text. • Using varied dynamics to convey the

nuances in pieces of music. • Establishing connections between the

uses of musical techniques in various pieces for the piano.

to an assortment of artworks across the four arts disciplines, using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works.

• Staccato and legato. • Repeat signs. • Key signatures. • Time signatures. • Simple/Complex meters.

• Playing in a fluid, accurate fashion. • Comparing and contrasting different

genres of music.


• Interpretive, effective use of rubato • Use of dynamics • Originality • Skill in use of melody, harmony, and

rhythm • Class discussion • Rubrics *

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PERFORMANCE TASK(S): • Following a discussion of the concept of rubato, each student is assigned an arrangement of

a popular song that lends itself to the use of rubato. Students practice and master the piece as written, then, employ rubato in sections of the piece as an expressive tool. Each student performs for the class and is critiqued.

• Students each compose an original eight measure piece: A. Employs an original melody B. Utilizes diverse rhythms C. Follows logical harmonic progressions E. Provides a harmonic analysis of the piece D. Has an accompaniment In-class performances are critiqued and discussed by the class. Composers address questions from the class, defending artistic choices.

• Technical progress • Quality of thought • Insightfulness of oral arguments • Rubrics *

OTHER EVIDENCE: • Pre-test on the concept of rubato. • Debates and discussion circles • Performance of Hanon Exercise #10 • Classwork/Homework • Post-test on rubato


Suggested Learning Events: • Discussion of the similarities and differences between classical and popular music, focusing on the elements of melody, harmony, and rhythm.

Examination of a Bach Minuet and “Singin’ in the Rain,” comparing and contrasting the two pieces as examples of different genres of music. • Pre-test on the concept of rubato • Discussion of the concept of rubato in music. Playing of “The Rose” as printed in a straight rhythm and, then, employing rubato. Discussion of

the differences in the conveyance of the song’s emotional intent through the use of rubato. • Guided practice sessions of students’ individual pieces, emphasizing the use of interpretive tools like dynamics and rubato. • In-class performances • Critiques of performances • Creation of an original eight-measure phrase of music. Performances of compositions for the class, followed by discussions and critiques. • Post-test on rubato


• Alfred’s Basic Adult Piano Course, Level 1 • Beatles Best (Easy Piano) • “Call Me Maybe,” “Home,” and Other Hot Singles • The Charlie Brown Collection (Five Finger Piano Songbook) • Classic Rock • Piano Adventures (Popular Repertoire), Level 3A • Piano Adventures (Popular Repertoire), Level 3B • VH1’s 100 Greatest Songs of Rock and Roll (Easy Piano) • Hanon: The Virtuoso Pianist • Metronome app on iPads • CDs

*Rubrics

Notes/Rhythms 4 – Confidently performs all notes and rhythms correctly. 3 – Most of the notes and rhythms are performed correctly, with few errors. 2 – Some passages display incorrect notes. Some basic rhythms are performed correctly; however, some challenges with rhythmic accuracy are evident in some measures. 1 – Most of the notes and rhythms are performed incorrectly. Musicianship 4 – The piece is performed using appropriate dynamics, phrasing, and articulation.

3 – Most of the dynamics are followed and most of the articulation signs are observed. Most phrases are performed correctly. 2 – Some dynamics are observed. Some articulation is attempted. Some phrases are complete and musically accurate. 1 – No use of dynamics and no observation of correct articulation. Musically, most phrases are performed incorrectly. Style/Interpretation 4 – The performance of the piece is effectively executed with both appropriate style and interpretation. 3 – Most of the piece is performed with correct style and interpretation. 2 – Some parts of the piece are performed using both style and interpretation. 1 – The style and interpretation of the piece is not evident during the performance.


Benchmark Assessment Quarter 1

1. Students will demonstrate proper techniques of articulation and phrasing while performing. 2. Students will be able to define the roles of melody, harmony, and accompaniment in piano pieces. 3. Students will be able to interpret various musical symbols and tempo markings in compositions, using them to enhance performances. 4. Students will successfully apply elements of music theory to the analysis of musical compositions. 5. Students will be able to evaluate their own performances as well as those of others, using specific musical terminology. .


1. Students will demonstrate ability to explain how scales, chords, and inversions are built and how they function within pieces of piano music.

2. Students will be able to identify the mood of various musical compositions and describe how it is developed through tonality and compositional elements, effectively evoking the mood in their performances.

3. Students will be able to explain how musical compositions reflect and preserve cultural heritage. 4. Students will successfully construct oral arguments in which they compare similarities and differences between pieces of piano music,

using specific music vocabulary. 5. Students will be able to perform piano pieces involving complex rhythms, such as syncopation, with accuracy and musicality.


1. Students will demonstrate ability to discern how historical, societal, and cultural events impact upon the musical language and style of composers.

2. Students will be able to perform compositions of increasing technical difficulty in a variety of forms and genres. 3. Students will be able to create and perform measures of rhythmic patterns in simple and complex patterns. 4. Students will successfully integrate elements of musicianship (e.g., dynamics, tempo changes, contrasting articulations) into

performances, demonstrating increased feeling and sensitivity. 5. Students will be able to compare and contrast different performances of the same piano piece, demonstrating their awareness of musical

elements and techniques as well as the effectiveness of a pianist’s personal interpretation.


1. Students will demonstrate ability to play piano pieces from a range of musical periods, interpreting the pieces in a stylistically appropriate manner.

2. Students will be able to analyze the effective use of chords, inversions, and progressions in piano music through quizzes, class discussions, and performances.

3. Students will be able to critique the musicality and appropriateness of the performances of others, using relevant and specific terminology.

4. Students will successfully apply knowledge of music history and culture to the interpretation of musical works. 5. Students will be able to create short compositions for the piano, utilizing knowledge of music theory.

Resources

Primary Resources

Alfred’s Basic Adult Piano Course, Level 1 – Alfred Publishing

Hanon: The Virtuoso Pianist – Schirmer Publishing

Supplemental Resources

Alfred d’Auberge Piano Course, Books 3 and 4 – Alfred Publishing

Alfred’s Basic Adult Piano Course, Level 2 – Alfred Publishing

Anthology of Baroque Keyboard Music – Alfred Masterwork Edition

Bach: Selections from Anna Magdalena’s Notebook – Alfred Masterwork Edition

Beatles Best (Easy Piano) – Hal Leonard Publishing

A Charlie Brown Christmas (Five Finger Piano Songbook) – Hal Leonard Publishing

The Charlie Brown Collection (Five Finger Piano Songbook) – Hal Leonard Publishing

“Call Me Maybe,” “Home,” and Other Hot Singles – Hal Leonard Publishing

Christmas Songs A-Z – Alfred Publishing

Classic Rock – Hal Leonard Publishing

Decade by Decade: 1900s, 1910s, 1920s – Alfred Publishing

A First Book of Ragtime – Alfred Publishing

Grieg: Lyric Pieces – Alfred Masterwork Edition

John Thompson Modern Course for the Piano, Grades 2 and 3 – Willis Music Company

Joyful Christmas – Robbins Music Corporation

The Library of Easy Piano Favorites – Hal Leonard Publishing

MacDowell: Woodland Sketches – Alfred Masterwork Edition

Piano Adventures (Popular Repertoire), Level 3A – Faber/Alfred Publishing

Piano Adventures (Popular Repertoire), Level 3B – Faber/Alfred Publishing

VH1’s 100 Greatest Songs of Rock and Roll (Easy Piano) – Hal Leonard Publishing

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