GRADES K-8 SCOPE AND SEQUENCE ELEMENTS SKILLS

GRADES K-8 SCOPE AND SEQUENCE ELEMENTS SKILLS

ELEMENTS SCOPE AND SEQUENCE EXPRESSION DYNAMICS ELEMENTS SCOPE AND SEQUENCE EXPRESSION DYNAMICS Loud/soft Loud (forte)/soft (piano) Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff) Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff) Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff) Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff) Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff) Dynamics and dynamic markings, including pianissimo (pp), piano (p), forte (f), fortissimo (ff) 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 Dynamics and dynamic markings, including crescendo/decrescendo, sudden changes (subito, p, f) Dynamics and dynamic markings, including crescendo/decrescendo, sudden changes (subito, p, f) Dynamics and dynamic markings, including crescendo/decrescendo, sudden changes (subito, p, f) Dynamics and dynamic markings, including crescendo/decrescendo, sudden changes (subito, p, f) Dynamics and dynamic markings, including crescendo/decrescendo, sudden changes (subito, p, f) Dynamic contrasts Dynamics as an expressive choice Dynamic contrasts Dynamics as an expressive choice Appropriateness of dynamic choices 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 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 Tempos and tempo markings, including allegretto, lento Tempos and tempo markings, including allegro, moderato, largo, adagio Tempos and tempo markings, including allegro, moderato, largo, adagio Tempos and tempo markings, including allegro, moderato, largo, adagio 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 Tempos and tempo markings, including accelerando, ritardando Tempos and tempo markings, including rubato, accelerando, ritardando, fermata (fermata symbol) Tempos and tempo markings, including rubato, accelerando, ritardando, fermata (fermata symbol) Tempos and tempo markings, including rubato, accelerando, ritardando, fermata (fermata symbol) Appropriateness of tempo and tempo as an expressive choice Appropriateness of tempo and tempo as an expressive choice Appropriateness of tempo and tempo as an expressive choice Appropriateness of tempo and tempo as an expressive choice Appropriateness of tempo and tempo as an expressive choice Appropriateness of tempo and tempo as an expressive choice ARTICULATION ARTICULATION Smooth and connected Smooth and connected Smooth and connected (legato) Articulations and articulation markings, including legato Articulations and articulation markings, including legato, slurs Articulations and articulation markings, including legato, slurs Articulations and articulation markings, including legato, slurs Articulations and articulation markings, including legato, slurs Articulations and articulation markings, including legato, slurs Short and detached Short and detached Short and detached (staccato) Articulations and articulation markings, including staccato, accents Articulations and articulation markings, including staccato, accents Articulations and articulation markings, including staccato, accents Articulations and articulation markings, including staccato, accents Articulations and articulation markings, including staccato, accents Articulations and articulation markings, including staccato, accents Articulation as an expressive choice Phrasing 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 Page 1 Page 2

ELEMENTS SCOPE AND SEQUENCE EXPRESSION (continued) MOOD Variety of moods Variety of moods Variety of moods Variety of moods Variety of moods RHYTHM BEAT Steady beat Steady beat Steady beat Steady beat Steady beat ELEMENTS SCOPE AND SEQUENCE EXPRESSION (continued) MOOD Variety of moods Variety of moods Variety of moods Variety of moods RHYTHM 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 Beat/rhythm Beat/rhythm Beat/rhythm Beat/rhythm Beat/offbeat Beat/offbeat/backbeat Beat/offbeat/backbeat Beat/offbeat/backbeat Upbeat Upbeat Upbeat, pickup, anacrucis Anacrucis Anacrucis Anacrucis DURATION 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 Two sounds per beat (two beamed eighth notes) Two sounds per beat (two beamed eighth notes) Two sounds per beat (two beamed eighth notes) sixteenth notes, half note, whole rest, eighth-quarter-eighth, whole note, dotted half note No sound on a beat (quarter rest) No sound on a beat (quarter rest) Four sounds on a beat (four beamed sixteenth notes) 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 sixteenthseighth beamed, dotted-quartereighth, eighth-dotted-quarter, dotted half note Four beamed sixteenth notes, half note, whole rest, eighth-quarter-eighth, whole note, eighthtwo 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-quartereighth, whole note, half note, dotted half note, eighth-two sixteenths beamed, two sixteenthseighth 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 Four beamed sixteenth notes, eighth-quartereighth, whole note, half note, dotted half note, eighth-two sixteenths beamed, two sixteenthseighth 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 Four beamed sixteenth notes, eighth-quartereighth, whole note, half note, dotted half note, eighth-two sixteenths beamed, two sixteenthseighth 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 Half note Tie Tie Tie Tie Tie Tie Beat/offbeat/backbeat Augmentation/diminution Augmentation/diminution Augmentation/diminution Augmentation/diminution METER METER Strong beat/weak beat Strong beat/weak beat Strong beat/weak beat Page 3 Page 4

ELEMENTS SCOPE AND SEQUENCE RHYTHM (continued) ELEMENTS SCOPE AND SEQUENCE 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) 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 PATTERN (continued) 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 dottedquarter-eighth, two sixteenthseighth beamed, eighth-twosixteenths beamed, eighth-dotted -quarter Combinations in simple meter, including eighthnote triplets, dotted-eighth-sixteenth Combinations in compound meter, including eighth-quarter, dotted-quarter, quarter-eighth, three eighths beamed Combinations in simple meter, including eighthnote triplets, dotted-eighth-sixteenth Combinations in compound meter, including eighth-quarter, dotted-quarter, quarter-eighth, three eighths beamed Combinations in simple meter, including eighthnote triplets, dotted-eighth-sixteenth Combinations in compound meter, including eighth-quarter, dotted-quarter, quarter-eighth, three eighths beamed Combinations in simple meter, including eighthnote 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 Combinations of 2 and 3 in mixed meter, including two eighths beamed Combinations of 2 and 3 in mixed meter, including two eighths beamed Even and uneven rhythmic patterns (dotted rhythms) Even and uneven rhythmic patterns (dotted rhythms) Even and uneven rhythmic patterns (dotted rhythms) Even and uneven rhythmic patterns (dotted rhythms) Even and uneven rhythmic patterns (dotted rhythms) Even and uneven rhythmic patterns (dotted rhythms) Repeated patterns Repeated patterns (ostinato) Ostinato Ostinato Ostinato, layered patterns Ostinato, layered patterns Ostinato, layered patterns Ostinato, layered patterns Ostinato, layered patterns Syncopation/No syncopation Syncopation/No syncopation Syncopation/No syncopation Syncopation/No syncopation Syncopation/No syncopation Swing eighths Swing eighths Swing eighths Swing eighths Swing eighths Rock rhythms Rock rhythms Rock rhythms Motive Motive Motive Motive FORM FORM PHRASE FORM PHRASE FORM Same/different phrases Same/different phrases Same/different phrases Same/different phrases Repetition/contrast Repetition/contrast Repetition/contrast Repetition/contrast Repetition/contrast Repetition/contrast Repetition/contrast Repetition/contrast Echo (imitation) Echo (imitation) Page 5 Page 6

ELEMENTS SCOPE AND SEQUENCE FORM (continued) PHRASE FORM (continued) ELEMENTS SCOPE AND SEQUENCE FORM (continued) PHRASE FORM (continued) Call and response Call and response Call and response Solo/chorus Call and response Solo/chorus Call and response Solo/chorus Call and response Solo/chorus Call and response Solo/chorus Call and response Solo/chorus Call and response Solo/chorus Introduction Introduction and coda Introduction and coda Introduction, interlude, and coda Introduction, interlude, and coda Introduction, interlude, and coda Introduction, interlude, and coda Introduction, interlude, and coda Introduction, interlude, and coda Question/answer phrase Long and short phrases Question/answer phrase Long and short phrases Question/answer phrase Long and short phrases Question/answer phrase Question/answer phrase 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 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 Motive 12-bar blues 12-bar blues 12-bar blues Canons and rounds Fugue Canons and rounds Fugue Canons and rounds Fugue SECTION FORM 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 Introduction, interlude, and coda Introduction, interlude, 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 Verse/refrain (AB) Section forms, including AB, ABA, AABA, ABACA (rondo) Verse/refrain (AB) Section forms, including AB, ABA, AABA, ABACA (rondo) Verse/refrain (AB) Section forms, including AB, ABA, AABA, ABACA (rondo) Verse/refrain (AB) Section forms, including AB, ABA, AAB, ABAB, ABB Verse/refrain (AB) Section forms, including AB, ABA AAB, ABAB, ABB Verse/refrain (AB) Section forms, including AB, ABA AAB, ABAB, ABB D.C. al fine (ABA) First and second endings D.C. al fine (ABA) First and second endings D.C. al fine (ABA) First and second endings D.C. al fine (ABA) First and second endings D.S. al fine D.C. al fine (ABA) First and second endings D.S. al fine D.C. al fine (ABA) First and second endings D.S. al fine Movement Theme/variations Movement Movement Movement Movement Theme/variations Theme/variations Theme/variations Theme/variations March March March March Fugue Fugue Fugue Page 7 Page 8

ELEMENTS SCOPE AND SEQUENCE FORM (continued) COMPOSITE FORM ELEMENTS SCOPE AND SEQUENCE FORM (continued) COMPOSITE FORM Symphony Symphony, concerto, march, overture, musical theater Symphony, opera, overture, suite, piano prelude, musical theater, ballet Symphony, concerto, ballet, opera, musical theater Symphony, concerto, ballet, opera, musical theater Symphony, concerto, ballet, opera, musical theater MELODY MELODY PITCH & DIRECTION PITCH & DIRECTION High/low High/low Higher/lower Higher/lower Higher/lower Upward/downward Upward/downward Upward/downward Low to high/high to low Low to high/high to low Melodic direction Melodic direction Melodic contour Melodic contour Melodic contour Melodic contour Melodic contour Melodic sequence Melodic sequence Melodic sequence Melodic sequence Melodic sequence Melodic sequence Steps, skips, and repeated pitches Steps, leaps, and repeated pitches Steps, skips, and repeated pitches Steps, skips, and repeated pitches Intervals: unison, octave Intervals: unison, octave, third Intervals: unison, second, third, fourth, fifth, sixth, seventh, octave Intervals: unison, second, third, fourth, fifth, sixth, seventh, octave Intervals: unison, second, third, fourth, fifth, sixth, seventh, octave Intervals: unison, second, third, fourth, fifth, sixth, seventh, octave Pitch letter names Pitch letter names Accidentals 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 Manipulation of pitches as compositional devices: sequence, repetition, contrast; melodic ideas and development; theme, motive, melodic ostinato Manipulation of pitches as compositional devices: sequence, repetition, contrast; melodic ideas and development; theme, motive, melodic ostinato TONALITY TONALITY Tonal center Tonal center Tonal center Tonal center Tonal center Tonal center Tonal center do-pentatonic do-pentatonic Key signature Key signature Key signature Key signature Key signature la-pentatonic la-pentatonic so-pentatonic Major/minor Major/minor Major/minor Major/minor Major/minor Major/minor Page 9 Page 10

ELEMENTS SCOPE AND SEQUENCE MELODY (continued) TONALITY (continued) ELEMENTS SCOPE AND SEQUENCE MELODY (continued) TONALITY (continued) Scales: pentatonic, major, minor Scales: pentatonic, major, natural minor, harmonic minor Scales: pentatonic, major, natural minor, harmonic minor, blues Scales: pentatonic, major, natural minor, harmonic minor, blues 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) Changes of key (modulation) PATTERN 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 lowso low-la do re mi fa so la high-do ti 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 Diatonic pitch patterns, including do re mi fa so low-so low-la do re mi fa so la ti high-do Diatonic pitch patterns, including do re mi fa so low-so low-la do re mi fa so la ti high-do Melodic ostinato Motive Melodic ostinato Melodic sequence 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 TIMBRE ENVIRONMENTAL Pitches in compositional devices: sequence, repetition, transposition TIMBRE ENVIRONMENTAL Pitches in compositional devices: sequence, repetition, transposition Pitches in compositional devices: sequence, repetition, transposition Nature sounds Found sounds Machine sounds Nature sounds Found sounds Nature sounds Found sounds 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 Sound quality affected by the material, shape, and size of the source Sound quality affected by the way the sound is produced Sound quality affected by the material, shape, and size of the source Sound quality affected by the way the sound is produced Page 11 Page 12

ELEMENTS SCOPE AND SEQUENCE TIMBRE (continued) VOCAL ELEMENTS SCOPE AND SEQUENCE 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 tone qualities produced by individuals and groups: adult male/ female 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 Various tone qualities produced by individuals and groups: adult male/female (soprano, alto, tenor, bass) and child singing voices Various tone qualities produced by individuals and groups: adult male/female (soprano, alto, tenor, bass) and child singing voices Various tone qualities produced by individuals and groups: adult male/female (soprano, alto, tenor, bass) and child singing voices Various tone 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 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 A cappella singing Vocal production Vocal production Vocal production Vocal production Variety of vocal timbres representing diverse cultures, genres, and styles Variety of vocal timbres representing diverse cultures, genres, and styles Variety of vocal styles, including concert, musical theater, and popular singers Variety of vocal styles, including concert, musical theater, and popular singers 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 INSTRUMENTAL Body percussion Body percussion Classroom percussion Classroom percussion Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments Various tone qualities/timbres produced by individual instruments and groups of instruments 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 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 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 Instrument families: strings, percussion, woodwinds, brass, keyboards Instrument families: strings, percussion, woodwinds, brass, keyboards Instrument families: strings, percussion, woodwinds, brass, keyboards Instrument families: strings, percussion, woodwinds, brass, keyboards Instrument families: strings, percussion, woodwinds, brass, keyboards Instruments from diverse cultures Instruments from diverse cultures Instruments from diverse cultures Instruments from diverse cultures Instruments from diverse cultures Instruments from diverse cultures Instruments from diverse cultures Folk instruments Instrument making: student-made instruments Folk instruments Instrument making: student-made instruments Folk instruments Instrument making: student-made instruments Page 13 Page 14

ELEMENTS SCOPE AND SEQUENCE TIMBRE (continued) ELECTRONIC Synthesized sounds Synthesized sounds Synthesized sounds Synthesized sounds Synthesized sounds Electronic instruments TEXTURE & HARMONY TEXTURE ELEMENTS SCOPE AND SEQUENCE TIMBRE (continued) ELECTRONIC Synthesized sounds Electronic instruments Electronic instruments (including electric guitar) Electronic instruments (including electric guitar) Electronic instruments (including electric guitar) TEXTURE & HARMONY TEXTURE 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 Change in texture density Change in texture density Change in texture density Change in texture density Ostinato Ostinato Ostinato Ostinato Bordun Bordun Bordun Countermelodies and descants HARMONY Harmony/no harmony Unison/chordal harmony Major/minor Countermelodies Partner songs Rounds and canons Monophonic, homophonic, polyphonic textures Harmony/no harmony Unison/chordal harmony Major/minor 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 V7 Chord changes and progressions, including I V7, I IV, I IV I V7, I IV V7 Chord changes and progressions, including I V7, I IV, I IV I V7, I IV V7 Chord changes and progressions, including I V7, I IV, I IV I V7, I IV V7 Chord changes and progressions, including I V7, I IV, I IV I V7, I IV V7 2-part singing 2-part singing Harmony in thirds and sixths 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 Page 15 Page 16

ELEMENTS SCOPE AND SEQUENCE TEXTURE & HARMONY (continued) HARMONY (continued) ELEMENTS SCOPE AND SEQUENCE TEXTURE & HARMONY (continued) HARMONY (continued) Harmonic styles, including parallel and contrary motion, countermelodies Harmonic styles, including parallel and contrary motion Harmonic styles, including parallel and contrary motion 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 Page 17 Page 18

SINGING VOCAL 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 SINGING VOCAL 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 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 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 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 Sing with sensitivity to blend in a 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 Practice good vocal health Practice good vocal health Practice good vocal health Practice good vocal health Practice good vocal health Study and practice good vocal health Study and practice good vocal health Study and practice good vocal health Practice good singing posture Practice good singing posture Practice good sitting and standing postures for singing Refine good sitting and standing postures for singing Refine good sitting and standing postures for singing Refine good sitting and standing postures for singing Refine good sitting and standing postures for singing Develop correct breathing techniques Develop deep breathing skills and breath control 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 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 Perform warm-up exercises and sing vocalises to prepare for singing Perform warm-up exercises and sing vocalises to prepare for singing Perform warm-up exercises and sing vocalises to prepare for singing INTONATION 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 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 Develop aural perception and inner hearing skills Develop aural perception and inner hearing skills Develop pitch matching skills Develop pitch matching skills Page 19 Page 20

SINGING (continued) INTONATION (continued) 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 Sing with correct intonation Sing with correct intonation Sing with correct intonation Sing with correct intonation Develop aural perception of home tone or tonal center Develop aural perception of home tone or tonal center Develop aural perception of home tone or tonal center Develop aural perception of home tone or tonal center Develop aural perception of home tone or tonal center Develop aural perception of home tone or tonal center Identify and sing do-pentatonic intervals Identify and sing intervals in do-pentatonic and major scales Identify and sing accidentals in major and minor modes Identify and sing accidentals in major and minor modes 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 Sing minor scales and modes Perform vocalises to improve resonance and placement Sing minor scales and modes Perform vocalises to improve resonance and placement EXPRESSION 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 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 Expand dynamics range, 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 singing tempo changes (ritardando, accelerando) following a conductor Practice singing tempo changes (ritardando, accelerando) following a conductor 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 legato singing; develop staccato singing using proper breath support Practice legato and staccato singing using proper breath support Practice legato and staccato singing using proper breath support Practice legato and staccato singing using proper breath support Practice singing complete phrases Practice singing complete phrases Sing songs using appropriate phrasing Sing using appropriate phrasing Sing using appropriate phrasing Sing using appropriate phrasing Sing syncopated songs in popular style with good vocal technique Sing syncopated songs in popular style with good vocal technique Sing syncopated songs in popular style with good vocal technique PART SINGING 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 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 Sing melodic ostinatos, partner songs, rounds, canons, countermelodies, and 2- and 3-part songs Sing in parallel thirds and sixths Sing melodic ostinatos, partner songs, rounds, canons, countermelodies, and 2- and 3-part songs Sing in parallel thirds and sixths Page 21 Page 22

SINGING (continued) DICTION SINGING (continued) DICTION Develop good diction through modeling Develop good diction through modeling Develop good diction through modeling Sing on a neutral syllable (oo) to develop resonant singing Sing on a neutral syllable (oo) to develop resonant singing 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 Sing pure vowels: a (ah), e (eh), i (ee), o (oh), and u (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 Sing vocalises of pure vowels: a (ah), e (eh), i (ee), o (oh), and u (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 wellarticulated consonants Develop correct production of uniform vowel sounds and wellarticulated consonants 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 Refine correct production of uniform vowel sounds Practice correct articulation of voiced and unvoiced consonants Refine correct production of uniform vowel sounds Practice correct articulation of voiced and unvoiced consonants Develop techniques for singing sustained words correctly Develop techniques for singing sustained words correctly Develop techniques for singing sustained words correctly SONG REPERTOIRE SONG REPERTOIRE Sing songs representing genres and styles from diverse cultures Sing songs representing genres and styles from diverse cultures Sing songs representing genres and styles from diverse cultures Sing songs representing genres and styles from diverse cultures Sing songs representing genres and styles from diverse cultures Sing music from diverse genres and cultures, with appropriate expression and tone quality Sing music from diverse genres and cultures, with appropriate expression and tone quality Sing music from diverse genres and cultures, with appropriate expression and tone quality 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 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 Sing gospel, jazz, popular, and classical styles Sing gospel, jazz, popular, and classical styles Sing gospel, jazz, popular, and classical styles PLAYING PERCUSSION (MALLETS, NONPITCHED, DRUMMING) PLAYING PERCUSSION (MALLETS, NONPITCHED, DRUMMING) Use body percussion in different levels Explore timbre possibilities using body percussion and nonpitched instruments Use instruments as sound effects for stories, poems, and dramatizations Play a steady beat using bilateral motions Use body percussion in different levels Expand instrumental sound resources, playing each with appropriate technique Develop awareness of timbre categories: woods, metals, shakers, scrapers, and so on Play a steady beat using bilateral and alternating motions Play a steady beat and strong beat using bilateral and alternating lateral motions Page 23 Page 24

PLAYING (continued) PERCUSSION (MALLETS, NONPITCHED, DRUMMING) (continued) 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 Refine mallet techniques Refine mallet techniques Refine mallet techniques 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 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 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 Include offbeat and syncopated rhythms 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) Play accompaniments on mallet instruments involving the I IV V7 harmonic progression Play accompaniments on mallet instruments involving the I IV V7 harmonic progression Play accompaniments on mallet instruments involving the I IV V7 harmonic progression Play accompaniments on mallet instruments involving the I IV V7 harmonic progression Incorporate expressive elements into playing Play mallet instrument ensembles 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 Provide opportunities for individuals to play small pieces alone, demonstrating good technique and style 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 Play as part of large and small percussion ensembles, using traditional and non-traditional instruments Play as part of large and small percussion ensembles, using traditional and non-traditional instruments Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Play classroom instruments from diverse cultures and styles Page 25 Page 26

PLAYING (continued) PERCUSSION (MALLETS, NONPITCHED, DRUMMING) (continued) PLAYING (continued) PERCUSSION (MALLETS, NONPITCHED, DRUMMING) (continued) Develop ability to play culturespecific instruments and styles Develop ability to play culturespecific instruments and styles Develop and expand ability to play culturespecific instruments and styles Develop and expand ability to play culturespecific instruments and styles Develop and expand ability to play culturespecific instruments and styles Play basic rock rhythm patterns with popular songs Play basic rock rhythm patterns with popular songs Play basic rock rhythm patterns with popular songs Develop simple instrumental pieces Develop simple instrumental pieces 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) Develop more extended instrumental pieces. Include opportunities for rhythmic and/or melodic solos (composed or improvised) Create and arrange percussion ensembles Create and arrange percussion ensembles Create and arrange percussion ensembles GUITAR GUITAR Identify types of guitars (nylon-string classical, steel-string acoustic, electric) Review types of guitars (nylon-string classical, steel-string acoustic, electric) Review 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 Review and reinforce techniques for smooth transitions between chords Review and reinforce techniques for smooth transitions between chords Learn right-hand techniques (strumming patterns, picking) Review and reinforce right-hand techniques (strumming patterns, picking) Review and reinforce right-hand techniques (strumming patterns, picking) Review and reinforce right-hand techniques (strumming patterns, picking) Play common chord progressions Play common chord progressions Play common chord progressions Play common chord progressions Begin use of the capo 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 Create accompaniments to songs, including introductions, verses, refrains, and ostinatos Create accompaniments to songs, including introductions, verses, refrains, and ostinatos Page 27 Page 28

PLAYING (continued) GUITAR (continued) 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 KEYBOARD Play a two-handed accompaniment Play a two-handed accompaniment Play a two-handed accompaniment Play a two-handed accompaniment Play broken chords Play broken chords Play broken chords Play broken chords Play I, IV, and V7 chords Play I, IV, and V7 chords Play I, IV, and V7 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 RECORDER Read notes B, A, G, E, D Read new notes C, D, and F# Read new notes G#, C, F, and Bb Play with holes properly covered Use proper hand position with left hand on top Play with the pads of slightly curved fingers Play with holes properly covered Use proper hand position with left hand on top Play with the pads of slightly curved fingers 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 Display proper breathing techniques Display proper breathing techniques Improve playing and breathing techniques and hand dexterity Play with proper tone control and breathing techniques Play with proper tone control and breathing techniques Play with proper tone control and 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 Play ostinatos, abbreviated melodies, melodies, and countermelodies Play ostinatos, abbreviated melodies, melodies, and countermelodies Play ostinatos, abbreviated melodies, melodies, and countermelodies Play ostinatos, abbreviated melodies, melodies, and countermelodies Blend sound with other recorder players Blend sound with other recorder players Blend sound with other performers Blend sound with other performers Blend sound with other performers Blend sound with other performers Page 29 Page 30

PLAYING (continued) RECORDER (continued) PLAYING (continued) RECORDER (continued) Blend sound with singers and/or other instruments Blend sound with singers and/or other instruments Blend sound with singers and/or other instruments Blend sound with singers and/or other instruments Blend sound with singers and/or other instruments Blend sound with singers and/or other instruments Practice proper articulation Show phrases by breathing Practice proper articulation 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 CREATING IMPROVISING CREATING IMPROVISING 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 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 introductions, interludes, and codas for songs Improvise simple patterns, using sound and movement Improvise simple rhythms, using sound and movement, in call-andresponse 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 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 melodic phrases using the pentatonic scale Improvise simple melodies based on the pentatonic scale Improvise melodies based on the pentatonic, major, and minor scales 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 Improvise melodic patterns based on chords and chord progressions Improvise melodic patterns based on chords and chord progressions Use instruments to improvise melodies over given chord patterns including rock and blues Use instruments to improvise melodies over given chord patterns including rock and blues Use instruments to improvise melodies over given chord patterns including rock and blues Page 31 Page 32