elements | skillsrhythm beat • steady beat • steady beat • steady beat • steady beat •...

GRADES K-8SCOPE AND SEQUENCEELEMENTS | SKILLS

ELEMENTS SCOPE AND SEQUENCE ELEMENTS SCOPE AND SEQUENCE

GRADE 5 GRADE 6 GRADE 7 GRADE 8

EXPRESSION

DYNAMICS

• Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff)




• Dynamics and dynamic markings, including crescendo/decrescendo, sudden changes (subito, p, f)




• Dynamic contrasts • Dynamic contrasts • Dynamic contrasts • Dynamic contrasts

• Dynamics as an expressive choice • Dynamics as an expressive choice • Dynamics as an expressive choice • Dynamics as an expressive choice

• Appropriateness of dynamic choices • Appropriateness of dynamic choices • Appropriateness of dynamic choices • Appropriateness of dynamic choices

• Balancing dynamics • Balancing dynamics • Balancing dynamics

TEMPO

• Tempos and tempo markings, including allegretto, lento

• Tempos and tempo markings, including allegro, moderato, largo, adagio



• Tempos and tempo markings, including accelerando, ritardando

• Tempos and tempo markings, including rubato, accelerando, ritardando, fermata (fermata symbol)



• Appropriateness of tempo and tempo as an expressive choice




ARTICULATION

• Articulations and articulation markings, including legato, slurs




• Articulations and articulation markings, including staccato, accents




• Articulation as an expressive choice • Articulation as an expressive choice • Articulation as an expressive choice • Articulation as an expressive choice

• Phrasing • Phrasing • Phrasing • Phrasing

• Vocal/instrumental methods • Vocal/instrumental methods • Vocal/instrumental methods

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GRADE K GRADE 1 GRADE 2 GRADE 3 GRADE 4

EXPRESSIONDYNAMICS

• Loud/soft • Loud (forte)/soft (piano) • Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff)



• Getting louder/getting softer • Getting louder/getting softer • Dynamics and dynamic markings, including crescendo/decrescendo

• Dynamics and dynamic markings, including crescendo/decrescendo


• Dynamic contrasts • Dynamic contrasts

• Dynamics as an expressive choice • Dynamics as an expressive choice

• Appropriateness of dynamic choices

TEMPO

• Fast/slow • Fast (allegro)/slow (largo) • Tempos and tempo markings, including allegro, adagio

• Tempos and tempo markings, including presto, moderato, largo

• Tempos and tempo markings, including presto, andante, largo

• Getting faster/getting slower • Getting faster/getting slower • Getting faster/getting slower • Tempos and tempo markings, including accelerando, ritardando

• Tempos and tempo markings, including accelerando, ritardando



ARTICULATION

• Smooth and connected • Smooth and connected • Smooth and connected (legato) • Articulations and articulation markings, including legato


• Short and detached • Short and detached • Short and detached (staccato) • Articulations and articulation markings, including staccato, accents


• Articulation as an expressive choice

• Phrasing

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EXPRESSION (continued)MOOD

• Variety of moods • Variety of moods • Variety of moods • Variety of moods • Variety of moods

RHYTHMBEAT

• Steady beat • Steady beat • Steady beat • Steady beat • Steady beat

• Steady beat/no beat • Steady beat/no beat • Steady beat/no beat

• Beat/silent beat (rest) • Beat/silent beat (rest) • Beat/silent beat (rest)

• Beat/rhythm • Beat/rhythm • Beat/rhythm • Beat/rhythm • Beat/rhythm

• Beat/offbeat • Beat/offbeat • Beat/offbeat

• Upbeat • Upbeat

DURATION

• Long/longer and short/shorter sounds • Long/longer and short/shorter sounds • Long/longer and short/shorter sounds

• One sound per beat (quarter note) • One sound per beat (quarter note) • One sound per beat (quarter note) • Quarter note, two beamed eighth notes, quarter rest, four beamed sixteenth notes, half note, whole rest, eighth-quarter-eighth, whole note, dotted half note

• Quarter note, two beamed eighth notes, quarter rest, four beamed sixteenth notes, half note, whole rest, eighth-quarter-eighth, whole note, dotted half note, eighth-two sixteenths beamed, two sixteenths- eighth beamed, dotted-quarter- eighth, eighth-dotted-quarter, dotted half note

• Two sounds per beat (two beamed eighth notes)



• No sound on a beat (quarter rest) • No sound on a beat (quarter rest)

• Four sounds on a beat (four beamed sixteenth notes)

• Half note

• Tie • Tie • Tie

METER

• Strong beat/weak beat • Strong beat/weak beat • Strong beat/weak beat

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EXPRESSION (continued)MOOD

• Variety of moods • Variety of moods • Variety of moods • Variety of moods

RHYTHMBEAT

• Steady beat • Steady beat • Steady beat • Steady beat

• Beat/rhythm • Beat/rhythm • Beat/rhythm • Beat/rhythm

• Beat/offbeat • Beat/offbeat/backbeat • Beat/offbeat/backbeat • Beat/offbeat/backbeat

• Upbeat, pickup, anacrucis • Anacrucis • Anacrucis • Anacrucis

DURATION

• Four beamed sixteenth notes, half note, whole rest, eighth-quarter-eighth, whole note, eighth- two sixteenths beamed, two sixteenths-eighth beamed, dotted half note, dotted quarter note, dotted-quarter-eighth, dotted-eighth-sixteenth beamed, sixteenth-dotted-eighth beamed, three eighth notes beamed

• Four beamed sixteenth notes, eighth-quarter- eighth, whole note, half note, dotted half note, eighth-two sixteenths beamed, two sixteenths- eighth beamed, dotted-eighth-sixteenth beamed, sixteenth-dotted-eighth beamed, three eighth notes beamed, eighth-note triplet beamed, sixteenth-eighth-sixteenth beamed, dotted-quarter-eighth, eighth-dotted-quarter



• Tie • Tie • Tie • Beat/offbeat/backbeat

• Augmentation/diminution • Augmentation/diminution • Augmentation/diminution • Augmentation/diminution

METER




RHYTHM (continued)METER (continued)

• Meter in 2, meter in 3 • Meter in 2 (2/4), meter in 3 (3/4) • 2/4, 3/4, 4/4 meters • 2/4, 3/4, 4/4 meters

• Compound meter (6/8)

PATTERN

• Sound/silence • Sound/silence

• Same/different • Same/different

• Combinations, including: quarter note, two eighth notes beamed, quarter rest

• Combinations, including: quarter note, two eighth notes beamed, quarter rest

• Combinations, including: quarter note, two eighth notes beamed, quarter rest, half note, half rest, four sixteenth notes beamed

• Combinations, including: quarter note, two eighth notes beamed, quarter rest, half note, half rest, whole note, four sixteenth notes beamed, eighth-quarter-eighth

• Combinations, including dotted- quarter-eighth, two sixteenths- eighth beamed, eighth-two- sixteenths beamed, eighth-dotted -quarter

• Even and uneven rhythmic patterns (dotted rhythms)


• Repeated patterns • Repeated patterns (ostinato) • Ostinato • Ostinato • Ostinato, layered patterns

• Syncopation/No syncopation

• Swing eighths

FORMPHRASE FORM

• Same/different phrases

• Echo (imitation)


• Repetition/contrast

• Echo (imitation)


• Repetition/contrast


• Repetition/contrast • Repetition/contrast



RHYTHM (continued)

• 2/4, 3/4, 4/4, 2/2 meters • 2/4, 3/4, 4/4, 2/2 meters • 2/4, 3/4, 4/4, 2/2 meters • 2/4, 3/4, 4/4, 2/2 meters

• Compound meter (6/8) • Compound meters (including 6/8, 3/8) • Compound meters (including 6/8, 3/8) • Compound meters (including 6/8, 3/8)

• Mixed meter • Mixed meter, changing meter • Mixed meter, changing meter • Mixed meter, changing meter

• Irregular meter (meter in 5) • Irregular meter (meter in 5) • Irregular meter (meter in 5

PATTERN (continued)

• Combinations in simple meter, including eighth- note triplets, dotted-eighth-sixteenth

• Combinations in compound meter, including eighth-quarter, dotted-quarter, quarter-eighth, three eighths beamed



• Combinations of 2 and 3 in mixed meter, including two eighths beamed











• Ostinato, layered patterns • Ostinato, layered patterns • Ostinato, layered patterns • Ostinato, layered patterns


• Swing eighths


• Swing eighths

• Rock rhythms


• Swing eighths

• Rock rhythms


• Swing eighths

• Rock rhythms

• Motive • Motive • Motive • Motive

FORMPHRASE FORM

• Repetition/contrast • Repetition/contrast • Repetition/contrast • Repetition/contrast




FORM (continued)PHRASE FORM (continued)

• Call and response • Call and response • Call and response

• Solo/chorus

• Call and response

• Solo/chorus


• Solo/chorus

• Introduction • Introduction and coda • Introduction and coda • Introduction, interlude, and coda • Introduction, interlude, and coda

• Question/answer phrase

• Long and short phrases






• Phrase forms, including ab • Phrase forms, including ab, aba, aaba, aabb

• Phrase forms, including ab, aba, aaba, aabb, abca

• Phrase forms, including ab, abc, aaba, aabb, aabc, abab, abac, abcc, abcb

• Motive

SECTION FORM

• Same/different sections • Same/different sections • Same/different sections • Same/different sections

• Introduction and coda • Introduction and coda • Introduction, interlude, and coda • Introduction, interlude, and coda

• Section forms, including AB (binary), ABA

• Verse/refrain (AB)

• Section forms, including AB, ABA, AABA


• Section forms, including AB, ABA, AABA, ABACA (rondo)



• D.C. al fine (ABA)

• First and second endings



• Movement

• Theme/variations



FORM (continued)PHRASE FORM (continued)


• Solo/chorus


• Solo/chorus


• Solo/chorus


• Solo/chorus

• Introduction, interlude, and coda • Introduction, interlude, and coda • Introduction, interlude, and coda • Introduction, interlude, and coda


• Phrase forms, including ab, aba, aaba, abac • Phrase forms, including ab, abc, aaba, abab, aabaa

• Phrase forms, including ab, abc, aaba, abab, aabaa

• Phrase forms, including ab, abc, aaba, abab, aabaa

• Motive • Motive • Motive • Motive

• 12-bar blues • 12-bar blues • 12-bar blues

• Canons and rounds

• Fugue


• Fugue


• Fugue

SECTION FORM

• Introduction, interlude, and coda • Introduction, interlude, and coda • Introduction, interlude, and coda • Introduction, interlude, and coda




• Section forms, including AB, ABA, AAB, ABAB, ABB


• Section forms, including AB, ABA AAB, ABAB, ABB


• Section forms, including AB, ABA AAB, ABAB, ABB





• D.S. al fine



• D.S. al fine



• D.S. al fine

• Movement • Movement • Movement • Movement

• Theme/variations • Theme/variations • Theme/variations • Theme/variations

• March • March • March • March

• Fugue • Fugue • Fugue




FORM (continued)COMPOSITE FORM

• Symphony • Symphony, concerto, march, overture, musical theater

MELODYPITCH & DIRECTION

• High/low • High/low

• Higher/lower • Higher/lower • Higher/lower

• Upward/downward

• Low to high/high to low

• Upward/downward

• Low to high/high to low

• Upward/downward

• Melodic direction • Melodic direction • Melodic contour

• Melodic sequence • Melodic sequence

• Steps, skips, and repeated pitches • Steps, leaps, and repeated pitches • Steps, skips, and repeated pitches

• Intervals: unison, octave

• Steps, skips, and repeated pitches

• Intervals: unison, octave, third

• Pitch letter names • Pitch letter names

• Accidentals

TONALITY

• Tonal center

• do-pentatonic

• la-pentatonic

• Tonal center

• do-pentatonic

• la-pentatonic

• so-pentatonic

• Tonal center

• Key signature

• Major/minor • Major/minor



FORM (continued)COMPOSITE FORM

• Symphony, opera, overture, suite, piano prelude, musical theater, ballet

• Symphony, concerto, ballet, opera, musical theater



MELODYPITCH & DIRECTION

• Melodic contour • Melodic contour • Melodic contour • Melodic contour

• Melodic sequence • Melodic sequence • Melodic sequence • Melodic sequence

• Whole and half steps

• Intervals: unison, second, third, fourth, fifth, sixth, seventh, octave







• Pitch letter names • Pitch letter names • Pitch letter names • Pitch letter names

• Accidentals • Accidentals • Accidentals • Accidentals

• Blues notes • Blues notes • Blues notes

• Manipulation of pitches as compositional devices: sequence, repetition, contrast; melodic ideas and development; theme, motive, melodic ostinato



TONALITY

• Tonal center

• Key signature

• Tonal center

• Key signature

• Tonal center

• Key signature

• Tonal center

• Key signature

• Major/minor • Major/minor • Major/minor • Major/minor




MELODY (continued)TONALITY (continued)


• Scales: pentatonic, major, minor

• Changes of key (modulation)

PATTERN

• Same/different • Same/different • Same/different

• Pentatonic pitch patterns, including so mi | la | so mi la | do | so mi la do

• Pentatonic pitch patterns, including so mi | so mi la | do | so mi la do | mi re do | re | la so mi re do

• Pentatonic pitch patterns, including mi re do | so mi re do | la so mi re do | low-so low-la do re mi so la high-do

• Diatonic pitch patterns, including la so mi re do | low-la | low-so | high-do | so high-do | high-fa | low- so low-la do re mi fa so la high-do | ti

• Motive

• Melodic ostinato • Melodic ostinato

• Melodic sequence

TIMBREENVIRONMENTAL

• Nature sounds

• Found sounds

• Machine sounds

• Nature sounds

• Found sounds

• Nature sounds

• Found sounds



MELODY (continued)TONALITY (continued)


• Scales: pentatonic, major, natural minor, harmonic minor


• Scales: pentatonic, major, natural minor, harmonic minor, blues





• Modes: dorian • Modes: dorian • Modes: dorian

• Changes of key (modulation) • Changes of key (modulation) • Changes of key (modulation) • Changes of key (modulation)

PATTERN

• Diatonic pitch patterns, including la so mi re do | low-la | low-so | high-do | so high-do | high-fa | low-so low-la do re mi fa so la high-do | ti

• Diatonic pitch patterns, including do re mi fa so | low-so low-la do re mi fa so la ti high-do



• Motive • Motive/motive manipulation • Motive/motive manipulation • Motive/motive manipulation

• Melodic ostinato • Melodic ostinato • Melodic ostinato • Melodic ostinato

• Melodic sequence • Melodic sequence • Melodic sequence • Melodic sequence

• Melodic repetition • Melodic repetition • Melodic repetition

• Pitches in compositional devices: sequence, repetition, transposition



TIMBREENVIRONMENTAL

• Found sounds • Found sounds • Found sounds

• Sound quality determined by the sound source

• Sound quality affected by the material, shape, and size of the source

• Sound quality affected by the way the sound is produced








TIMBRE (continued)VOCAL

• Individual: sing, speak, inner, whisper, calling

• Individual: sing, speak, inner, whisper, calling

• Various tone qualities produced by individuals and groups: adult and child singing voices

• Various tone qualities produced by individuals and groups: adult male/ female and child singing voices



• Various qualities produced by individuals and groups: adult male/ female (soprano, alto, tenor, bass) and child singing voices

• Unison versus ensemble singing • Group: large and small ensembles • Group: large and small ensembles

• A cappella singing

• Variety of vocal timbres representing diverse cultures, genres, and styles

INSTRUMENTAL

• Body percussion • Body percussion

• Classroom percussion • Classroom percussion

• Various tone qualities/timbres produced by individual instruments and groups of instruments





• Group: large and small ensembles • Group: large and small ensembles • Group: large and small ensembles • Group: large and small ensembles • Group: large and small ensembles including orchestra, concert band, mariachi

• Timbre of instrument families • Timbre of instrument families (strings, woodwind, brass, percussion)

• Instrument families: strings, woodwind, brass, percussion

• Instrument families: strings, percussion, woodwinds, brass, keyboards


• Instruments from diverse cultures • Instruments from diverse cultures • Instruments from diverse cultures



TIMBRE (continued)VOCAL

• Various tone qualities produced by individuals and groups: adult male/female (soprano, alto, tenor, bass) and child singing voices




• Group: large and small ensembles • Group: large and small ensembles • Group: large and small ensembles • Group: large and small ensembles

• Vocal blending • Vocal blending • Vocal blending

• A cappella singing • A cappella singing • A cappella singing • A cappella singing

• Vocal production • Vocal production • Vocal production • Vocal production

• Variety of vocal timbres representing diverse cultures, genres, and styles

• Variety of vocal styles, including concert, musical theater, and popular singers



• Vocal production and style of diverse cultures • Vocal production and style of diverse cultures • Vocal production and style of diverse cultures

INSTRUMENTAL





• Group: large and small ensembles, including orchestra, concert band, chamber groups

• Group: large and small ensembles, including orchestra, concert band, string quarte

• Group: large and small ensembles, including orchestra, concert band, string quartet

• Group: large and small ensembles, including orchestra, concert band, string quartet





• Instruments from diverse cultures • Instruments from diverse cultures • Instruments from diverse cultures • Instruments from diverse cultures

• Folk instruments

• Instrument making: student-made instruments








TIMBRE (continued)ELECTRONIC

• Synthesized sounds • Synthesized sounds • Synthesized sounds • Synthesized sounds • Synthesized sounds

• Electronic instruments

TEXTURE & HARMONYTEXTURE

• Accompaniment/no accompaniment • Accompaniment/no accompaniment

• Layers of sound • Layers of sound • Layers of sound • Layers of sound • Layers of sound

• Thick/thin • Thick/thin • Thick/thin • Thick/thin • Thick/thin

• Ostinato • Ostinato • Ostinato • Ostinato

• Bordun • Bordun • Bordun

• Countermelodies and descants • Countermelodies

• Partner songs

• Rounds and canons

• Monophonic, homophonic, polyphonic textures

HARMONY

• Harmony/no harmony • Harmony/no harmony

• Unison/chordal harmony • Unison/chordal harmony

• Major/minor • Major/minor

• Chord changes and progressions, including I–V7, I–IV, I–IV–V7

• 2-part singing • 2-part singing

• Harmony in thirds and sixths



TIMBRE (continued)ELECTRONIC

• Synthesized sounds

• Electronic instruments • Electronic instruments (including electric guitar) • Electronic instruments (including electric guitar) • Electronic instruments (including electric guitar)

TEXTURE & HARMONYTEXTURE

• Change in texture density • Change in texture density • Change in texture density • Change in texture density

• Ostinato • Ostinato • Ostinato • Ostinato

• Countermelodies and descants • Countermelodies • Countermelodies • Countermelodies

• Partner songs • Partner songs • Partner songs • Partner songs

• Rounds and canons • Rounds and canons • Rounds and canons • Rounds and canons

• Monophonic, homophonic, polyphonic textures • Monophonic, homophonic, polyphonic textures • Monophonic, homophonic, polyphonic textures • Monophonic, homophonic, polyphonic textures

HARMONY

• Major/minor • Major/minor triads • Major/minor triads • Major/minor triads

• Chord changes and progressions, including I–V7, I–IV, I–IV–I–V7, I–IV–V7




• 2-part singing • 2- and 3-part harmony • 2- and 3-part harmony • 2- and 3-part harmony

• Harmony in thirds and sixths • Harmony in thirds and sixths • Harmony in thirds and sixths • Harmony in thirds and sixths




TEXTURE & HARMONY (continued)HARMONY (continued)

• Harmonic styles, including parallel and contrary motion, countermelodies



TEXTURE & HARMONY (continued)HARMONY (continued)

• Harmonic styles, including parallel and contrary motion



• Building chords with scales or intervals • Building chords with scales or intervals • Building chords with scales or intervals


SKILLS SCOPE AND SEQUENCE SKILLS SCOPE AND SEQUENCE


SINGINGVOCAL DEVELOPMENT

• Vocal range C4–A4; tessitura D4–A4 • Vocal range D4–D5; tessitura D4–B4 • Vocal range C4–D5; tessitura D4–B4 • Vocal range B3–E5; tessitura D4–D5 • Vocal range G3–F5; tessitura C4–D5

• Engage in vocal exploration using speaking, singing, calling, and whispering

• Engage in vocal exploration using high, middle, and low registers

• Engage in vocal exploration using speaking, singing, calling, and whispering

• Engage in vocal exploration using high, middle, and low registers

• Engage in vocal exploration blending chest and head voice throughout the vocal range to produce uniform tonal quality in each register

• Engage in vocal exploration and practice, blending chest and head voice throughout the vocal range to produce uniform tonal quality in each register

• Practice blending chest and head voice throughout the vocal range to produce uniform tonal quality in each register

• Explore producing head voice sounds and sustaining tones

• Develop head voice sounds in the upper register and sustain tones

• Practice producing head voice sounds in the upper register and sustaining tones

• Sing a variety of simple songs in various keys and meters, alone and with a group

• Sing a variety of simple songs in various keys and meters, alone and with a group

• Sing a variety of simple songs in various keys and meters, alone and with a group, responding to cues from a conductor

• Sing a variety of simple songs in various keys and meters, alone and with a group, responding to cues from a conductor

• Sing with sensitivity to blend in a group or choral ensemble, responding to cues from a conductor

• Practice good vocal health • Practice good vocal health • Practice good vocal health • Practice good vocal health • Practice good vocal health

• Practice good singing posture • Practice good singing posture • Practice good sitting and standing postures for singing

• Develop correct breathing techniques

• Develop deep breathing skills and breath control

• Build confidence in solo singing

INTONATION

• Develop inner hearing of rhythms, tones, patterns, and melodies

• Develop aural perception and inner hearing of different tones, patterns, rhythms, melodies, and/or sounds

• Develop aural perception and inner hearing skills



• Develop pitch matching skills • Develop pitch matching skills



SINGINGVOCAL DEVELOPMENT

• Vocal range A3–G5; tessitura C4–D5 • Average vocal range G3–G5; tessitura D4–D5 • Average vocal range G3–G5; tessitura D4–D5 • Average vocal range G3–G5; tessitura D4–D5

• Practice blending chest and head voice throughout the vocal range to produce uniform tonal quality in each register

• Sing with sensitivity to blend in a group or choral ensemble, responding to cues from a conductor

• Sing with sensitivity to blend in a choral ensemble, responding to cues from a conductor



• Practice good vocal health • Study and practice good vocal health • Study and practice good vocal health • Study and practice good vocal health

• Refine good sitting and standing postures for singing




• Improve deep breathing skills and breath control • Review and refine deep breathing skills, breath control, and staggered breathing techniques for long notes or phrases

• Review and refine deep breathing skills, breath control, and staggered breathing techniques for long notes or phrases

• Review and refine deep breathing skills, breath control, and staggered breathing techniques for long notes or phrases

• Build confidence in solo singing • Build confidence in solo singing and individual part-singing

• Build confidence in solo singing and individual part-singing

• Build confidence in solo singing and individual part-singing

• Perform warm-up exercises and sing vocalises to prepare for singing




INTONATION

• Develop aural perception and inner hearing skills • Develop aural perception and inner hearing skills • Develop aural perception and inner hearing skills • Develop aural perception and inner hearing skills




SINGING (continued)INTONATION (continued)

• Develop correct intonation singing do-pentatonic songs

• Develop correct intonation singing do-, la-, and so-pentatonic songs

• Develop correct intonation, singing extended pentatonic patterns and scales

• Develop aural perception of home tone or tonal center


• Identify and sing do-pentatonic intervals

EXPRESSION

• Sing songs using loud and soft dynamics

• Sing songs using loud and soft dynamics, including p and f

• Expand dynamics range, from p to f, maintaining appropriate vocal quality

• Expand dynamics range, from mp to mf, maintaining appropriate vocal quality

• Expand dynamics range, maintaining appropriate vocal quality

• Develop singing in complete phrases with energy and direction

• Develop articulation skills of singing with connected and separated notes (legato and staccato)

• Develop legato singing

• Practice singing complete phrases • Practice singing complete phrases

PART SINGING

• Sing melodic echoes and dialogue songs

• Sing melodic patterns in echo and call-and-response forms

• Sing simple drones, melodic ostinatos, and melodic patterns in echo and call-and-response forms

• Sing echo songs, melodic ostinatos, partner songs, rounds, countermelodies (descants), and easy 2-part canons

• Sing melodic ostinatos, partner songs, rounds, canons, countermelodies, and 2-part songs



SINGING (continued)INTONATION (continued)

• Sing with correct intonation • Sing with correct intonation • Sing with correct intonation • Sing with correct intonation





• Identify and sing intervals in do-pentatonic and major scales

• Identify and sing accidentals in major and minor modes



• Sing major scales, arpeggios, and chords • Sing major scales, arpeggios, and chords • Sing major scales, arpeggios, and chords

• Sing minor scales and modes

• Perform vocalises to improve resonance and placement





EXPRESSION

• Develop techniques for incorporating crescendo and diminuendo into singing expressively while maintaining the appropriate tempo

• Expand dynamics range, incorporating crescendo and diminuendo into singing expressively while maintaining the appropriate tempo

• Practice singing tempo changes (ritardando, accelerando) following a conductor





• Practice legato singing; develop staccato singing using proper breath support

• Practice legato and staccato singing using proper breath support



• Sing songs using appropriate phrasing • Sing using appropriate phrasing

• Sing syncopated songs in popular style with good vocal technique

• Sing using appropriate phrasing


• Sing using appropriate phrasing


PART SINGING

• Sing melodic ostinatos, partner songs, rounds, canons, countermelodies, and 2-part songs

• Sing in parallel thirds

• Sing melodic ostinatos, partner songs, rounds, canons, countermelodies, and 2- and 3-part songs

• Sing in parallel thirds and sixths








SINGING (continued)DICTION

• Develop good diction through modeling



• Sing on a neutral syllable (oo) to develop resonant singing



• Sing vocalises of pure vowels: a (ah), e (eh), i (ee), o (oh), and u (oo) to develop resonant singing

• Develop correct production of uniform vowel sounds and well- articulated consonants

• Develop correct production of uniform vowel sounds and well- articulated consonants

SONG REPERTOIRE

• Sing songs representing genres and styles from diverse cultures





• Memorize a repertoire of songs • Memorize a repertoire of songs • Memorize a repertoire of songs • Memorize a repertoire of songs • Memorize a repertoire of songs

PLAYINGPERCUSSION (MALLETS, NONPITCHED, DRUMMING)

• Use body percussion in different levels • Use body percussion in different levels

• Explore timbre possibilities using body percussion and nonpitched instruments

• Expand instrumental sound resources, playing each with appropriate technique

• Use instruments as “sound effects” for stories, poems, and dramatizations

• Develop awareness of timbre categories: woods, metals, shakers, scrapers, and so on

• Play a steady beat using bilateral motions

• Play a steady beat using bilateral and alternating motions

• Play a steady beat and strong beat using bilateral and alternating lateral motions



SINGING (continued)DICTION

• Sing pure vowels: a (ah), e (eh), i (ee), o (oh), and u (oo) to develop resonant singing




• Develop correct production of uniform vowel sounds and well-articulated consonants

• Refine correct production of uniform vowel sounds

• Practice correct articulation of voiced and unvoiced consonants





• Develop techniques for singing sustained words correctly



SONG REPERTOIRE

• Sing music from diverse genres and cultures, with appropriate expression and tone quality




• Memorize a repertoire of songs • Memorize a repertoire of songs • Memorize a repertoire of songs • Memorize a repertoire of songs

• Sing gospel, jazz, popular, and classical styles • Sing gospel, jazz, popular, and classical styles • Sing gospel, jazz, popular, and classical styles

PLAYINGPERCUSSION (MALLETS, NONPITCHED, DRUMMING)




PLAYING (continued)PERCUSSION (MALLETS, NONPITCHED, DRUMMING) (continued)

• Explore correct playing techniques for pitched and nonpitched percussion

• Explore techniques for playing mallet instruments and nonpitched percussion

• Develop basic mallet techniques

• Explore “crossover” mallet technique for playing borduns and ostinatos

• Develop “crossover” mallet technique for playing borduns and ostinatos

• Refine mallet techniques

• Play and invent simple rhythmic patterns

• Play and invent rhythmic patterns on nonpitched percussion instruments, individually and in unison with others

• Play and invent rhythmic patterns on nonpitched percussion instruments, individually and in unison with others

• Play rhythmic patterns and ostinatos from notation

• Play rhythmic patterns on nonpitched percussion instruments, individually and in unison with others

• Play rhythmic patterns and ostinatos from notation

• Use body percussion and/or nonpitched percussion instruments to perform rhythm rounds, and create question/answer rhythmic phrases

• Play simple melodic patterns on mallet instruments

• Play and invent simple melodic patterns on mallet instruments, individually and in unison with others

• Play and invent melodic patterns on mallet instruments, individually and in unison with others

• Play melodic patterns on mallet instruments, individually and in unison with others

• Play melodies on mallet instruments by rote and by reading from notation

• Use melodic and rhythmic patterns as introductions, interludes, and/or codas for songs

• Repeat simple rhythmic and melodic patterns (ostinatos, melodic fragments) to accompany songs

• Play and invent rhythmic and melodic patterns both in isolation and to accompany songs, speech pieces, and movement

• Play combined patterns to accompany songs, speech pieces, and movement, including borduns, melodic ostinatos, and rhythmic ostinatos

• Include syncopation in rhythmic and melodic patterns

• Play elemental harmonies (simple bordun)

• Play elemental harmonies (simple bordun, moving bordun, crossover bordun)

• Play elemental harmonies (simple bordun, moving bordun, crossover bordun)

• Play accompaniments on mallet instruments involving two chords (I, IV or V)

• Incorporate expressive elements into playing

• Play mallet instrument ensembles

• Play classroom instruments from diverse cultures and styles








• Refine mallet techniques • Refine mallet techniques • Refine mallet techniques • Refine mallet techniques

• Use body percussion and/or nonpitched percussion instruments to perform rhythm rounds, and create question/answer rhythmic phrases

• Play melodies on mallet instruments by rote and by reading from notation

• Include offbeat and syncopated rhythms in rhythmic and melodic patterns

• Play accompaniments on mallet instruments involving the I–IV–V7 harmonic progression




• Incorporate expressive elements into playing • Incorporate expressive elements into playing • Incorporate expressive elements into playing • Incorporate expressive elements into playing

• Play mallet instrument ensembles • Play mallet instrument ensembles • Play mallet instrument ensembles • Play mallet instrument ensembles

• Provide opportunities for individuals to play small pieces alone, demonstrating good technique and style



• Play as part of large and small percussion ensembles, using traditional and non-traditional instruments











• Develop ability to play culture- specific instruments and styles

• Develop simple instrumental pieces

GUITAR




• Develop ability to play culture- specific instruments and styles

• Develop and expand ability to play culture- specific instruments and styles



• Play basic rock rhythm patterns with popular songs



• Develop simple instrumental pieces • Develop more extended instrumental pieces. Include opportunities for rhythmic and/or melodic solos (composed or improvised)

• Create and arrange percussion ensembles

• Develop more extended instrumental pieces. Include opportunities for rhythmic and/or melodic solos (composed or improvised)


• Develop more extended instrumental pieces. Include opportunities for rhythmic and/or melodic solos (composed or improvised)


GUITAR

• Identify types of guitars (nylon-string classical, steel-string acoustic, electric)

• Review types of guitars (nylon-string classical, steel-string acoustic, electric)



• Identify parts of the guitar • Review parts of the guitar • Review parts of the guitar • Review parts of the guitar

• Tune the guitar from a piano or by using relative tuning

• Develop proper guitar playing posture • Reinforce proper guitar playing posture • Reinforce proper guitar playing posture • Reinforce proper guitar playing posture

• Learn to read basic guitar chord diagrams • Learn guitar chord fingerings • Learn guitar chord fingerings • Learn guitar chord fingerings

• Learn fundamental left-hand techniques (how to form chords)

• Continue left-hand chord techniques • Continue left-hand chord techniques • Continue left-hand chord techniques

• Learn techniques for smooth transitions between chords

• Review and reinforce techniques for smooth transitions between chords



• Learn right-hand techniques (strumming patterns, picking)

• Play common chord progressions

• Begin use of the capo

• Review and reinforce right-hand techniques (strumming patterns, picking)


• Use a capo



• Use a capo



• Use a capo

• Create simple accompaniments to songs, including short introductions, refrains, and ostinatos

• Create accompaniments to songs, including introductions, verses, refrains, and ostinatos






PLAYING (continued)GUITAR (continued)

KEYBOARD

RECORDER

• Read notes B, A, G, E, D • Read new notes C’, D’, and F#

• Play with holes properly covered • Play with holes properly covered

• Use proper hand position with left hand on top

• Use proper hand position with left hand on top

• Play with the pads of slightly curved fingers

• Play with the pads of slightly curved fingers

• Display proper breathing techniques • Display proper breathing techniques

• Play one-, two-, and three-note tonal patterns, ostinatos, and countermelodies

• Play two-, three-, four-, and five-note tonal patterns, ostinatos, melodies, and countermelodies

• Blend sound with other recorder players

• Blend sound with other recorder players



PLAYING (continued)GUITAR (continued)

• Learn about the electric guitar • Learn about the electric guitar • Learn about the electric guitar • Learn about the electric guitar

• Play music from a variety of genres

• Discuss and implement guidelines for improving practice time and self-assessment of skill progress

• Play music from a variety of genres • Play music from a variety of genres • Play music from a variety of genres

KEYBOARD

• Play a two-handed accompaniment

• Play broken chords

• Play I, IV, and V7 chords










• Play closest position chords • Play chords with correct voice leading • Play chords with correct voice leading • Play chords with correct voice leading

• Determine and play different dynamic levels and tempos • Determine and play different dynamic levels and tempos • Determine and play different dynamic levels and tempos • Determine and play different dynamic levels and tempos

• Play and improvise on a blues progression • Play and improvise on a blues progression • Play and improvise on a blues progression

RECORDER

• Read new notes G#, C, F, and Bb

• Play with holes properly covered • Play with holes properly covered • Play with holes properly covered • Play with holes properly covered

• Use proper hand position with left hand on top • Use proper hand position • Use proper hand position • Use proper hand position

• Play with the pads of slightly curved fingers • Play with the pads of slightly curved fingers • Play with the pads of slightly curved fingers • Play with the pads of slightly curved fingers

• Improve playing and breathing techniques and hand dexterity

• Play with proper tone control and breathing techniques



• Play ostinatos, abbreviated melodies, melodies, and countermelodies




• Blend sound with other performers • Blend sound with other performers • Blend sound with other performers • Blend sound with other performers




PLAYING (continued)RECORDER (continued)

• Blend sound with singers and/or other instruments


• Show phrases by breathing

• Practice proper articulation • Practice proper articulation

CREATINGIMPROVISING

• Improvise simple sound pieces and/ or sound effects to accompany stories, poems, and songs

• Improvise simple sound pieces for voices, body percussion, instruments, and environmental sounds

• Improvise simple rhythmic ostinato accompaniments

• Improvise, using sound, movement, and body percussion patterns to accompany songs or speech pieces

• Improvise rhythmic, melodic, and movement patterns and use as accompaniments to songs and speech pieces

• Improvise rhythmic, melodic, and movement ostinatos in accompaniments for songs or speech pieces

• Improvise music to accompany movement or dance

• Improvise introductions to songs, stories, and dramatizations, using patterns of sound and movement

• Improvise introductions and accompaniments to songs, stories, poems, and dramatizations, using body percussion, patterns of sound, and movement

• Improvise introductions, codas, and accompaniments for songs

• Improvise introductions, interludes, and codas for songs or speech pieces

• Improvise introductions, interludes, and codas for songs

• Improvise simple patterns, using sound and movement

• Improvise simple rhythms, using sound and movement, in call-and- response form

• Improvise a contrasting, or B, section in an AB or ABA form, using sound and/or movement

• Improvise contrasting B and C sections in a rondo (ABACA) form, using sound and movement

• Improvise pieces in rondo (ABACA) form, using a variety of sound sources and movement

• Improvise melodic phrases using the pentatonic scale

• Improvise simple melodies based on the pentatonic scale

• Improvise melodies based on the pentatonic, major, and minor scales



PLAYING (continued)RECORDER (continued)





• Practice proper breathing and phrasing • Practice proper breathing and phrasing • Practice proper breathing and phrasing • Practice proper breathing and phrasing

• Practice proper articulation • Practice proper articulation • Practice proper articulation • Practice proper articulation

CREATINGIMPROVISING

• Improvise music to accompany movement or dance

• Improvise introductions, interludes, and codas for songs

• Improvise pieces in rondo (ABACA) form, using a variety of sound sources and movement

• Improvise pieces in AB and ABA form • Improvise pieces in AB and ABA form • Improvise pieces in AB and ABA form

• Improvise melodies based on the pentatonic, major, and minor scales

• Improvise melodies, using various scales • Improvise melodies, using various scales • Improvise melodies, using various scales

• Improvise melodies over accompaniments, using the I, IV, and V chords

• Improvise melodic patterns based on chords and chord progressions



• Use instruments to improvise melodies over given chord patterns including rock and blues




SKILLS SCOPE AND SEQUENCESKILLS SCOPE AND SEQUENCE


CREATING (continued)COMPOSING

• Compose and arrange accompaniments for songs, using music and movement

• Compose and arrange accompaniments for songs



• Compose introductions, interludes, and codas for songs

• Compose, notate, and perform compositions in AB, ABA, and ABACA form

• Compose, notate, and perform compositions in AB and ABA form



• Compose and perform melodies in major and minor mode, using various media, including technology

• Compose, notate, and perform melodies in major and minor mode, using various media, including technology



• Use variation in dynamics, tempo, and articulation in compositions

• Compose percussion and wind instrument pieces • Compose, notate, and perform instrumental works

• Compose, notate, and perform instrumental works

• Compose, notate, and perform instrumental works

• Create, notate, and perform rhythmic, speech, or movement variations on a theme

• Compose with melodic or rhythmic motives • Compose with melodic or rhythmic motives • Compose with melodic or rhythmic motives

• Compose and notate music using computer software



• Experiment with found sounds and new sound sources to create music





CREATING (continued)COMPOSING

• Compose soundscapes for voices, body percussion, instruments, and environmental sounds

• Compose simple sound pieces for voices, body percussion, instruments, and environmental sounds

• Compose, using sound and movement, backgrounds or settings for songs and speech pieces

• Create settings, sound effects, or accompaniments for songs, using a variety of sound sources and movement ideas

• Compose accompaniments and dramatizations for songs and creative movement pieces

• Compose accompaniments and dramatizations for songs, dances, and creative movement pieces, using a variety of sound sources

• Create short rhythmic and melodic patterns, using known rhythms and pitches

• Compose rhythmic and melodic ostinato accompaniments to pentatonic melodies, using classroom percussion or technology sources

• Compose rhythmic, melodic, and movement ostinatos in accompaniments for songs or speech pieces

• Compose rhythmic, melodic, and movement ostinatos in accompaniments for songs or speech pieces

• Create introductions and interludes for songs and speech pieces, using sound and movement

• Compose introductions and accompaniments for songs and speech pieces



• Compose simple AB and ABA pieces, using sound and movement

• Create AB, ABA, and ABACA pieces, using speech, instruments, voices, or movement

• Compose pieces in rondo (ABACA) form, using a variety of movement and sound sources, including technology options

• Compose melodic phrases based on the pentatonic scale

• Compose simple melodies based on the pentatonic scale

• Create, notate, and perform a pentatonic melody

• Use variation in dynamics, tempo, and articulation in compositions

• Compose percussion pieces

• Create, notate, and perform rhythmic and movement variations on a theme




READING/NOTATINGRHYTHM

• Durations, including: four sixteenths beamed, half note, whole rest, eighth-quarter-eighth, whole note, eighth-two-sixteenths beamed, two-sixteenths-eighth beamed, dotted-half note, dotted-quarter, dotted-quarter-eighth, dotted- eighth sixteenth, sixteenth dotted-eighth, three eighths beamed, eighth-note triplet

• Durations, including: four sixteenths beamed, eighth-quarter-eighth, whole note, half note, dotted-half note, eighth-two-sixteenths beamed, two-sixteenths-eighth beamed, dotted-eighth sixteenth, sixteenth dotted-eighth, three eighths beamed, eighth-note triplet, sixteenth-eighth- sixteenth, dotted-quarter, dotted-quarter-eighth, eighth-dotted-quarter, tied notes



• Tie • Tie • Tie • Tie

• Meters, including: 2/4, 3/4, 4/4, 2/2, 6/8 • Meters, including: 2/4, 3/4, 4/4, 2/2, 6/8, 9/8 • Meters, including: 2/4, 3/4, 4/4, 2/2, 6/8, 9/8 • Meters, including: 2/4, 3/4, 4/4, 2/2, 6/8, 9/8

• Mixed meter • Mixed meter, changing meter • Mixed meter, changing meter • Mixed meter, changing meter

• Irregular meter (meter in 5) • Irregular meter (meter in 5) • Irregular meter (meter in 5)

• Rhythmic patterns, including steady beat/ offbeat/backbeat, dotted rhythms, and syncopation




• Upbeat • Anacrusis • Anacrusis • Anacrusis

MELODY

• Patterns, including: la so mi re do | fa | low-so low-la do re mi fa so la ti high-do











READING/NOTATINGRHYTHM

• Interpret icons representing beat and long/short

• Interpret icons representing beat/ strong beat, long/short, and tempo and dynamic changes

• Iconic notation

• Durations, including: quarter note, quarter rest, two eighths beamed

• Durations, including: quarter note, quarter rest, two eighths beamed, four sixteenths beamed

• Durations, including: quarter note, two eighths beamed, quarter rest, four sixteenths beamed, half note, whole rest, eighth-quarter-eighth, whole note, dotted half note

• Durations, including: quarter note, two eighths beamed, quarter rest, four sixteenths beamed, half note, whole rest, eighth-quarter-eighth, whole note, eighth-two-sixteenths beamed, two-sixteenths-eighth beamed, dotted-quarter-eighth, eighth-dotted- quarter, dotted half note

• Tie • Tie • Tie

• Meters, including: 2/4, 3/4 • Meters, including: 2/4, 3/4, 4/4 • Meters, including: 2/2, 2/4, 3/4, 4/4, 6/8

• Rhythmic patterns, including steady beat/offbeat/backbeat, dotted rhythms, and syncopation

• Upbeat

MELODY

• Upward/downward melodic motion icons

• Interpret icons representing melodic motion

• Preparation for so-mi patterns (two-tone melodies)

• Patterns, including: so mi | so mi la | so mi la do

• Patterns, including: so mi | so mi la | so mi la do | mi re do | so mi re do | la so mi re do

• Patterns, including: mi re do | so mi re do | la so mi re do | low-la | low-so | high-do | low-so low-la do re mi so la high-do

• Patterns, including: la so mi re do | low-la | low-so | so high-do | fa | ti | low-so low-la do re mi fa so la ti high-do

• Steps, leaps, and repeated pitches • Steps, skips, and repeated pitches

• Intervals: unison, octave

• Steps, skips, and repeated pitches

• Intervals: octave, third




READING/NOTATING (continued)MELODY (continued)

• Pitch letter names • Pitch letter names • Pitch letter names • Pitch letter names

• Accidentals • Accidentals • Accidentals • Accidentals

• Major/minor diatonic • Major/minor scales • Major/minor scales • Major/minor scales

• Sight-read unison and part songs in a variety of keys and meters

• Sight-read unison, homophonic, and polyphonic music using the appropriate clef in a variety of keys and meters



LISTENING/ANALYZING/DESCRIBINGEXPRESSION

• Respond to expressive qualities in music: fast/ slow and changing tempos; loud/soft and changing dynamics

• Respond to expressive qualities in music: fast/ slow and changing tempos; loud/soft and changing dynamics; articulation changes (legato and staccato)



• Analyze and describe how tempo, dynamics, and timbre affect the mood of a piece




• Recognize appropriateness of tempo choices • Recognize appropriateness of tempo choices • Recognize appropriateness of tempo choices

• Identify tempo category for selection: adagio, andante, moderato, allegro, presto



RHYTHM/FORM/MELODY

• Identify and analyze sectional forms • Identify sectional forms: AB, ABA, ABACA, and theme and variations

• Identify sectional forms: AB, ABA, ABACA, and theme and variations

• Identify sectional forms: AB, ABA, ABACA, and theme and variations



READING/NOTATING (continued)MELODY (continued)

• Pitch letter names • Pitch letter names

• Accidentals

• Major diatonic

• Sight-read unison and part songs in a variety of keys and meters

LISTENING/ANALYZING/DESCRIBINGEXPRESSION

• Respond to expressive qualities in music: fast/slow and loud/soft

• Respond to expressive qualities in music: fast/slow and loud/soft

• Respond to expressive qualities in music: fast/slow and changing tempos; loud/soft and changing dynamics



• Describe mood and style in a variety of music




RHYTHM/FORM/MELODY

• Respond to characteristics of phrase form: same and different

• Respond to characteristics of phrase form: same/different, call and response, and solo/chorus

• Identify characteristics of phrase form: same and different, call and response, AAB, and AABA

• Respond to characteristics of sectional form: verse and refrain (AB), ABA

• Identify characteristics of sectional form: verse and refrain, AB, ABA, and AABA

• Identify AB, ABA, AABA, and ABACA (rondo) forms, and respond to section changes

• Identify AB, ABA, AABA, and ABACA (rondo) forms in vocal and instrumental pieces, and respond to section changes




LISTENING/ANALYZING/DESCRIBING (continued)RHYTHM/FORM/MELODY (continued)

• Identify and compare rhythmic elements in terms of steady beat, meter (2/4, 3/4, 4/4, 2/2, 6/8), rhythmic patterns, and relative duration

• Identify, analyze, and compare rhythmic elements in terms of steady beat, meter (2/4, 3/4, 4/4, 2/2, 6/8, and 9/8), rhythmic patterns, and relative duration



• Identify and respond to characteristics of melody: same/different, longer/shorter, higher/ lower, upward/downward direction, louder/ softer, faster/slower

• Identify and respond to characteristics of melody: same/different, longer/shorter, higher/ lower, upward/downward direction, louder/ softer, faster/slower, sequence, phrase, motive, themes



• Identify intervals: unison, octave, third • Identify intervals: unison, second, third, fourth, fifth, sixth, octave

• Identify intervals: unison, second, third, fourth, fifth, sixth, octave

• Identify intervals: unison, second, third, fourth, fifth, sixth, octave

TIMBRE

• Identify and describe timbres of individual instruments and combinations of instruments

• Identify and describe timbres of individual instruments, combinations of instruments, and ensembles



• Identify instruments from diverse cultures • Identify instruments from different cultures • Identify instruments from different cultures • Identify instruments from different cultures

• Identify various vocal timbres of individual performers and groups

• Discern individual and group timbres • Discern individual and group timbres • Discern individual and group timbres



LISTENING/ANALYZING/DESCRIBING (continued)RHYTHM/FORM/MELODY (continued)

• Identify and respond to characteristics of rhythm: steady beats, strong beats, silent beats, long/short sounds, repeated rhythmic patterns

• Identify and respond to characteristics of rhythm: steady beats, strong beats, silent beats, absence of beats, long and short sounds, rhythmic patterns

• Identify rhythmic elements: steady beat, long and short sounds, repeated rhythmic patterns, 2/4 and 3/4 meters

• Identify and compare rhythmic elements: steady beat, 2/4 and 3/4 meters, patterns

• Identify and compare rhythmic elements in terms of steady beat, meter (2/4, 3/4, 4/4, 6/8), rhythmic patterns, and relative duration

• Recognize and respond to characteristics of melody: high/low pitches, upward/downward direction, repeated patterns

• Recognize and respond to characteristics of melody: high/low pitches, upward/downward direction, same/different patterns (repetition and contrast)

• Recognize and respond to characteristics of melody: high/low pitches, upward/downward direction, same/different patterns (repetition and contrast)

• Identify and respond to characteristics of melody: same/ different, longer/shorter, higher/lower, upward/downward direction, louder/ softer, faster/slower

• Identify and respond to characteristics of melody: same/ different, longer/shorter, higher/lower, upward/downward direction, louder/ softer, faster/slower

TIMBRE

• Identify environmental, machine, animal, and found sounds

• Identify various found sounds

• Identify the timbre of individual instruments, including classroom percussion instruments

• Identify the timbre of individual nonpitched and pitched percussion instruments; trombone, violin, flute, clarinet, and trumpet

• Identify the timbre of instrument families

• Identify, visually and aurally, the instrument families

• Identify, visually and aurally, the instrument families, including nonpitched and pitched percussion, strings, woodwinds, brass, keyboards and electronic instruments

• Identify instrument families in the orchestra: strings, woodwinds, brass, percussion

• Identify instrument families in the orchestra: strings, woodwinds, brass, percussion

• Identify instruments from diverse cultures

• Identify instruments from diverse cultures

• Identify differences between vocal sounds: singing, speaking, inner, whispering, calling, humming

• Identify differences between vocal sounds: singing, speaking, inner, whispering, calling, humming

• Identify the timbre of singing voices: adult male, adult female, child

• Identify the timbre of singing voices: adult male, adult female, child

• Identify the timbre of individual and choral voices, including adult male, adult female, child, and unison versus ensemble

• Identify the timbre of individual and choral voices, including adult male, adult female, and unison versus ensemble

• Identify various vocal timbres of individual performers and groups




LISTENING/ANALYZING/DESCRIBING (continued)TEXTURE & HARMONY

• Identify chord changes in 2-chord songs • Identify major and minor chords • Identify major and minor chords • Identify major and minor chords

• Distinguish between major and minor tonality • Distinguish between major, minor, and other modes

• Distinguish between major, minor, and other modes

• Distinguish between major, minor, and other modes

GENRE/STYLE

• Listen to program and nonprogram music

• Listen to standard orchestral, chamber, and choral music

• Listen to and analyze standard orchestral, chamber, and choral music



• Identify and analyze music of diverse cultures and styles




• Analyze and compare elements of style in two or more contrasting pieces

• Identify and describe style differences determined by rhythm, melody, and timbre



• Recognize and describe a variety of vocal styles • Recognize and describe a variety of vocal styles • Recognize and describe a variety of vocal styles

AUDIENCE BEHAVIOR

• Demonstrate appropriate audience behavior while observing classroom performances

• Demonstrate and discuss appropriate concert and stage etiquette, as listeners and performers, in all venues, including the classroom



• Discuss appropriate audience behaviors

MOVINGNONLOCOMOTOR



LISTENING/ANALYZING/DESCRIBING (continued)TEXTURE & HARMONY

• Identify accompaniment/no accompaniment

• Identify and describe various accompaniments

• Identify and describe various accompaniments

• Identify harmony/no harmony • Identify harmony/no harmony

• Identify chord changes in 2-chord songs

• Identify chord changes in 2-chord songs

• Distinguish between major and minor tonality

• Distinguish between major and minor tonality

GENRE/STYLE

• Listen to music that suggests a story or subject





• Listen to standard orchestral and chamber music



• Listen to music of diverse cultures and styles

• Identify music of diverse cultures and styles




• Contrast styles of two pieces • Compare and describe the elements of style in two contrasting pieces

AUDIENCE BEHAVIOR











MOVINGNONLOCOMOTOR

• Acquire a repertoire of gross and fine nonlocomotor movements: pat, clap, stamp, bend, stretch, twist, shake

• Acquire a repertoire of gross and fine nonlocomotor movements: pat, clap, stamp, bend, stretch, twist, shake




MOVING (continued)NONLOCOMOTOR (continued)

• Refine nonlocomotor movements • Refine nonlocomotor movements • Refine nonlocomotor movements • Refine nonlocomotor movements

• Develop, practice, and refine alternating patterns, including alternating pat-snap, clap- snap, stamp-snap, pat-clap-snap, stamp-pat- clap-snap

• Refine a variety of alternating patterns • Refine a variety of alternating patterns • Refine a variety of alternating patterns

• Refine bilateral movements • Refine bilateral movements • Refine bilateral movements

LOCOMOTOR

• Practice and refine basic locomotor movements • Refine locomotor movements • Refine locomotor movements • Refine locomotor movements

• Develop, practice, and refine patterned locomotor movements in play parties and circle, line, and folk dances

• Refine patterned locomotor movements • Refine patterned locomotor movements • Refine patterned locomotor movements

TIME

• Perform creative movements while exploring concepts of time: rhythm, accent, tempo, and duration




SPACE

• Perform creative movements while exploring concepts of space: level, direction, size, place-pathways, focus






MOVING (continued)NONLOCOMOTOR (continued)

• Perform nonlocomotor motions in finger plays and action songs

• Practice basic repertoire of nonlocomotor movements in finger plays and action songs

• Move to a varied repertoire of music using gross and fine non-locomotor movements

• Refine nonlocomotor movements • Refine nonlocomotor movements

• Develop alternating patterns, including pat-clap, pat-tap, pat-stamp

• Develop and practice alternating patterns, including pat-clap, pat-tap, pat-stamp

• Develop and practice alternating patterns, including clap-snap, stamp- snap, pat-clap-snap

• Develop, practice, and refine alternating patterns, including alternating snap, stamp-pat-clap, stamp-pat-clap

• Develop repertoire of bilateral movements, including snap and hand jive motions

• Develop and practice bilateral movements

• Develop and practice bilateral movements

LOCOMOTOR

• Develop a repertoire of gross and fine locomotor movements: walk, run, hop, jump, twirl

• Practice basic gross and fine locomotor movements: walk, run, hop, jump, twirl, skip, slide, leap, gallop

• Move to a varied repertoire of music using gross and fine locomotor movements

• Practice basic locomotor movements • Practice and refine basic locomotor movements

• Coordinate locomotor movements during singing games and circle dances

• Practice coordinating locomotor movements during singing games and circle dances

• Develop facility with basic patterned locomotor movements: circle, line, and folk dances

• Develop facility with basic patterned locomotor movements: circle, line, and folk dances

• Develop, practice, and refine patterned locomotor movements in play parties and circle, line, and folk dances

TIME

• Perform creative movements while exploring concepts of time: rhythm (pulse, beat, speed-time or tempo); accent (light or strong); and duration (length)





SPACE

• Perform creative movements while exploring concepts of space: level (low, middle, high); direction (forward, backward, sideways, up, down); size (large or small); place-pathways (on the floor, in the air); focus








MOVING (continued)ENERGY

• Perform creative movements while exploring concepts of energy: attack, weight, strength/ tension, and flow

• Perform movements while exploring concepts of energy, including tension, non-tension, and flow



• Experiment with qualities of movement, including effort actions such as thrust, slash, float, glide, wring, press



MOVING (continued)ENERGY

• Perform creative movements while exploring concepts of energy: attack (smooth, sharp); weight (heavy, light); strength/tension (tight, loose); flow (sudden or sustained, bound or free)

• Perform creative movements while exploring concepts of energy: attack, weight, strength/tension, and flow




• Experiment with qualities of movement, including effort actions such as flick, tap, thrust, slash, float, glide

• Experiment with qualities of movement, including effort actions such as flick, tap, thrust, slash, float, glide





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