Monroe Township Schools General Music Grade 5 July 2007 * For adoption by all regular education programs Board Approved: June 2008 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 Acknowledgments Page 4 District Mission Statement and Goals Page 5 Introduction/Philosophy/Educational Goals Pages 6 National and State Standards Page 7 Scope and Sequence Page 8-9 Goals//Objectives/al Tools/Activities Pages 10-28 Benchmarks Page 29 2
MONROE TOWNSHIP SCHOOL DISTRICT ADMINISTRATION Dr. Ralph P. Ferrie, Superintendent Dr. Christopher H. Tienken, Assistant Superintendent Dr. Veronica Geyer, Assistant Superintendent BOARD OF EDUCATION Ms. Amy Antelis, President Mr. Lew Kaufman, Vice President Mr. Marvin Braverman Mr. Ken Chiarella Ms. Kathy Kolupanowich Mr. John Leary Ms. Kathy Leonard Mrs. Rita Ostrager Ms. Amy Speizer Mr. Ira Tessler JAMESBURG REPRESENTATIVE Ms. Patrice Faraone Student Board Members Ms. Melissa Bonamici Ms. Upsana Natarajan 3
Acknowledgments The following individuals are acknowledged for their assistance in the preparation of this Curriculum Management System: Writers Names: Jennifer Day Nina Schmetterer Lauren Vas Supervisor Name: Robert Mele, Supervisor of the Arts and Careers Technology Technology Staff: Al Pulsinelli Reggie Washington Bill Wetherill Secretarial Staff: Debbie Gialanella Geri Manfre Gail Nemeth 4
Monroe Township Schools Mission and Goals Mission The mission of the Monroe Township School District, a unique multi-generational community, is to collaboratively develop and facilitate programs that pursue educational excellence, and foster character, responsibility, and life-long learning in a safe, stimulating, and challenging environment to empower all individuals to become productive citizens of a dynamic, global society. Goals To have an environment that is conducive to learning for all individuals. To have learning opportunities that are challenging and comprehensive in order to stimulate the intellectual, physical, social and emotional development of the learner. To procure and manage a variety of resources to meet the needs of all learners. To have inviting up-to-date, multifunctional facilities that both accommodate the community and are utilized to maximum potential. To have a system of communication that will effectively connect all facets of the community with the Monroe Township School District. To have a staff that is highly qualified, motivated, and stable and that is held accountable to deliver a safe, outstanding, and superior education to all individuals. 5
INTRODUCTION, PHILOSOPHY OF EDUCATION, AND EDUCATIONAL GOALS Philosophy Our philosophy is to provide children with many opportunities to experience a quality musical education. Music education provides a unique atmosphere where students learn critical thinking skills and can realize their contribution to the group, which enhances self-esteem, social development, and self-awareness. Through exposure to various historical, cultural, and contemporary styles of music, students learn to appreciate, critically listen, and analyze music. As with any language, musical literacy provides the tools necessary to express one s self. Through the music curriculum we hope to provide the tools with which students can become literate. This will enable students to artistically express themselves through composition, improvisation, and performance. Educational Goals The goals of the music department are as follows: 1. Students will sing alone and with others a varied repertoire of music. 2. Students will perform on instruments alone and with others a varied repertoire of music. 3. Students will improvise melodies, accompaniments, and variations. 4. Students will compose and arrange music within specific guidelines. 5. Students will read and notate music. 6. Students will listen to, analyze, and discuss music. 7. Students will evaluate music and music performances. 8. Students will understand relationships between music, the other arts, and disciplines outside the arts. 9. Students will understand music in relation to history and culture. 6
New Jersey State Department of Education Core Curriculum Content Standards A note about Visual and Performing Arts Standards and. The New Jersey Core Curriculum Content Standards for Visual and Performing Arts were revised in 2004. The Cumulative Progress Indicators referenced in this curriculum guide refer to these new standards and may be found in the Curriculum folder on the district servers. A complete copy of the new Core Curriculum Content Standards for Visual and Performing Arts may also be found at: http://www.nj.gov/education/cccs/s1_vpa.htm The Goals 2000 Educate America Act named the arts as a core, academic subject as important to education as literacy, science, mathematics, and history/social studies. The Consortium of National Arts Education Associations, U.S. Department of Education, National Endowment for the Arts, and National Endowment for the Humanities worked with members of the Music Task Force to draft the nine music standards that were accepted by Secretary of Education, Richard Riley and were passed by the 103 rd Congress in March 1994. The National Standards for Music were not intended to be a curriculum. Instead, curriculum is meant to be developed on the basis of the nine standards. The National Standards for Music are listed and described on the MENC website: http://www.menc.org/publication/books/standards.htm 7
General Music Grade 5 Scope and Sequence Big Idea: Rhythm I. Anacrusis II. Single Eighth Note III. Single Eighth Rest Quarter I Big Idea: Pitch I. Fa II. Flat b Big Idea: Harmony I. Descant II. Countermelody Big Idea: Rhythm I. Single Sixteenth Note II. Single Sixteenth Rest Quarter II Big Idea: Form I. Blues Form Big Idea: Style I. African-American Music a. spirituals b. blues c. jazz d. ragtime e. dixie f. rap 8
Big Idea: Rhythm I. Dotted Quarter Note with Eighth Quarter III Big Idea: Pitch I. Ti II. Sharp # Big Idea: Tempo I. Accelerate/Slow Down a. Ritardando b. Accellerando c. Rallentando Big Idea: Big Idea: Rhythm I. Compound Duple Meter 6/8 Quarter IV Big Idea: Articulation I. Accent Big Idea: Timbre I. Choral Voice Parts a. Soprano b. Alto c. Tenor d. Bass 9
Big Idea: Rhythm Topic: Anacrusis Goal 1: The student will be able to perform, aurally identify, read, and notate an anacrusis. Sing: sing songs that use an anacrusis. 1.2, 1.3 Play/Accompany: play a rhythm pattern or melodic passage using anacrusis on classroom/orff instruments. 1.2, 1.3 Improvise: improvise rhythmic patterns incorporating anacrusis. 1.2, 1.3 Compose/Arrange: Compose melodic or rhythmic patterns using anacrusis. 1.2, 1.3, 1.4 Read/Notate: Read and clap phrases using anacrusis. 1.3 Where in a measure of music/song would you find an anacrusis? Why wouldn t a whole note generally be used as an ancrusis? The students will be asked to compose an 8 beat rhythm using an anacrusis. Then they will pair up with a partner to perform each of their patterns on classroom instruments. 1. Was the performance consistent with their composition? 2. Did they play together accurately? (Synthesis) Materials: Dry Bones Nobody s Business Erie Canal Amazing Grace Describe/Listen/Analyze: analyze a written piece of music containing an anacrusis to discover what happens to the beats in the final measure. 1.1, 1.3, 1.4 10
Big Idea: Rhythm Topic: Anacrusis Goal 1: The student will be able to perform, aurally identify, read, and notate an anacrusis. Sing: sing songs that use a single sixteenth note at the beginning or end of a phrase. Play/Accompany: play a rhythm pattern that use a single sixteenth note at the beginning or end of a phrase. What fraction of a beat does a single sixteenth note get and how many sixteenth notes does it take to make one eighth note? Using the single eighth notes, single eighth rests, and single sixteenth notes how many new rhythm combinations can you make for a single beat? Improvise: improvise rhythmic patterns incorporating a single sixteenth note at the beginning or end of a phrase. Compose/Arrange: compose melodic or rhythmic patterns using a single sixteenth note at the beginning or end of a phrase. Read/Notate: read and clap phrases using a single sixteenth note at the beginning or end of a phrase. Describe/Listen/Analyze: 11
Big Idea: Rhythm Topic: Single eighth note Goal 2: The student will be able to perform, aurally identify, read, and notate a single eighth note. Sing: sing multicultural songs that use a single eighth note. 1.2, 1.3, 1.5 Play/Accompany: play a rhythm pattern that use a single eighth note. 1.2, 1.3 If you use an eighth note in a four beat measure what note would you use to complete the other half of the beat? Can you compose a 4 beat rhythm using an eighth note as an anacrusis? The students will be asked to perform a 8-16 beat rhythm using a single eighth note as an anacrusis on classroom instruments or by clapping. 1. Was the performance consistent with the composition? (Application) Improvise: improvise rhythmic patterns incorporating a single eighth note. 1.2, 1.3 Compose/Arrange: compose melodic or rhythmic patterns using a single eighth note. 1.2, 1.3, 1.4 Materials: Ballad of the Boll Weevil Canoe Song Alabama Gal Michie Banjo Read/Notate: read and clap phrases using a single eighth note. 1.3 Describe/Listen/Analyze: listen to music that features a single eighth note at the beginning of the phrase. 1.4 12
Big Idea: Rhythm Topic: Single eighth rest Goal 3: The student will be able to perform, aurally identify, read, and notate a single eighth rest. Sing: sing songs that use a single eighth rest. 1.2, 1.3 Play/Accompany: play a rhythm pattern that use a single eighth rest. 1.2, 1.3 Improvise: improvise rhythmic patterns incorporating a single eighth rest. 1.2, 1.3 If you use an eighth rest in a four beat measure what note would you use to complete the other half of the beat? Can you compose a 4 beat rhythm using one or more eighth rests? The students will be asked to compose a 8-16 beat rhythm using at least one single eighth rest. Then in pairs or small groups, they will use their rhythms to make an arrangement to perform on classroom instruments or body percussion. 1. Was the performance consistent with their composition? 2. Did they play together accurately? (Synthesis) Compose/Arrange: compose melodic or rhythmic patterns using a single eighth rest. 1.2, 1.3, 1.4 Read/Notate: read and clap phrases using a single eighth rest. 1.3 Materials: I m Gonna Sing Ballad of the Boll Weevil Cape Cod Girls I Lost the Farmer s Dairy Key Johnny Has Gone for a Soldier Describe/Listen/Analyze: listen to music that features single eighth rests and show the rest through a movement. 1.1, 1.2, 1.4 13
Big Idea: Pitch Topic: Fa Goal 4: The student will be able to perform, aurally identify, read, solfege, and notate fa. Sing: sing multicultural songs that contain fa and move in a stepwise so, fa, mi, re, do pattern. 1.2, 1.3, 1.5 Play/Accompany: play melodies on Orff instruments that contain fa. 1.2, 1.3 What would happen to a song if all of the fa s were changed to whole steps? Would the mood of the song remain the same? What does adding fa to the sound and the structure of a five note scale? The students will be asked to sing a melody using the fa in a step or skip relation with other known notes. (Application) 1. Was the performance consistent with the notes on the staff? 2. Are the students using their hand signs with the correct notes? Improvise: improvise melodic patterns using fa. 1.2, 1.3, 1.4 Compose/Arrange: compose melodic patterns that use fa. 1.2, 1.3, 1.4 Read/Notate: read and write melodic passages that use fa. 1.3 Describe/Listen/Analyze: listen to music that uses fa and describe the use of the half step as it moves in a stepwise motion. 1.1, 1.3, 1.4 Assessment Model 2: Ask students to compose a melody on the staff that uses fa. Pair students up with a partner and have students trade papers. They must write the solfege under the staff and perform their partner s melody. (Synthesis) 1. Does the melody incorporate a fa? 2. Did each student write in the correct solfege under the staff and were they able to perform it correctly? Materials: Son Macaron Come and Sing Eh Soom Boo Why Shouldn t My Goose? Kaeru No Uta Ode to Joy 14
Big Idea: Pitch Topic: Flat b Goal 5: The student will be able to perform, read, and notate a flat. Sing: sing songs that contain fa as a Bb. 1.2, 1.3 Play/Accompany: play melodies on Orff instruments that contain fa as a Bb. 1.2, 1.3 Improvise: Compose/Arrange: compose melodic patterns that use flats. 1.2, 1.3, 1.4 Read/Notate: read and write melodic passages that use flats. 1.3 Describe/Listen/Analyze: listen to music that uses fa as a Bb and describe the half step as the music moves in a stepwise motion. 1.1, 1.3, 1.4 What is another letter name for the note C flat? What note would B flat be in a five note scale? Can you create and perform a short melody using the B flat note, then change and perform the melody using B and how does that change the mood? The students will be asked to listen to a piece of music played by the teacher first with flats correctly played and then again without the flats. The students analyze the difference between the two sounds and describe the difference in mood. (Analysis) 1. Do students accurately describe and support their assertions? Assessment Model 2: Students listen to a melody containing a fa and write in on the staff (assuming do is F). (Comprehension) 1. Did students write the melody accurately placing flats in front of the B s or writing the correct key signature? Materials: Musette JS Bach Ode to Joy Cut the Cake 15
Big Idea: Harmony Topic: Descant Goal 6: The student will be able to perform, aurally identify, and read descants. Sing: sing songs that contain descants. 1.2, 1.3 Play/Accompany: accompany a melody with a melodic descant on Orff instruments. 1.2, 1.3 How is the descant different from other harmonies we have done? (i.e. partner song, round, ostinato, ) In a choir which voice part would typically sing the descant? Why? The students will be asked to listen to music containing harmony and identify the descants from the others. (Knowledge) 1. Are students able to accurately hear the descant above the rest of the melody? Improvise: Compose/Arrange: Read/Notate: read descants from written music. 1.3 Materials: Streets of Laredo Give My Regards to Broadway Describe/Listen/Analyze: listen to music use descants and describe the harmony. Analyze why the composer uses descant in his/her music. 1.1, 1.3, 1.4, 1.5 16
Big Idea: Harmony Topic: Countermelody Goal 7: The student will be able to perform, aurally identify, and read countermelodies. Sing: sing multicultural songs that contain countermelody as a harmony. 1.2, 1.3, 1.5 Play/Accompany: play countermelodies on Orff instruments. 1.2, 1.3 Improvise: improvise pentatonic countermelodies to accompany pentatonic songs. 1.1, 1.2, 1.3 Compare and contrast the countermelody to other harmonies we have learned. Why is a countermelody considered a harmony and not a melody? The class will be asked to sing an unknown melody and an unknown countermelody at the same time to create harmony. The students will identify the countermelody and will support their answer. They will also critique the overall performance of the class. (Evaluation) 1, Does each student correctly identify the correct countermelody and support their decision? 2. Does the student accurately evaluate the class performance? Compose/Arrange: compose countermelodic patterns that use notes from the pentatone. 1.2, 1.3, 1.4 Read/Notate: read and write countermelodies. 1.3 Materials: Top of the World Roll on the Ground Sweet Potatoes Alexander s Ragtime Band Describe/Listen/Analyze: describe countermelodies and the similarities/differences between countermelodies and other kinds of harmony. 1.1, 1.4 17
Big Idea: Rhythm Topic: Single sixtheenth note Goal 8: The student will be able to perform, aurally identify, read, and notate a single sixteenth note. Sing: sing songs that use a single sixteenth note at the beginning or end of a phrase. 1.2, 1.3 Play/Accompany: play a rhythm pattern that use a single sixteenth note at the beginning or end of a phrase. 1.2, 1.3 Improvise: improvise rhythmic patterns incorporating a single sixteenth note at the beginning or end of a phrase. 1.2, 1.3 Compose/Arrange: compose melodic or rhythmic patterns using a single sixteenth note at the beginning or end of a phrase. 1.2, 1.3, 1.4 Read/Notate: read and clap phrases using a single sixteenth note at the beginning or end of a phrase. 1.3 What fraction of a beat does a single sixteenth note get and how many sixteenth notes does it take to make one eighth note? Using the single eighth notes, single eighth rests, and single sixteenth notes how many new rhythm combinations can you make for a single beat? The students will be asked to perform an 8-16 beat rhythm using a single sixteenth note as an anacrusis on classroom instruments or by clapping. (Application) 1. Was the performance consistent with the composition? Assessment Model 2: The students will listen to a rhythmic pattern containing a single sixteenth note anacrusis as it is played or clapped by the teacher. The students will write down the rhythm. (Knowledge) 1. Did the students accurately take dictation placing the sixteenth note at the beginning of the pattern? 2. Did the students adjust the final measure by one quarter of a beat? Materials: Hoosen Johnny Describe/Listen/Analyze: 18
Big Idea: Rhythm Topic: Single sixteenth rest Goal 9: The student will be able to perform, aurally identify, read, and notate a single sixteenth rest. Sing: sing songs that use a single sixteenth rest. 1.2, 1.3 Play/Accompany: play a rhythm pattern that use a single sixteenth rest. 1.2, 1.3 Improvise: improvise rhythmic patterns incorporating a single sixteenth rest. 1.2, 1.3 What fraction of a beat does a single sixteenth rest get and how many sixteenth rests does it take to make one eighth note/ rest? Using the single eighth notes, single eighth rests, single sixteenth notes, and single sixteenth rests how many new rhythm combinations can you make for a single beat? The students will be asked to compose a 8-16 beat rhythm using at least one single sixteenth rest. Then in pairs or small groups, they will use their rhythms to make an arrangement to perform on classroom instruments or body percussion. (Synthesis) 1. Was the performance consistent with their composition? 2. Did they play together accurately? Compose/Arrange: compose melodic or rhythmic patterns using a single sixteenth rest. 1.2, 1.3, 1.4 Read/Notate: read and clap phrases using a single sixteenth rest. 1.2, 1.3 Describe/Listen/Analyze: 19
Sing: sing multicultural songs that use a dotted quarter note followed by an eighth note (tam ti). 1.2, 1.3, 1.5 Play/Accompany: play a rhythm pattern that use a dotted quarter note followed by an eighth note (tam ti). 1.2, 1.3 Big Idea: Rhythm Topic: Dotted Quarter Note followed by an Eighth Note tam ti Goal 10: The student will be able to perform, aurally identify, read, and notate tam ti a dotted quarter note followed by an eighth note. Are these two notes even? Could you switch the dotted quarter and eighth notes? Does the song or music still sound correct? Better/Worse? The students will be asked to compose an 8 beat rhythm using at least one tam-ti. The teacher picks a few compositions and claps them for the class, The students take dictation. (Synthesis) 1. Did the students correctly compose a rhythm containing tam-ti? 2. Were the students able to accurately listen to and write the rhythm down? Improvise: improvise rhythmic patterns incorporating a dotted quarter note followed by an eighth note (tam ti). 1.2, 1.3, 1.4 Compose/Arrange: compose melodic or rhythmic patterns using a dotted quarter note followed by an eighth note (tam ti). 1.2, 1.3, 1.4 Materials: Auld Lang Syne Liza Jane Birch Tree Big Gat Biscut John Kanaka Read/Notate: read and clap phrases using a dotted quarter note followed by an eighth note (tam ti). 1.3 Describe/Listen/Analyze: 20
Big Idea: Rhythm Topic: Compound Duple Meter 6/8 Goal 11: The student will be able to perform, aurally identify, read, and notate songs and rhythms in 6/8. Sing: sing multicultural songs in 6/8. 1.2, 1.3, 1.5 Play/Accompany: play melodies and rhythms in 6/8 meter on instruments. 1.2, 1.3 Improvise: improvise songs in 6/8. 1.2, 1.3 Compose/Arrange: compose rhythms in 6/8. 1.2, 1.3, 1.4 Read/Notate: read and write rhythms in 6/8. 1.3 Describe/Listen/Analyze: listen to music in compoud duple meter and describe the difference bewteen simple duple and coupound duple meters. Listen to music from other countries and decide if the country uses 6/8 or 4/4 more often. 1.1, 1.3, 1.4, 1.5 How would you describe the sound of music that is written in 6/8 Compared to 4/4, how does a quarter note change its role in 6/8 time? The students will compose a rhythmic pattern or melody in 6/8 time. (Synthesis) 1. Did the students correctly bar eighth notes and use dotted quarters where appropriate? 2. Did the rhythm work in 6/8? Assessment Model 2: The students will be asked to listen to musical examples in simple duple and compound duple meters. They will identify the songs in 2/4 and 6/8. (Knowledge) 1. Did students correctly identify the music in compound duple? Materials: Paddy on the Railroad Push the Business On Johnny Comes Marching Home Oliver Cromwell Vive L Amour Skin and Bones Scarborough Fair 21
Sing: sing songs that are spirituals, blues, jazz, ragtime, protest songs, and chant rap. 1.2, 1.3, 1.5 Play/Accompany: play or accompany songs that are spirituals, blues, jazz, ragtime, dixie, and rap on classroom and Orff instruments. 1.2, 1.3, 1.5 Improvise: Compose/Arrange: Read/Notate: Describe/Listen/Analyze: listen to and describe characteristics of the different styles of African American music. Analyze lyrics and codes in the spirituals, blues, and rap. 1.1, 1.4, 1.5 Big Idea: Style Topic: African American Music Goal 12: The student will be able to perform, aurally identify, discuss historical situations, and cultural influences of African-American music in the United States. How did the early spirituals influence African-American music to come? What is musically different between each of the styles? What are the themes found in most rap music today? Why do you think this is? The students will be asked to research a style of African-American music or an African-American composer/performer. They will present their findings to the class or through a paper. (Application) 1. Did students explain the musical, historical, and cultural significance of their style, composer, or performer? 2. Was it written or presented in a well thought-out and concise manner? 3. Did students find photographs, materials, or music to support their paper or presentation? Materials: Do Lord Follow the Drinkin Gourd Let Me Fly Life Every Voice and Sing Freedom Good Morning Blues 22
Big Idea: Form Topic: Blues Form Goal 13: The student will be able to perform, read, and notate Blues form. Sing: sing songs that use a blues scale/blues form. Play/Accompany: play a blues scale on Orff instruments. Improvise: Compose/Arrange: compose a melody or lyrics based on a blues scale/blues form. Read/Notate: What three notes have to be lowered to create a blues scale? (3, 5, 7). What happens to the sound of the scale when it switches from a regular major sound to the blues? What do you think it means when music is refered to as blues? Why do you think the blues originated from African-American culture/music? The students will listen to a blues example as performed by a blues artist. Students will be asked to compose their own blues lyrics and fit them into a blues song form. Students perform their composition for the class. (Application) 1. Did student follow the blues form? 2. Were the lyrics representing the mood and style of the blues? 3. Did the student perform their composition accurately and in the style of the blues? Describe/Listen/Analyze: 23
Big Idea: Pitch Topic: Ti Goal 14: The student will be able to perform, aurally identify, read, solfege and notate ti. Sing: sing multicultural songs that contain ti and move in a stepwise do-ti,-do and so-la-ti-do manner. 1.2, 1.3, 1.5 Play/Accompany: play melodies on Orff instruments that contain ti. 1.2, 1.3 Describe the characteristics ti has in common with the note fa. Why might ti be an important note in the scale? Why are half-step notes like ti and fa left out of the pentatonic scale? The students will be asked to sing a melody using the note ti in a step or skip relation with other known notes. (Application) 1. Was the performance consistent with the notes on the staff? 2. Are the students using their hand signs with the correct notes? Improvise: improvise melodic patterns using ti. 1.2, 1.3 Compose/Arrange: compose melodic patterns that use ti. 1.2, 1.3, 1.4 Read/Notate: read and write melodic passages that use ti. 1.3 Describe/Listen/Analyze: listen to music that uses ti and describe the use of the half step as it moves in a stepwise motion. 1.1, 1.3, 1.4 Assessment Model 2: Ask students to compose a melody on the staff that uses ti. Pair students up with a partner and have students trade papers. They must write the solfege under the staff and perform their partner s melody. (Synthesis) 1. Does the melody incorporate a ti? 2. Did each student write in the correct solfege under the staff and were they able to perform it correctly? Materials: White Sand and Gray Sand Dokter Eisenbart All Through the Night Kokoleoko All the Pretty Little Horses 24
Big Idea: Pitch Topic: Sharp Goal 15: The student will be able to perform, read, and notate the sharp. Sing: sing songs that contain ti as an F#. 1.2, 1.3 Play/Accompany: play melodies on Orff instruments that contain ti as an F#. 1.2, 1.3 Improvise: improvise melodic patterns using sharps. 1.2, 1.3, 1.4 Compose/Arrange: compose melodic patterns that use sharps. 1.2, 1.3, 1.4 What is another letter name for the note E sharp? What note would F sharp be in a diatonic scale? Can you create and perform a short melody using the F sharp note, then change and perform the melody using F natural? How does that change the mood? The students will be asked to compose a melodic pattern in solfege containing a ti. The teacher gives each student staff paper and asks them to write their solfege melody on the staff in the key of G. (Synthesis) 1. Did students write the melody accurately placing sharps in front of the F s or writing the correct key signature? 2. Did students correctly write a melody containing ti? Read/Notate: read and write melodic passages that use sharps. 1.3 Describe/Listen/Analyze: listen to music that uses ti as an F# and describe the half step as the music moves in a stepwise motion. 1.1, 1.3, 1.4 25
Sing: sing songs that ritard and accellerando. 1.2, 1.3 Play/Accompany: accompany songs that ritard and accellerando on classroom or Orff instruments. 1.2, 1.3 Improvise: Compose/Arrange: Read/Notate: read music that use the words/abbreviations for ritardando (rit), rallentando (rall), and accellerando (accel). 1.3 Big Idea: Tempo Topic: Accelerate/Slow Down Goal 16: The student will be able to perform, aurally identify, read, and notate ritardano, rallentando, and accellerando. Why do musicians use words like accellerando instead of English? What kind of effect can ritardando/rallentando and accellerando have on a piece of music. Which tempo tends to happen when music is performed loudly? The students will be asked to arrange a known melody for classroom instruments. Students write in the dynamic and tempo markings. They then work in groups to perform their arrangements for the class. The class will evaluate each performance at the end. (Knowledge, Application) 1. Did students use appropriate tempo markings for the piece they arranged? 2. Did the students perform the piece accurately following the instrumentation and tempo markings? 3. Were the critiques well thought out and accurate? Describe/Listen/Analyze: listen to music that speeds up and slows down and describe how it effects the music. 1.1, 1.3, 1.4 26
Sing: sing songs that use alto and soprano lines. 1.2, 1.3 Play/Accompany: Improvise: Compose/Arrange: Read/Notate: read music that is notated for SATB. 1.3, 1.4 Big Idea: Timbre Topic: Choral Voice Parts Goal 17: The student will be able to perform, aurally identify, and read the different choral voice parts for soprano, alto, tenor, and bass. Why is the tenor line written in treble clef? What part do you think you sing best and why? Which voice part do you think sticks out the most. Why? Can you follow the other voice parts if you listen carefully to them? Why is it harder? The students will be asked to listen to a choral work while following an octavo. They will analyze the score and follow the melody as it moves through the parts. (Analysis) 1. Were students able to describe characteristics of each voice part accurately? 2. Were students able to tell which voice part had the melody? 3. Were students able to accurately describe markings (tempo/dynamic) and place them with the correct voicing? Describe/Listen/Analyze: listen to music that features SATB voices. Describe the differences in vocal timbre. 1.1, 1.3, 1.4 27
Big Idea: Articulation Topic: Accent ( > ) Goal 18: The student will be able to perform, aurally identify, read, and notate accents. Sing: sing multicultural songs that use accents. 1.2, 1.3, 1.5 Play/Accompany: play rhythmic patterns that use accents on classroom instruments. 1.2, 1.3 Improvise: improvise rhythmic patterns using accents. 1.2, 1.3, 1.4 Compose/Arrange: compose a rhythmic pattern using accents. 1.2, 1.3, 1.4 Read/Notate: read music that has accents. 1.3 Describe/Listen/Analyze: listen and describe music that uses accents. Analyze different styles that use certain accented patterns. Analyze music of different cultures that use accents differently. 1.1, 1.3, 1.4, 1.5 How do accents create a new sound? How do accents create different moods in a song? What purpose do accents serve in music? The students will be asked to compose and perform a 16 beat rhythm pattern using accent markings. (Synthesis) 1. Did students use accents correctly? 2. Did students perform their composition accurately? Assessment Model 2: The teacher gives students a rhythm pattern completed and performs the patterns for the class adding accents. Students listen to the rhythm with accents and write them in. Students then perform their patterns back and self-evaluate whether they accurately placed their markings. (Knowledge, Application) 1. Did students place accents where they belonged? 2. Were students able to listen and evaluate their markings correcting their own work if necessary? 28
Music Grade 5 COURSE BENCHMARKS 1. The student will be able to perform, aurally identify, read, and notate an anacrusis. 2. The student will be able to perform, aurally identify, read, and notate a single eighth note. 3. The student will be able to perform, aurally identify, read, and notate a single eighth rest. 4. The student will be able to perform, aurally identify, read, solfege, and notate fa. 5. The student will be able to perform, read, and notate a flat. 6. The student will be able to perform, aurally identify, and read descants. 7. The student will be able to perform, aurally identify, and read countermelodies. 8. The student will be able to perform, aurally identify, read, and notate a single sixteenth note. 9. The student will be able to perform, aurally identify, read, and notate a single sixteenth rest. 10. The student will be able to perform, aurally identify, read, and notate tam ti a dotted quarter note followed by an eighth note. 11. The student will be able to perform, aurally identify, read, and notate songs and rhythms in 6/8. 12. The student will be able to perform, aurally identify, discuss historical situations, and cultural influences of African-American music in the United States. 13. The student will be able to perform, read, and notate Blues form. 14. The student will be able to perform, aurally identify, read, solfege and notate ti. 15. The student will be able to perform, read, and notate the sharp. 16. The student will be able to perform, aurally identify, read, and notate ritardano, rallentando, and accellerando. 17. The student will be able to perform, aurally identify, and read the different choral voice parts for soprano, alto, tenor, and bass. 18. The student will be able to perform, aurally identify, read, and notate accents. 29