Orange Board of Education



Orange Public Schools

Music Theory, Piano I, II, III, IV

Grades 9 – 12

OBE Approval Date:

[pic]

The Orange Board of Education

Vision and Mission Statement

Vision

The Orange Public School District commits to provide a safe and caring environment where each student is expected to grow and succeed. We pledge to prepare all students with equitable opportunities for college and career readiness, leading to lifelong learning and responsible citizenship in a competitive global community.

Mission

The Orange Public School District in collaboration with all stakeholders is responsible for promoting the academic, social, emotional and personal success of all students. With a commitment to academic excellence, the district provides teachers, families, and administrators the tools needed for all students to reach their full potential. The district serves all students in our schools, acknowledging their unique backgrounds, cultural perspectives and learning styles. The district recognizes that curiosity, discipline, integrity, responsibility and respect are necessary for success. The Orange Public School District cultivates a community of 21st century learners where students take ownership of the learning process, achieve high standards of excellence, and focus on academics.

Good to Great!

Table of Contents

Pitch on the staff – Topic: Lines and spaces 7

Pitch on the staff Topic: Treble and bass clef notes 13

Pitch on the keyboard Topic: Piano notes (white keys) 19

Pitch on the keyboard Topic: Piano notes (white keys), notes on the grand staff and their location on the piano. 25

Accidentals Topic: Accidentals on the staff; sharp; flat; double sharp; double flat 31

Accidentals Topic: Accidentals on the piano; sharp; flat; double sharp; double flat 37

Intervals Topic: Half and whole steps 43

Intervals Topic: Half and whole steps on the piano 49

Intervals Topic: Circle of fourths and fifths 55

Key Signatures Topic: Key Signatures 61

Scales Topic: Major, minor, harmonic minor, melodic minor, pentatonic, blues/jazz, whole-tome (half/whole, whole/half, scales from different cultures. 67

Scales Topic: Major, minor, harmonic minor, melodic minor, pentatonic, blues/jazz, whole-tome (half/whole, whole/half, scales from different cultures. 73

Scales Topic: Scale degree names 79

Intervals Topic: Major/minor thirds and perfect fifths 85

Intervals Topic: Major/minor thirds and perfect fifths 91

Intervals and chords Topic: Triads: Major, minor, augmented, diminished, sus2 and sus4 97

Intervals and chords Topic: Triads: Major, minor, augmented, diminished, sus2 and sus4 103

Intervals Topic: Perfect and major intervals, minor, diminished and augmented 109

Intervals Topic: Perfect and major intervals, minor, diminished and augmented 115

Staff Notation Topic: Staff Notation 121

Harmonic Analysis Topic: Consonance and dissonance 127

Staff Notation, Harmonic Analysis Topic: Accidentals 133

Chords, Harmonic Analysis Topic: Inversions of triads 139

Chords, Harmonic Analysis Topic: Inversions of triads 145

Chords, Harmonic Analysis Topic: Harmonic analysis of primary chords in the Ionian Mode 151

Intervals, Chords, Harmonic Analysis Topic: Transposition 157

Chords, Harmonic Analysis Topic: Seventh Chords 163

Chords, Harmonic Analysis Topic: Seventh Chords 169

Intervals, Chords and Harmonic Analysis Topic: Seventh chord inversions 175

Intervals, Chords and Harmonic Analysis Topic: Upper structure triads 181

Note and rest values Topic: Whole, half, dotted half, and quarter notes/rests. 187

Note and rest values Topic: Eighth and sixteenth notes 193

Note and rest values Topic: Tempos 199

Notation Topic: Grouping of beats and beaming 205

Rhythm Topic: Simple and compound beats 211

Time Signatures Topic: Simple and compound 217

Cadences Topic: Tonic and Dominant 223

Cadences Topic: Major and minor cadences 229

Cadences Topic: Plagual cadence 235

Cadences Topic: Full and Half Cadence 241

Cadences Topic: Deceptive Resolution 247

Cadences Topic: Reharmonization techniques. 253

Cadences Topic: Tri-tone Substitution 259

Cadences Topic: Traditional harmony chord progressions and analysis (traditional) 265

Cadences Topic: Contemporary chord progressions and analysis (jazz) 271

Modes Topic: Modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrain 277

Modes Topic: Modal interchange and harmonic analysis 283

Modes Topic: Modal interchange and harmonic analysis 289

Modes Topic: Chord scales using the modes. 295

Form Topic: Phrase, the period, repetition and sequence 301

Pitch Topic: Intervals and scales passages, leading tones 307

Harmonic implication Topic: Harmonic implication in a melody 313

Rhythm and meter Topic: Rhythm and meter 319

Melodic composition Topic: Melodic composition techniques 325

Melodic composition Topic: Harmonic progressions using the leading tone and inversions 331

Melodic composition Topic: Parallel fifths and eighths 337

Melodic composition Topic: Figured bass 343

Melodic composition Topic: Suspensions, passing and neighbor tones 349

Class Melodic composition Topic: Motivic development 355

Melodic composition Topic: Modulation 361

Sample Rubric 367

Essential Skills 369

Acknowledgements 369

Appendix A 369

Accommodations and Modifications for 369

Appendix B 377

Core Instructional and Supplemental Materials 377

Appendix C 379

Music Glossary 379

APPENDIX D 402

WEBSITES 402

Appendix E 404

Songs 404

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Pitch on the staff – Topic: Lines and spaces |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|The very basics of music literacy is to be able to identify the notes on the staff. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What essential techniques are needed to achieve mastery in music? |

|Enduring Understandings |

|Music serves multiple functions: enlightenment, education, and entertainment. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Students will be able to: |

|Correctly label, identify and draw notes on the lines and spaces. |

|Correctly label, identify and draw all notes on the treble and bass clef. |

|Correctly label and identify all notes on the ledger lines (above and below) in the treble and bass clef. |

| |

| |

| |

| |

| |

| |

| |

|Assessments |

|Formative: Student(s) will be able to play musical exercises in order to raise their level of proficiency by: |

|- ability to identify, label and write notes on the lines and spaces. |

|- ability to draw the note head the correct size and shape. |

|- ability to draw the correct the stem direction. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Students will practice identifying, labeling and writing notes on the lines and spaces focusing on proper |

|Special ED: Adhere to all |note size and stem direction. |

|modifications and health concerns | |

|stated in each IEP. |Students will practice saying the musical alphabet as the move up and down on the ledger lines. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Students count the lines and spaces. |

|At risk of failure: Students will | |

|be given more time to complete |Students will identify the middle line (B line). Explain that this is the line where the stem direction |

|projects that were not turned in |can change. |

|without penalty. | |

|Special Needs: Modified |Students study a variety of music notation focusing on stem direction, lines and spaces and spacing. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, |G&T Students |

|and completing case studies. |Provide students with more advanced notation exercises to improve their sight-reading skills. Incorporate|

|Gifted and Talented: Modified |notes in treble and bass clefs as well as using leger lines. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

| |

|Instruments, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

| |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Recognize the staff and location of|Lines and spaces |Performing on pitch |Minimum of 3 |

|the notes | | | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Pitch on the Staff Topic: Treble and bass clef notes |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation |

|Overview/Rationale |

|Knowledge of the notes on the scale is the foundation to music literacy. Practice and memorization is important to ensure this foundation is |

|mastered. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How does creating and performing music differ from creating art? |

|Enduring Understandings |

|Though the musician’s imagination and intuition drive the work, great music requires skills and discipline to turn notions into a quality |

|product. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Students will be able to: |

|Correctly label, identify and draw all notes on the treble and bass clef. |

|Correctly label and identify all notes on the ledger lines (above and below) in the treble and bass clef. |

|Assessments |

|Formative - Students will be assessed by: |

|- ability to identify, label and draw all notes on the treble and bass clef. |

|- ability to identify, label and draw all notes on the ledger lines of the treble and bass clef. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study the notes on the treble clef using the following strategies: |

|Special ED: Adhere to all | |

|modifications and health concerns |For the lines “Every Good Boy Does Fine” |

|stated in each IEP. |For the spaces “F-A-C-E” |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students practice identifying, labeling and writing notes on the bass clef. |

|At risk of failure: Students will | |

|be given more time to complete |Students should practice saying the musical alphabet as the move up and down on the ledger lines. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified | |

|instructional strategies including:|G&T Students |

|Socratic seminar, group |Provide students with more advanced notation exercises to improve their sight-reading skills. Incorporate|

|discussions, think-pair-share, |notes in Alto and Tenor Clefs as well as using leger lines. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any type of printed music can be used to help identify and label notes on both staffs |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|Appendix D for additional resources |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music literacy |Treble and bass clef notes |Identifying the notes and staff |Minimum of 3 |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Pitch on the keyboard Topic: Piano notes (white keys) |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Becoming familiar with the geography of the piano is a foundation in learning music theory. Relating knowledge of notes on the staff and |

|their location on the piano keys is the basics of music literacy. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|To what extent is the music for the musician and to what extent is it for the audience? |

|Enduring Understandings |

|Music serves different purposes. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly label, identify and play all white keys on the piano. |

|Assessments |

|Formative: Students will be assessed by: |

|- ability to identify, label and play all notes on the piano. |

|- ability to identify which way the pitch is going on the piano (up or higher in pitch, down or lower in pitch.) |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students identify and label the groups of two and three black keys. |

|Special ED: Adhere to all | |

|modifications and health concerns |Using the black keys students will locate the note “A” and have the students play every “A” on the piano. |

|stated in each IEP. |Help the students discover that the piano starts on the note “A”. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students choose a note and find it on the piano. Have them find all of the selected pitch on the |

|At risk of failure: Students will |piano. |

|be given more time to complete | |

|projects that were not turned in |Have the students listen to the layout of the piano and discover how the piano moves from lower notes to |

|without penalty. |higher notes. |

|Special Needs: Modified | |

|instructional strategies including:|Play a note finding game where two students come up to the piano. The teacher calls out the name of a note|

|Socratic seminar, group |and the first students to play it correctly on the piano receives a point for their team. |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Provide more advanced techniques and methods that students can choose to do as an alternative to the |

|projects, primary source document, |general class assignment. |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College visits, guest speakers, field trips |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for websites. |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music literacy |Piano notes (white keys) |Recognizing the pitch on the |Minimum of 3 |

| | |keyboard | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Pitch on the keyboard Topic: Piano notes (white keys), notes on the grand staff and their location on the piano. |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation |

|Overview/Rationale |

|Reinforcing the location of the notes on the keys and their relationship on the staff is an important aspect in learning how to play the piano|

|and read music. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

| |

|How do discipline and behavior define a musician and his performance? |

|Enduring Understandings |

|Though the musician’s imagination and intuition drive the work, great music requires skills and discipline to turn notions into a quality |

|product. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Students will be able to: |

|Correctly identify all notes on the treble and bass clef and find/play them on the piano. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and play all notes on the grand staff on the piano. |

|- ability to play a simple melody on the piano reading notes off of the grand staff moving in step-wise motion. |

|- ability to display proper posture and fingering while playing the piano. |

|- ability to use descriptive terms while critiquing students performance on the piano. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Students will identify a given note on the grand staff. Next have the students find the note on the piano.|

|Special ED: Adhere to all | |

|modifications and health concerns |Students will play a simple melody moving in step-wise motion on the piano. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Label all notes on the grand staff and focus on proper piano fingering and posture. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Two students will be on two different pianos. One will play a note and the other will fine it on the |

|be given more time to complete |piano (or keyboards). |

|projects that were not turned in | |

|without penalty. |Draw a note on the grand staff and the first students to play the correct note in the correct register |

|Special Needs: Modified |earns a point for their team. |

|instructional strategies including:| |

|Socratic seminar, group |Students will critique others performance on the piano focusing on proper posture, fingering and accuracy |

|discussions, think-pair-share, |of notes. |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students |

|projects, primary source document, |Students will view/listen to YouTube performances of students at different levels of beginning piano and |

|and completing case studies. |compare/critique each for skills which have been learned so far in class. |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |Field trips, college visits, guest speakers. |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|Appendix D for websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music literacy |Piano notes (white keys), notes on |Note recognition |Minimum of 3 |

| |the grand staff and their location | | |

| |on the piano. | | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Accidentals Topic: Accidentals on the staff; sharp; flat; double sharp; double flat |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation |

|Overview/Rationale |

|Knowledge of accidentals will further advance the students in the foundation of music literacy. Relating the accidentals on the keyboard will|

|offer hand-on application of the accidentals. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and non-print|including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How can elements of music enhance a performance? |

|Enduring Understandings |

|Each music performance is unique. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Students will be able to: |

|Correctly identify all notes on the treble and bass clef and find/play them on the piano. |

|Assessments |

|Formative: Students will be assessed by: |

|- ability to identify, label and play all notes on the grand staff on the piano. |

|- ability to play a simple melody on the piano reading notes off of the grand staff moving in step-wise motion. |

|- ability to display proper posture and fingering while playing the piano. |

|- ability to use descriptive terms while critiquing students performance on the piano. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study accidentals and how they are used in music. |

|Special ED: Adhere to all | |

|modifications and health concerns |Use the piano as a teaching tool illustrating how and when notes are labeled as sharp, flat, double sharp |

|stated in each IEP. |and double flat. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students label each accidentals and write them on manuscript paper. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students focus on precision when drawing their accidentals on the lines and spaces. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified |G&T Students |

|instructional strategies including:|Students will research enharmonics and use sharps/flats to notate enharmonic equivalents from each key on |

|Socratic seminar, group |the keyboard. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College visits, field trips, and guest speakers |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|Music notation software |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for websites. |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music literacy |Accidentals on the staff; sharp; flat;|Recognizing sharps and flats |Minimum of 3 |

| |double sharp; double flat | | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Accidentals Topic: Accidentals on the piano; sharp; flat; double sharp; double flat |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them |

|Overview/Rationale |

|Learning the accidentals by incorporating a game where students read notes on a staff and then perform them on a piano makes memorizing fun. |

|By having students critique each other’s work, it allows students to recognize when their peers are performing correctly and where they may |

|need to improve. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

| |

|What are skills are needed to achieve mastery in music? Are these skills essential? |

|Enduring Understandings |

|Creating and performing music are forms of self-expression. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and play accidentals on the piano. |

|Correctly read notes and accidentals from written music and play on the piano or other classroom instruments. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and play accidentals on the piano. |

|- ability to correctly read accidentals off of written music on the grand staff and play it on the piano in the correct range. |

|- ability to use descriptive words in critiquing students performance on the piano focusing on note accuracy, posture and correct fingering. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students practice playing a note on the white key and then playing all possible accidentals: |

|Special ED: Adhere to all |sharp; flat; double sharp; double flat. |

|modifications and health concerns | |

|stated in each IEP. |Have the students read music with accidentals and play it on the piano focusing on proper posture and |

|ELL: Use and post a word wall of |fingering as well as note accuracy. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students critique the performance. |

|be given more time to complete | |

|projects that were not turned in |Play an accidental finding game on the piano where two students come up to the piano. |

|without penalty. | |

|Special Needs: Modified |Call out the name of a note and then an accidental up or down. |

|instructional strategies including:| |

|Socratic seminar, group |The first students to play the correct note and accidental receives a point for their team. |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Students will locate all enharmonics on the piano keyboard and be able to label all enharmonic |

|projects, primary source document, |equivalents. |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |Field trips, guest speakers, college visits. |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for websites. |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Learning the piano keys |Accidentals on the piano; sharp; |Identifying sharps and flats on |Minimum of 3 |

| |flat; double sharp; double flat |the piano | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Half and whole steps |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation |

|Overview/Rationale |

|By applying their knowledge of accidentals, students will be able to relate to whole and half steps on the keyboard. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|How does music help us grow as a community? |

|Enduring Understandings |

|Music is a language of communication used by all cultures throughout history. It is both an aural and printed language.  |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and write whole and half steps. |

|Correctly write or change accidentals to create whole and half steps. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and write whole and half steps on the grand staff. |

|- ability to change whole steps to half steps and half steps to whole steps using accidentals. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students discover how half and whole steps work. Use the piano as a guide. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students practice identifying, labeling and writing whole and half steps on the grand staff and |

|stated in each IEP. |ledger lines. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students change whole steps to half steps and half steps to whole steps using accidentals. |

|At risk of failure: Students will | |

|be given more time to complete |G&T Students |

|projects that were not turned in |Allow students to utilize half/whole steps to create/develop a |

|without penalty. |melodic line which moves in stepwise, conjunct motion and |

|Special Needs: Modified |notate it in treble clef. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for websites. |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals |Half and whole steps |Understanding intervals |Minimum of 3 |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Half and whole steps on the piano |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. |

|Overview/Rationale |

|Creating teams and playing a game involving intervals helps students learn from one another and increases their recognition of whole and |

|half-step intervals. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

|How does feedback from the audience help musicians grow? |

|Enduring Understandings |

|Music is a language of communication used by all cultures throughout history. It is both an aural and printed language.  |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and play whole and half steps on the piano. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|ability to identify, label and play whole and half steps on the piano. |

|ability to change whole steps to half steps and half steps to whole steps on the piano. |

|- ability to read whole and half steps written on the grand staff and play them on the piano. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students practice identifying whole and half step intervals on the piano. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students practice reading half and whole step intervals written on the grand staff and played on |

|stated in each IEP. |the piano in the correct register. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students practice changing intervals from whole step to half step and from half step to whole |

|At risk of failure: Students will |step on the piano. |

|be given more time to complete | |

|projects that were not turned in |Play an interval finding game where to students come up to the piano. |

|without penalty. | |

|Special Needs: Modified |Call out the name of a note and either a half or whole step up or down. |

|instructional strategies including:| |

|Socratic seminar, group |The first student who plays the note and the interval correctly will receive a point for their team. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students |

|projects, primary source document, |Allow students to utilize half/whole steps to create a melodic line |

|and completing case studies. |which moves in stepwise, conjunct motion and notate it in treble |

|Gifted and Talented: Modified |clef. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |Field trips, guest speakers, college visits. |

|Resources |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals |Half and whole steps on the piano |Performing on the piano |Minimum of 3 |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Circle of fourths and fifths |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. |

|Overview/Rationale |

|Understanding the position of fourth and fifths is the foundation to key signatures. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in word |

| | |

| | |

| | |

| | |

|Essential Question(s) |

| |

|How is sound organized to make music? |

|Enduring Understandings |

| |

|The structure of printed music will increase one's ability to better understand and appreciate the aural aspects of music from a variety of cu|

|ltures and time periods. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

| | | | | | |

| | | | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write out the circle of fourths and fifths. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play the circle of fourths and fifths. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study the circle of fourths and fifths. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students study the distance between the root and the fourth or fifth. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students play the intervals on the piano and sing them as well. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Make up a saying like “Every Good Boy Does Fine” to remember the order of fourths and fifths. |

|be given more time to complete | |

|projects that were not turned in | |

|without penalty. |G&T Students |

|Special Needs: Modified |Have students continue with development of melodic lines by |

|instructional strategies including:|adding perfect intervals to their stepwise motion and notate it in |

|Socratic seminar, group |treble clef. (Note – this will no longer be conjunct) |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences |Field trips, college visits, guest speakers. |

|D | |

|Resources |

| |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music literacy |Circle of fourths and fifths |Identify fourths and fifths. |Minimum of 3 |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Key Signatures Topic: Key Signatures |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. |

|Overview/Rationale |

|By learning key signatures it will scaffold on previously learned knowledge of intervals and accidentals. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|How does the structure of a musical piece create its order and clarity? |

|Enduring Understandings |

|Specific symbols found in music determine such things as tempo, articulation, and where endings and repeats occur.  |

| |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and write out all sharp and flat key signatures. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and write out all key signatures. |

|- ability to identify, label and write out the order of sharps and flats. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Using the circle of fifths, begin writing the key signatures adding one sharp for each new scale. |

|Special ED: Adhere to all | |

|modifications and health concerns |Pay special attention to the order of sharps. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students create a saying to help remember the order of sharps. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Using the circle of fourths, begin writing the key signatures adding one flat for each new scale. |

|be given more time to complete | |

|projects that were not turned in |Pay special attention to the order of flats. |

|without penalty. | |

|Special Needs: Modified |Have the students create a saying to help remember the order of flats. |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Students will notate all key signatures for all sharp and flat keys for treble and bass clefs. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

| | |

|Experiences |Field trips, college visits, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music Literacy |Key Signatures |Recognizing the importance of key |Minimum of 3 |

| | |signatures | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Scales Topic: Major, minor, harmonic minor, melodic minor, pentatonic, blues/jazz, whole-tome (half/whole, |

| |whole/half, scales from different cultures. |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Recognizing major and minor scales and the continual practice of sharps, flats and key signatures is an important aspect of music literacy. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How is melody created? |

|Enduring Understandings |

|Musicians that recognize these symbols are able to recreate the music accurately. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and write out a variety of scales. |

|Correctly identify, label and write out the half step and whole step formula for each scale. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and write out a variety of scales in all key signatures. |

|- ability to identify, label and write out the half/whole step formula for all scales in all keys. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study all the scales and identify all the formulas used to make up the scales (example: |

|Special ED: Adhere to all |Ionic Major scale WWHWWWH) |

|modifications and health concerns | |

|stated in each IEP. |Have the students write out the scales in all keys paying special attention to accidentals and order of |

|ELL: Use and post a word wall of |sharps and flats. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Using flash cards, write out a scale in a variety of keys and have the students figure out what scale is |

|be given more time to complete |written. |

|projects that were not turned in | |

|without penalty. |G&T Students |

|Special Needs: Modified |Analyze an excerpt from a Debussy piano score and define what type of scale he based the piece on. Prove |

|instructional strategies including:|your results by discussing pitches used. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Major and minor scales |Major, minor, harmonic minor, |Understanding major and minor |Minimum of 3 |

| |melodic minor, pentatonic, |chords. | |

| |blues/jazz, whole-tome (half/whole,| | |

| |whole/half, scales from different | | |

| |cultures. | | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Scales Topic: Major, minor, harmonic minor, melodic minor, pentatonic, blues/jazz, whole-tome (half/whole, |

| |whole/half, scales from different cultures. |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Having knowledge of scales is an important factor when performing with others. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Is there good harmony and bad harmony? |

|Enduring Understandings |

|Layering two or more simultaneous sounds creates harmony. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and play out a variety of scales on the piano. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and play a variety of scales in all key signatures on the piano. |

|- ability to identify, label and write out the half/whole step formula for all scales in all keys on the piano. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Write out several scale types and key signatures on separate pieces of paper. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students chose a scale and a key signature and play in on the piano. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the rest of the class correct any mistakes and critique the technique focusing on posture, proper |

|cognate words whenever possible. |fingering and tempo. |

|At risk of failure: Students will | |

|be given more time to complete |Play a scale playing game where two students come up to the piano. |

|projects that were not turned in | |

|without penalty. |Call out a scale and a key and the first students to play it correctly gets a point for their team. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Compose an 8-bar melody based on a C - Pentatonic scale, showing (through analysis of pitches used) proof |

|individual assignments, more |of this. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Scales |Major, minor, harmonic minor, |Identifying scales. |Minimum of 3 |

| |melodic minor, pentatonic, | | |

| |blues/jazz, whole-tome (half/whole,| | |

| |whole/half, scales from different | | |

| |cultures. | | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Scales Topic: Scale degree names |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|By scaffolding on current knowledge of scale fundamentals to advance students by learning specific names of scales, will increase their |

|technical knowledge. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|How does music communicate? |

|Enduring Understandings |

| |

|Music is a language of communication used by all cultures throughout history.  |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write out the scale degree names. |

|Transpose simple melodies using the scale degree names. |

|Assessments |

|Formative: Student(s) will be able to play musical exercises in order to raise their level of proficiency in playing their chosen instruments |

|in class and in performances |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study the different ways to label scale degrees |

|Special ED: Adhere to all | |

|modifications and health concerns |Solfege: Do, Re, Mi. Fa, Sol, La, Ti, Do |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Scale Degree names: |

|cognate words whenever possible. | |

|At risk of failure: Students will |1-Tonic |

|be given more time to complete |2-Supertonic |

|projects that were not turned in |3-Mediant, |

|without penalty. |4-Subdominant |

|Special Needs: Modified |5-Dominant |

|instructional strategies including:|6-Submediant |

|Socratic seminar, group |7-Leading tone |

|discussions, think-pair-share, |G&T Students |

|individual assignments, more |Analyze the melody of a selected piece of music using scale degrees. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Scales |Scale degree names |Identify and perform all scale |Minimum of 3 |

| | |degrees. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Major/minor thirds and perfect fifths |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Continual scaffolding on current knowledge and review of major/minor thirds and perfect fifths will continue to develop competency in |

|performance and literacy. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|How does the structure of a musical piece create its order and clarity? |

|Enduring Understandings |

| |

|Music is both an aural and printed language. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write out major/minor thirds and perfect fifth intervals. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and write out major/minor thirds and perfect fifths. |

|- ability to correctly listen and identify major/minor thirds and perfect fifths. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students use their knowledge of scale formulas to find out the distance for creating major/minor |

|Special ED: Adhere to all |thirds and perfect fifths. |

|modifications and health concerns | |

|stated in each IEP. |Have students identify, label and write out major/minor thirds and perfect fifths in all keys. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Pay special attention to accidentals and notation. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students play an interval finding game where two students stand behind the piano. |

|projects that were not turned in | |

|without penalty. |The teacher plays a major third, minor third or perfect fifth. |

|Special Needs: Modified | |

|instructional strategies including:|The first student to call out the correct interval receives a point for their team. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Given a disjunct melodic line, do a harmonic analysis of the intervals created by each pair of notes. |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Major/Minor thirds and perfect |Major/minor thirds and perfect |Identify major/minor thirds and |Minimum of 3 |

|fifths |fifths |perfect fifth intervals. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Major/minor thirds and perfect fifths on the piano |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|It is important to develop an ear for pitch as well as having knowledge of music literacy. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

| | |

|Essential Question(s) |

| |

|What does harmony add to music? |

|Enduring Understandings |

|The understanding of the structure of printed music will increase one’s ability to better understand and appreciate the aural aspects of music|

|fro a variety of cultures and time periods. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and play major/minor thirds and perfect fifth intervals. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and play major/minor thirds and perfect fifths on the piano. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: | |

|Special ED: Adhere to all |Have the students play major/minor thirds and perfect fifths on the piano in all keys. |

|modifications and health concerns | |

|stated in each IEP. |Have the students play an interval finding game on the piano where two students come up to the piano. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Call out an interval in any key and the student who plays it correct first earns a point for their team. |

|At risk of failure: Students will | |

|be given more time to complete | |

|projects that were not turned in | |

|without penalty. |G&T Students |

|Special Needs: Modified |Given a mixed (conjunct and disjunct melodic line) in bass clef, do a harmonic analysis of the intervals |

|instructional strategies including:|created by each pair of notes. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers.. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals |Major/minor thirds and perfect |Identify perfect firths on the |Minimum of 3 |

| |fifths |piano | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals and chords Topic: Triads: Major, minor, augmented, diminished, sus2 and sus4 |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|It is important for students to learn all forms of triads and by having the students recognize incorrect forms of triads it helps with the |

|memorizing process. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|How can music describe a mood? |

|Enduring Understandings |

|Triads are built on different scale degrees. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and write out select triads. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and write out major, minor, augmented, diminished, sus2 and sus4 triads. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students define a triad. |

|Special ED: Adhere to all | |

|modifications and health concerns |Next, have the students use their knowledge of discovering interval formulas to identify the major, minor,|

|stated in each IEP. |augmented, diminished, sus2 and sus4 triads. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Write out the different triads on the board in all keys and have the students discover the harmonic |

|At risk of failure: Students will |quality of the triad. |

|be given more time to complete | |

|projects that were not turned in |Write out incorrect triads and have the students identify the chord and correct it. (example: use |

|without penalty. |incorrect accidentals and spacing). |

|Special Needs: Modified | |

|instructional strategies including:|Play the triads on the piano and have the students listen and identify the type of chord. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Analyze pairs of notes within treble and bass clefs which incorporate all intervals learned as well as |

|projects, primary source document, |augmented and diminished intervals. |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals and chords |Triads: Major, minor, augmented, |Identify select triads. |Minimum of 3 |

| |diminished, sus2 and sus4 | | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals and chords Topic: Triads: Major, minor, augmented, diminished, sus2 and sus4 |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Learning and memorizing triads will advance students’ performance skills. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

| | |

|Essential Question(s) |

| |

|Can music tell a story without words? |

|Enduring Understandings |

|Good tone quality is created with the correct technique. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| |x |Civic Literacy | |TA |Collaboration |

| | |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and play select triads. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and play major, minor, augmented, diminished, sus2 and sus4 triads. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Play a triad on the piano and have the students identify the tonality of the chord. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students come up to the piano and play all of the above triads in every key. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Play a triad finding game on the piano where two students come up the piano. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Call out a chord in any key and the first student to correctly play it wins a point for their team. |

|be given more time to complete | |

|projects that were not turned in |G&T Students |

|without penalty. |Analyze pairs of notes within alto and tenor clefs which incorporate all intervals learned as well as |

|Special Needs: Modified |augmented and diminished intervals. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals and chords |Triads: Major, minor, augmented, |Identify and perform select triads |Minimum of 3 |

| |diminished, sus2 and sus4 |on the piano. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Perfect and major, minor, diminished and augmented intervals |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|By advancing onto major and major, minor and augmented intervals increases their knowledge of reading and performing. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

| | |

| | |

|Essential Question(s) |

| |

|Is all sound music? |

|Enduring Understandings |

|Music is written on a staff and the placement of notes on lines and spaces determines pitches, melodic line, and harmony. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write out perfect and major intervals, minor, diminished and augmented intervals. |

| |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and write out perfect and major intervals, minor, diminished and augmented intervals. |

|- ability to correctly listen and identify perfect and major intervals, minor, diminished and augmented intervals. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students use their knowledge of scale formulas to find out the distance for the creating perfect |

|Special ED: Adhere to all |and major intervals, minor, diminished and augmented intervals. |

|modifications and health concerns | |

|stated in each IEP. |Have the students identify, label and write out perfect and major intervals, minor, diminished and |

|ELL: Use and post a word wall of |augmented intervals. Pay special attention to accidentals and notation. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students play an interval finding game where two students stand behind the piano. |

|be given more time to complete | |

|projects that were not turned in |The teacher plays a perfect or major interval, minor, diminished and augmented intervals. |

|without penalty. | |

|Special Needs: Modified |The first student to call out the correct interval receives a point for their team. |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Allow students to expand on ideas and create assignments that go outside of the guidelines of the general |

|individual assignments, more |class assignment. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals |Perfect and major intervals, minor,|Identify perfect and major, minor, |Minimum of 3 |

| |diminished and augmented |diminished and augmented intervals.| |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals Topic: Perfect and major intervals, minor, diminished and augmented on the piano |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Note recognition will advance the students’ musicality. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

|Essential Question(s) |

|What is music? |

|Enduring Understandings |

|Specific symbols found in music determine such things as tempo, articulation, and where endings and repeats occur.  |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and play perfect and major intervals, minor, diminished and augmented intervals on the piano. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label and play perfect and major intervals, minor, diminished and augmented intervals. |

|- ability to correctly listen and identify perfect and major intervals, minor, diminished and augmented intervals. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students identify, label and play perfect and major intervals, minor, diminished and augmented |

|Special ED: Adhere to all |intervals on the piano and other classroom instruments. |

|modifications and health concerns | |

|stated in each IEP. |Have the students play an interval finding game where two students come up to the piano. Call out an |

|ELL: Use and post a word wall of |interval in varying keys and the first student to correctly play it wins a point for their team. |

|cognate words whenever possible. | |

|At risk of failure: Students will | |

|be given more time to complete |G&T Students |

|projects that were not turned in |Provide more advanced techniques and methods that students can choose to do as an alternative to the |

|without penalty. |general class assignment. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

| | |

|Experiences |College presentations, field trips, guest speakers. |

| | |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals |Perfect and major intervals, minor,|Identify, label and play perfect |Minimum of 3 |

| |diminished and augmented |and major intervals, minor, | |

| | |diminished and augmented intervals | |

| | |on the piano. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Staff Notation Topic: Staff Notation |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Knowledge of correctly writing notes on a staff is integral part of understanding music notation. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

|Essential Question(s) |

|How does creating and performing music differ from listening to music? |

|Enduring Understandings |

|Musicians that recognize music notations are able to recreate the music accurately. |

|The printed pitch and modern notation system exists as a precise plan for performers to recreate music in a rather exact way.  |

| |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly use proper technique to write out staff notation. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and correct staff notation. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study the proper technique for writing out various aspects of music notation such as: |

|Special ED: Adhere to all |note head size, stem direction, placement on the lines and spaces, ledger lines, flags, beaming, spacing, |

|modifications and health concerns |two part, vertical and horizontal arrangement of notes, and placement of accidentals. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students identify mistakes in music and correct them. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students study a variety of printed music taking note of all the music notation techniques and |

|be given more time to complete |forms. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified |G&T Students |

|instructional strategies including:|Provide students with more advanced notation exercises to improve their sight-reading skills. Incorporate|

|Socratic seminar, group |notes in treble and bass clefs as well as using leger lines. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music Literacy |Staff Notation |Use proper technique to write out |Minimum of 3 |

| | |staff notation. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Harmonic Analysis Topic: Consonance and dissonance |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Recognizing the difference between consonance and dissonance helps further develop an ear for music and an understanding of music theory. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

| |

|Is there good and bad harmony? |

|Enduring Understandings |

| |

|The printed pitch and modern notation system exists as a precise plan for performers to recreate music in a rather exact way.  |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|Students will gain an understanding about the influence of jazz on the rebellious youth groups during Hitler’s regime in Germany. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write out music containing consonance and dissonance. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play music containing consonance and dissonance. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

| | |

|Accommodations: |Have the students identify and define the terms consonance and dissonance. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students listen to the spectrum of intervals from more consonant to more dissonant. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |More consonant___________________________________ |

|cognate words whenever possible. | |

|At risk of failure: Students will |More Dissonant |

|be given more time to complete |P8 P5 P4 M3 m6 m3 M6 M2 m7 m2 M7 tritone |

|projects that were not turned in | |

|without penalty. |Have the students listen to music that contains consonance and dissonance. |

|Special Needs: Modified | |

|instructional strategies including:|Suggested Activity to incorporate the Holocaust in music: |

|Socratic seminar, group |Students will study about the influence of American and British ‘swing’ music on rebellious German youths |

|discussions, think-pair-share, |during the Nazi regime in Germany. (see resources below) |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, |G&T Students |

|and completing case studies. |Students will listen to excerpts from baroque, classical, romantic, |

|Gifted and Talented: Modified |Impressionist and 20th Century periods of classical music and |

|instructional strategies including:|reflect/discuss/compare/contrast levels of consonance and/or |

|Socratic seminar, group |dissonance of each. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

| |

|Youtube videos – “The Swing Youth’s Stand Against Nazi Germany - |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Harmonic Analysis |Consonance and dissonance |Identify, label and write out music|Minimum of 3 |

| | |containing consonance and | |

| | |dissonance. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Staff Notation, Harmonic Analysis Topic: Accidentals |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Developing teams and playing games helps students learn from one another and makes learning fun and more memorable. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How is music written? |

|Enduring Understandings |

|The notation tells not only what pitches and rhythms to perform, but also the manner or style in which they should be played. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and write out accidentals. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play music containing accidentals. |

|- ability to correctly write all accidentals. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study accidentals (sharp, double sharp, flat, double flat, natural) |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students transcribe a selection of music writing it using only accidentals. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Next have them rewrite the selection in the proper key signature. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Play an accidental finding game where the students use the board and the piano. |

|be given more time to complete | |

|projects that were not turned in |Have the class split into groups of two. |

|without penalty. | |

|Special Needs: Modified |One student goes to the board and the other to the piano. |

|instructional strategies including:| |

|Socratic seminar, group |The teacher calls out an interval using accidentals and the student on the board writes it out as the |

|discussions, think-pair-share, |student on the piano plays it. |

|individual assignments, more | |

|rigorous rubrics, multimedia |The first team to write and play it correctly wins a point for their team. |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified |G&T Students |

|instructional strategies including:|Students will research enharmonics and use sharps/flats to notate enharmonic equivalents from each key on |

|Socratic seminar, group |the keyboard. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Staff Notation, Harmonic Analysis |Accidentals |Identify, label and write out |Minimum of 3 |

| | |accidentals. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Chords, Harmonic Analysis Topic: Inversions of triads |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Identifying and learning inversions helps move students towards competency in the understanding of music variations. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why are symbols used music? |

|Enduring Understandings |

|Music has the potential to sound different because of the different scales that can be used to put together a melody.  |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

| | | | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, and write inversions. |

|Correctly identify inversions by ear. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|ability to identify, label, and write chords in all inversions. |

|ability to aurally identify chords and their inversions. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students define the term inversion. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students study inversions. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Take three different colored cubes labeled Root, Third and Fifth. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Stack them in root position. |

|be given more time to complete | |

|projects that were not turned in |Take the root and put it on top. |

|without penalty. | |

|Special Needs: Modified |Explain how having the root on top creates first inversion. |

|instructional strategies including:| |

|Socratic seminar, group |Continue the same process with second inversion. |

|discussions, think-pair-share, | |

|individual assignments, more |Play inversions on the piano and have the students identify the tonality and inversion of the chord. |

|rigorous rubrics, multimedia | |

|projects, primary source document, |Have the students sing each note of the inversions. |

|and completing case studies. | |

|Gifted and Talented: Modified |Split the class into three parts and have the students invert a variety of triads. |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Students will learn inversions for 7th chords and how to notate in root position and all 3 inversions. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Chords, Harmonic Analysis |Inversions of triads |Identify, label, and write |Minimum of 3 |

| | |inversions. Identify inversions by | |

| | |ear. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Chords, Harmonic Analysis Topic: Inversions of triads |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Continue review of inversions will help solidify the students’ knowledge and understanding of chords and harmonics. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why does a musician need to understand enharmonic pitches? |

|Enduring Understandings |

|Music is a personal experience. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, and play inversions. |

|Correctly identify inversions by ear. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|ability to identify, label, and play chords in all inversions. |

|ability to aurally identify chords and their inversions. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students write out inversions on flash cards. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students play inversions on the piano. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Play an inversion finding game where two students come up to the piano. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Call out an inversion in any key and have the students play the triad. Use all triads learned thus far. |

|be given more time to complete | |

|projects that were not turned in |The first student to correctly play the inversion receives a point for their team. |

|without penalty. | |

|Special Needs: Modified |Have one student play an inversion and another student identify it by ear. |

|instructional strategies including:| |

|Socratic seminar, group |The listener should identify the inversion as well as the tonality. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students |

|projects, primary source document, |Students will be given piano reductions of music which includes 7th chord inversions. Students will do |

|and completing case studies. |label inversions of each 7th chord. |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Chords, Harmonic Analysis |Inversions of triads |Correctly identify, label, and play|Minimum of 3 |

| | |inversions. | |

| | |Correctly identify inversions by | |

| | |ear. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Chords, Harmonic Analysis Topic: Harmonic analysis of primary chords in the Ionian Mode |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|When analyzing harmonics it is essential to have knowledge of primary chords and Ionian Modes. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Can there be music without enharmonic pitches? |

|Enduring Understandings |

|Music is a language that is spoken and read |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, and write primary chords in the Ionian Mode. |

|Correctly identify, label, correct and write the harmonic analysis of primary chords in the Ionian Mode. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play the primary chords in the Ionian Mode. |

|- ability to aurally identify all primary chords. |

|- ability to apply the harmonic analysis to the primary chords of the Ionian Mode. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students identify the primary chords in the Ionian Mode. |

|Special ED: Adhere to all | |

|modifications and health concerns |Next have them write them out in all keys. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students write out all inversions of all primary chords in the Ionian Mode. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students play the primary chords on the piano and other classroom instruments. |

|be given more time to complete | |

|projects that were not turned in |Apply the harmonic analysis to the chords and write the Roman Numerals on the board. |

|without penalty. | |

|Special Needs: Modified |Next assign a key to each student and have them write out the primary chords. |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Students will learn basic ii-V7-I chord progression in C. They will be able to notate in treble/bass |

|individual assignments, more |clefs as well as perform these with left hand. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Chords, Harmonic Analysis |Harmonic analysis of primary chords|Identify, label, and write primary |Minimum of 3 |

| |in the Ionian Mode |chords in the Ionian Mode. | |

| | |Identify, label, and write the | |

| | |harmonic analysis of primary chords| |

| | |in the Ionian Mode. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals, Chords, Harmonic Analysis Topic: Transposition |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Understanding of how to manipulate the elements of music is a contributing factor to musical artistry. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why do we create harmony? |

|Enduring Understandings |

|Music is a communication tool comprised of several elements that work together |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly transpose a selection of music containing chords and melody into a new key. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|ability to analyze a melody using harmonic analysis, scale degrees and solfege. |

|ability to correctly transpose a melody and chords in all keys. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students define the term transposition. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students analyze a simple melody labeling the following information: |

|stated in each IEP. | |

|ELL: Use and post a word wall of |solfege syllables, intervals and scale degree. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Next have the students rewrite the melody in a new key. |

|be given more time to complete | |

|projects that were not turned in |Have the students transpose chords and inversions in all keys. |

|without penalty. | |

|Special Needs: Modified |Have the students complete a transposition project where they take an entire song with chords and melody |

|instructional strategies including:|and transpose it into all keys. |

|Socratic seminar, group | |

|discussions, think-pair-share, |Have the students creatively design an art driven model to show the song-transposed melody moving in the |

|individual assignments, more |circle of fifths. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified |G&T Students |

|instructional strategies including:|Students will learn basic ii-V7-I chord progression transposing to F and G major. They will be able to |

|Socratic seminar, group |notate in treble/bass clefs as well as perform these with left hand. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals, Chords, Harmonic |Transposition |Transpose a selection of music |Minimum of 3 |

|Analysis | |containing chords and melody into a| |

| | |new key. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Chords, Harmonic Analysis Topic: Seventh Chords |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Basic vocal and instrumental arranging skills require theoretical understanding of music composition. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Is harmony necessary to make beautiful music? |

|Enduring Understandings |

|Timber adds color to sound. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write all seventh chords. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to correctly identify, label and write all seventh chords in all keys. |

|- ability to attach an emotion or feeling to the sound of each chord. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study the following seventh chords: |

|Special ED: Adhere to all |major seventh, minor seventh, augmented seventh, dominant seventh, minor major seventh, diminished |

|modifications and health concerns |seventh, seven sus2, seven sus4. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students study the intervals between each note that make up the seventh chords. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Next have them transpose the seventh chords in all keys. |

|be given more time to complete | |

|projects that were not turned in |Study scores and popular songs that incorporate the seventh chord. |

|without penalty. | |

|Special Needs: Modified |Study the 12 bar blues and the function of the dominant seven. |

|instructional strategies including:| |

|Socratic seminar, group |Listen to the color of each seventh chord and describe its emotional attachment and feeling. |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Students will look at how the secondary dominant functions within the 12-bar blues and be able to a chord |

|projects, primary source document, |analysis of the blues using all secondary dominant function chords. |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Chords, Harmonic Analysis |Seventh Chords |Identify, label and write all |Minimum of 3 |

| | |seventh chords. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Chords, Harmonic Analysis Topic: Seventh Chords |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|The more knowledge students gain in technical skills will allow them to be able to create their own compositions. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What purpose does music have? |

|Enduring Understandings |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|Music can represent emotions. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label and play all seventh chords. |

|Create a song that uses only seventh chords that invoke a particular feeling. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to correctly identify, label, hear and play all seventh chords in all keys. |

|- ability to attach an emotion or feeling to the sound of each chord. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the play all the seventh chords on the piano in all keys. |

|Special ED: Adhere to all | |

|modifications and health concerns |Play a seventh chord finding game where two students come up to the piano. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Call out a chord and key and the first student to successfully play it on the piano will receive a point |

|cognate words whenever possible. |for their team. |

|At risk of failure: Students will | |

|be given more time to complete |Write a chord progression using only seventh chords. |

|projects that were not turned in | |

|without penalty. |Chose a particular feeling (happy, sad, scared etc.) and try to capture that feeling using specific |

|Special Needs: Modified |seventh chords. |

|instructional strategies including:| |

|Socratic seminar, group |Review the sound of each chord. |

|discussions, think-pair-share, | |

|individual assignments, more |Invert all seventh chords on the staff and on the piano. |

|rigorous rubrics, multimedia | |

|projects, primary source document, |Play all seventh chords on the piano and have the students listen and identify the tonality of the chord. |

|and completing case studies. | |

|Gifted and Talented: Modified |G&T Students |

|instructional strategies including:|Students will learn iii7-vi7-ii7-V7-IM7 chord progression in C. They will be able to notate in root |

|Socratic seminar, group |position as well as play in root position on piano with left hand. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Chords, Harmonic Analysis |Seventh Chords |Identify, label and play all |Minimum of 3 |

| | |seventh chords. | |

| | |Create a song that uses only | |

| | |seventh chords that invoke a | |

| | |particular feeling. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals, Chords and Harmonic Analysis Topic: Seventh chord inversions |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|The further technical advancements the students make will increase their competency in music theory and literacy. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why is music such an integral part of the human experience? |

|Enduring Understandings |

|Music is organized sound. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write and play all seventh chord inversions. |

|Correctly identify by ear, all seventh chords in all inversions. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to correctly identify, label, hear and play all seventh chords and their inversions in all keys. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students invert all seventh chords and play them on the piano. |

|Special ED: Adhere to all | |

|modifications and health concerns |Play inverted seventh chords and have the students figure out the harmonic analysis of the chord and it’s |

|stated in each IEP. |inversion. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Using leading tones and inversions, voice lead the I Maj7, VIm 7, IVMaj7, V7 progression in one position. |

|At risk of failure: Students will | |

|be given more time to complete | |

|projects that were not turned in |G&T Students |

|without penalty. |Students will learn iii7-vi7-ii7-V7-IM7 chord progression in F and G. They will be able to notate in root|

|Special Needs: Modified |position as well as inversions using proper voice leading to find least amount of movement in left hand. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals, Chords and Harmonic |Seventh chord inversions |Identify, label, write and play all|Minimum of 3 |

|Analysis | |seventh chord inversions. | |

| | |Identify by ear, all seventh chords| |

| | |in all inversions. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Intervals, Chords and Harmonic Analysis Topic: Upper structure triads |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Combining voice and complex chords will create more advanced compositions. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What inspires someone to create a piece of music? |

|Enduring Understandings |

|Structure creates order and clarity in music. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label and write upper structure triads and seventh chords with tensions. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to correctly identify, label, hear and play seventh chords that use upper structure triads. |

|- ability to correctly harmonically analyze jazz charts that use upper structure triads. |

|- ability to label all tensions available during any “chord of the moment” using it’s chord scale. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students discover tensions. (9,11,13). |

|Special ED: Adhere to all | |

|modifications and health concerns |Play seventh chords and add tensions starting with simple chords such as: I9, I13. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Write out all the chord scales for the seventh chords and discover the available tensions. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Focus on chords that use the flat and sharp 9 (C7b9, C7#9). |

|be given more time to complete | |

|projects that were not turned in |Define upper structure triad and build them on top of seventh chords. |

|without penalty. | |

|Special Needs: Modified |Study jazz charts that use upper structure triads. |

|instructional strategies including:| |

|Socratic seminar, group |Spell out the voicing on the piano and have the students play the complex chords. |

|discussions, think-pair-share, | |

|individual assignments, more |Continue studying complex jazz chords that use b9, #9, b11, #11, b13, #13. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. |G&T Students |

|Gifted and Talented: Modified |Students will learn chord extensions major/minor/dominant 9th chords learning to play with both hands on |

|instructional strategies including:|piano. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Intervals, Chords and Harmonic |Upper structure triads |Identify, label and write upper |Minimum of 3 |

|Analysis | |structure triads and seventh chords| |

| | |with tensions. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Note and rest values Topic: Whole, half, dotted half, and quarter notes/rests. |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Knowledge of rhythms and notations is an integral part of music theory. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Does a performance have to be public to be meaningful? |

|Enduring Understandings |

|The notation specifies not only the pitches and rhythms that are to be performed, but also the manner or style in which they should be played.|

| |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label, write, count and play rhythms that contain the whole, dotted half, half and quarter notes/rests. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to correctly identify, label, write, count and play the rhythms containing the whole, dotted half, half and quarter notes/rests. |

|- ability to illustrate rhythms in different ways. |

| |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study all rhythms and practice counting with a metronome on classroom instruments. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students find other ways to illustrate the note durations. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students create a chart with all durations. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students play a rhythm game where they play a note on classroom instruments and the students |

|be given more time to complete |identify the note duration. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified |G&T Students: |

|instructional strategies including:|Design/create and notate several rhythm patterns using |

|Socratic seminar, group |quarter, 8th, 16th notes/rests and perform these on piano as |

|discussions, think-pair-share, |well as rhythm instruments. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Note and rest values |Whole, half, dotted half, and |Identify, label, write, count and |Minimum of 3 |

| |quarter notes/rests. |play rhythms that contain the | |

| | |whole, dotted half, half and | |

| | |quarter notes/rests. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Note and rest values Topic: Eighth and sixteenth notes |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Rhythm is an essential part of music theory. By performing rhythms on various instruments, it helps students solidify their knowledge of |

|rhythm. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What musical clues in a composition determine how it is to be performed? |

|Enduring Understandings |

|Music can be taught, learned, and performed through a variety of methodologies |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write, count and play rhythms that contain the eighth and sixteenth notes/rests. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to correctly identify, label, write, count and play the rhythms containing eighth and sixteenth notes/rests. |

|- ability to illustrate rhythms in different ways. |

|- ability to write ostinatos containing all rhythms. Students should be able to hold their part. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study all rhythms and practice counting with a metronome on classroom instruments. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students find other ways to illustrate the note durations. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students create a chart with all durations. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students play a rhythm game where they play a note on classroom instruments and the students |

|be given more time to complete |identify the note duration. |

|projects that were not turned in | |

|without penalty. |Build three part ostinatos containing all rhythms. |

|Special Needs: Modified | |

|instructional strategies including:|Have the students play all parts on classroom instruments. |

|Socratic seminar, group | |

|discussions, think-pair-share, |Make sure the students play all parts on varying instruments. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, |G&T Students: |

|and completing case studies. |Research the word syncopation and find examples of syncopated rhythm patterns. Then, find examples of a |

|Gifted and Talented: Modified |syncopated melody line that is performed by a single line instrumentalist and try to transcribe the line. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Note and rest values |Eighth and sixteenth notes |Identify, label, write, count and |Minimum of 3 |

| | |play rhythms that contain the | |

| | |eighth and sixteenth notes/rests. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Note and rest values Topic: Tempos |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them |

|Overview/Rationale |

|Knowledge of tempo is vital when establishing the mood of the piece. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What makes a significant and meaningful performance? |

|Enduring Understandings |

|Knowledge and manipulation of these elements create different styles of music. |

|Students will gain an understanding of African-American composers who wrote music in the Jazz style. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write, count and play rhythms in varying tempos. |

|Correctly use proper terms for different tempos. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write, count and play rhythms in varying tempos. |

|- ability to chose the correct tempo term for varying songs. |

|- ability to critique music based on its tempo. Would it be better faster or slower? |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study and define all terms for varying tempos. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students listen to the different tempos using a metronome. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students listen to music and label the tempo by BPM and the correct tempo vocabulary word. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students play audio clips (using software or hardware that speeds up and slows down music) at |

|be given more time to complete |different tempos and decide which tempo sounds the best for that particular piece of music. |

|projects that were not turned in | |

|without penalty. |Have the students play simple and complex rhythms at different tempos focusing on keeping the beat steady.|

|Special Needs: Modified | |

|instructional strategies including:|Suggested Activity to incorporate Amistad law in music: |

|Socratic seminar, group |Students will study the music of Scott Joplin, James Reese Europe, Duke Ellington and Wynton Marsalis. |

|discussions, think-pair-share, |They will learn about the contribution to jazz of each artist. Each of these musicians lived in different |

|individual assignments, more |time periods of jazz history. Students will also learn the characteristics of each of their unique style |

|rigorous rubrics, multimedia |of jazz and how they were integrated within the evolution of American culture. (see resources below) |

|projects, primary source document, | |

|and completing case studies. |G&T Students: |

|Gifted and Talented: Modified |Students will learn to play an assigned piece on piano at a slow tempo and practice until it can be |

|instructional strategies including:|performed at a considerably quicker tempo. Then, they will record the performances at the beginning tempo|

|Socratic seminar, group |and the final, quick tempo and assess/critique the two performances, discussing how the change in tempo |

|discussions, think-pair-share, |changes the feel/emotional aspects of the performance. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|YouTube videos (selected music of Joplin, Europe, Ellington, Marsalis) |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Note and rest values |Tempos |Identify, label, write, count and |Minimum of 3 |

| | |play rhythms in varying tempos. | |

| | |Correctly use proper terms for | |

| | |different tempos. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Notation Topic: Grouping of beats and beaming |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Physically writing rhythms is key to comprehending the building blocks of music. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

|Essential Question(s) |

|What is good music? |

|Enduring Understandings |

|Music expresses human experiences and values. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Identify, label, write and correct beaming for eight and sixteenth notes. |

|Correctly fill measures using correct beat notation. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and correct beaming for eighth and sixteenth notes. |

|- ability to fill measures using correct beat notation. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the student correct beaming and spacing techniques. |

|Special ED: Adhere to all | |

|modifications and health concerns |Study scores and focus on how notes are spaced and beamed. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Use a notation program and watch how the computer spaces out notes and uses correct beaming. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Play a game where the students try to write a rhythm focusing on beaming and note spacing. |

|be given more time to complete | |

|projects that were not turned in |Enter the rhythm into the notation program and see what student had the best looking notation. |

|without penalty. | |

|Special Needs: Modified |Have the students fix incorrect rhythms and beaming. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, |G&T Students: |

|individual assignments, more |Error Detection – Students will be given a complex rhythm pattern filled with errors, some with actual |

|rigorous rubrics, multimedia |note values and some with beam errors. Students will re-copy rhythm pattern below and correct all errors |

|projects, primary source document, |as well as show all counts for notes/rests below the actual rhythm pattern. |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Notation |Grouping of beats and beaming |Identify, label, write and correct |Minimum of 3 |

| | |beaming for eight and sixteenth | |

| | |notes. | |

| | |Correctly fill measures using | |

| | |correct beat notation. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Rhythm Topic: Simple and compound beats |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Writing simple compound beats and performing them on instruments helps solidify the comprehension of rhythm. |

|Standard(s) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why can pulses in a rhythm be broken? |

|Enduring Understandings |

|Producing a series of sounds of repeated or varied duration creates rhythm |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write and play simple and compound beats. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play simple and compound beats |

|- ability to write and play simple and compound beats on classroom instruments. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to simple and compound beats and compare. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students practice writing and playing simple and compound beats. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students layer simple and compound beats. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students play the rhythms on classroom instruments switching parts constantly. |

|be given more time to complete | |

|projects that were not turned in | |

|without penalty. |G&T Students: |

|Special Needs: Modified |Students will be given orchestral reductions of examples with different compound meters and will be able |

|instructional strategies including:|to analyze the beats per measure for each example. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

| | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Rhythm |Simple and compound beats |Identify, label, write and play |Minimum of 3 |

| | |simple and compound beats. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Time Signatures Topic: Simple and compound |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Knowledge of time signatures is an important fundamental of music literacy. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

|Essential Question(s) |

|How many pulses can compound rhythm be broken? |

|Enduring Understandings |

|Music is separated into two types of rhythms, simple, and compound. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label, write and play rhythms in simple and compound time signatures. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play rhythms in simple and compound meter. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study, listen, play, write and correct rhythms in the following simple meters: |

|Special ED: Adhere to all |2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 3/8, 5/8, 6/8, 7/8, 12/8, cut time etc. |

|modifications and health concerns | |

|stated in each IEP. |Have the students study and plays rhythms in the following compound meters: |

|ELL: Use and post a word wall of |3/2, 6/2, 9/2, 12/2, 9/4, 12/4, 3/16, 6/16, 9/16, 12/16, 3/32, 6/32, 9/32, 12/32. |

|cognate words whenever possible. | |

|At risk of failure: Students will | |

|be given more time to complete | |

|projects that were not turned in |G&T Students: |

|without penalty. |Students will be given listening examples of performances consisting of all types of meters: simple duple,|

|Special Needs: Modified |compound duple, simple triple, compound triple, simple quadruple, compound quadruple and will be able to |

|instructional strategies including:|determine, through active listening, what they are listening to. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Time Signatures |Simple and compound |Identify, label, write and play |Minimum of 3 |

| | |rhythms in simple and compound time| |

| | |signatures. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Tonic and Dominant |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|By creating a melody, which includes an accompaniment that incorporates a tonic or dominant cadence helps students further grasp the concept |

|of cadences. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why do we make music? |

|Enduring Understandings |

|Basic chord progressions are found in major and minor keys. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write and play cadences using tonic and dominant progressions and chords. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play progressions that use tonic and dominant cadences. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to cadences that use the tonic and dominant chord progressions. |

|Special ED: Adhere to all | |

|modifications and health concerns |Point out where the cadence happens within a progression. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students read and follow along with the music as it plays through the progression ending in a |

|cognate words whenever possible. |cadence that utilizes the tonic and dominant function. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students write a melody and accompaniment that uses a tonic or dominant cadence. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified |G&T Students |

|instructional strategies including:|Students will view at workstations the David Farrell video on cadences while taking notes. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

| | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|YouTube video: |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Tonic and Dominant |Identify, label, write and play |Minimum of 3 |

| | |cadences using tonic and dominant | |

| | |progressions and chords. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Major and minor cadences |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Incorporating major and minor cadences in a melody will provide students will a better understanding of cadences. |

| |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, and/or|

|storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have been|

|employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style |

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are used|

|to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, mood|

|and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by |

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an |

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and |

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal |

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or |

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of music,|

|context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media and|

| |formats, including visually and quantitatively, as well as in words. |

|Essential Question(s) |

|Are cadences necessary in all music? |

|Enduring Understandings |

|Major and minor key signatures have a pattern by which they are placed on the staff |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write and play major and minor cadences. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play progressions that use major and minor cadences. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to major and minor cadences within a chord progression. |

|Special ED: Adhere to all | |

|modifications and health concerns |Point out where the cadence happens within a progression. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students read and follow along with the music as it plays through the progression. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students write a melody and accompaniment that uses major and minor cadences. |

|be given more time to complete | |

|projects that were not turned in |Have the students listen to progressions using major and minor cadences. |

|without penalty. | |

|Special Needs: Modified |Have the students critique the progression commenting on the emotion generated from the major or minor |

|instructional strategies including:|cadences. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Students will complete the David Farrell video on cadences while taking notes at workstations. |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Major and minor cadences |Identify, label, write and play |Minimum of 3 |

| | |major and minor cadences. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Plagual cadence |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Knowledge of plagual cadences within a chord progression will scaffold on students’ prior knowledge of cadences. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

|Essential Question(s) |

|Does musical knowledge improve performance? |

|Enduring Understandings |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|Students will understand relationships of important classical composers and what their contributions were to the arts. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label, write and play progressions that use a plagual cadences. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play progressions that use the plagual cadence. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to plagual cadences within a chord progression. |

|Special ED: Adhere to all | |

|modifications and health concerns |Point out where the cadence happens within a progression. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students read and follow along with the music as it plays through the progression. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students write a melody and accompaniment that uses the plagual cadence. |

|be given more time to complete | |

|projects that were not turned in |Have the students study the plagual cadence and it’s role in sacred music. |

|without penalty. | |

|Special Needs: Modified |Suggested Activity to incorporate persons with disabilities:/LGBTQ |

|instructional strategies including:|Students will study and learn about two classical composers from two very different periods in music |

|Socratic seminar, group |history: Peter Ilyich Tchaikovsy (Romantic) and Aaron Copland (20th Century). We will look at how they |

|discussions, think-pair-share, |identified with being gay and how it influenced their music. (See resources below.) |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students |

|projects, primary source document, |Students will be provided with copies of several Bach chorales and will do analysis of each looking for |

|and completing case studies. |and labeling all plagal cadences. |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

| | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|YouTube – (Tchaikovsky – ‘Nutcracker’ ballet, Copeland – Appalachian Spring) |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Plagual cadence |Identify, label, write and play |Minimum of 3 |

| | |progressions that use a plagual | |

| | |cadences. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Full and Half Cadence |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|A Plagual candence provides another method of creating a close or ending of the composition or parts within the composition. It specifically |

|ends with a chord of the tonic that is preceded by that of the subdominant. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|One reads music, does that make it literature? |

|Enduring Understandings |

|Elements of music are combined to create different styles and effects |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

| |

|Correctly identify, label, write and play Plagual cadences. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play progressions that use the Plagual cadence. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to songs that contain the Plagual cadence. |

|Special ED: Adhere to all | |

|modifications and health concerns |Study genres that contain the Plagual cadence. (Sacred music) |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Transpose songs with the Plagual cadence. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Write music that end with the Plagual cadence. |

|be given more time to complete | |

|projects that were not turned in | |

|without penalty. |G&T Students |

|Special Needs: Modified |Students will be given score reductions for excerpts of several classical pieces and will analyze all |

|instructional strategies including:|cadences throughout the examples given. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

| | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Plagual Cadence |Correctly identify, label, write |Minimum of 3 |

| | |and play Plagual cadences. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Deceptive Resolution |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Dissonance, resolution, and suspense can be used to create musical interest. Resolution in western tonal music theory is the move of a note |

|or chord from dissonance to a consonance. Where a melody or chordal pattern is expected to resolve to a certain note or chord, a different but|

|similarly suitable note can be resolved to instead, creating an interesting and unexpected sound. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What effect does music have on culture, and culture have on music? |

|Enduring Understanding(s) |

|Forms in music have changes throughout the history of Western Music. Each musical period has particular characteristics that are unique to |

|it, which is evidenced through both looking at the music and listening to examples. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, write and play cadences that contain deceptive resolution. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, write and play progressions that use deceptive resolution cadence. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to songs that contain deceptive resolution. |

|Special ED: Adhere to all | |

|modifications and health concerns |Explain to the students how the ear wants to hear a particular resolution and how the progression is |

|stated in each IEP. |dramatically effected when the root resolves to unexpected resolution. (V-vi) |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students analyze and write music containing deceptive resolution. |

|At risk of failure: Students will | |

|be given more time to complete | |

|projects that were not turned in |G&T Students |

|without penalty. |Research/find popular music that makes use of deceptive resolutions |

|Special Needs: Modified |within the harmonic content. Through active listening, try to sketch a rough analysis of the piece found.|

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Deceptive Resolution |Correctly identify, label, write |Minimum of 3 |

| | |and play cadences that contain | |

| | |deceptive resolution. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Reharmonization techniques. |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Knowing the difference in sound between standard chords and reharmonized chords will give students more opportunities when creating their |

|desired sounds when developing their own compositions. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What makes a good performance? |

|Enduring Understandings |

|Music serves multiple functions: enlightenment, education, and entertainment. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze and reharmonize chord changes. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze and reharmonize chord changes. |

|- ability to play a song as is and reharmonized. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students listen to a standard performed with the original chord changes. |

|Special ED: Adhere to all | |

|modifications and health concerns |Next, have them listen to the same song with a different arrangement that contains reharmonization. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students critique the two performances. Have the compare and contrast. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students study particular changes that are reharmonized often. |

|be given more time to complete |(tri-tone substitution for the V, I/V for the V etc.) |

|projects that were not turned in | |

|without penalty. |Have the students play a standard as is and then reharmonized. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Students will re-harmonize a iii-vi-ii-V7-I chord progression in C, G, and F using tri-tone substitutions |

|individual assignments, more |and show the secondary dominant substitutions within the analysis. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Reharmonization techniques. |Correctly analyze and reharmonize |Minimum of 3 |

| | |chord changes. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Tri-tone Substitution |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Tri-tone substitution will advance the students’ knowledge of cadences. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in words|

|Essential Question(s) |

|Why do we critique performances? |

|Enduring Understandings |

|Music serves multiple functions: enlightenment, education, and entertainment. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read, write and apply tri-tone substitutions. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read and write tri-tone substitutions. |

|- ability to find the tri-tone of any note or chord. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study tri-tone substitutions. |

|Special ED: Adhere to all |It is a replacement for the V chord. |

|modifications and health concerns |Define the tri-tone (#IV). |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Next, have them listen to songs containing tri-tone substitutions along with a recording that does not |

|cognate words whenever possible. |have the substitution. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students critique the harmonic change they hear. |

|projects that were not turned in | |

|without penalty. |Have the students discuss/write which sound they like better: with the tri-tone substitution or without. |

|Special Needs: Modified | |

|instructional strategies including:|Have the students discuss/write how the tri-tone substitution changes the feeling and/or emotion of the |

|Socratic seminar, group |song. |

|discussions, think-pair-share, | |

|individual assignments, more |Have the students read and write tri-tone substitutions in original and written music. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. |G&T Students |

|Gifted and Talented: Modified |Allow students to expand on ideas and create assignments that go outside of the guidelines of the general |

|instructional strategies including:|class assignment. |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Tri-tone Substitution |Correctly analyze, label, read, |Minimum of 3 |

| | |write and apply tri-tone | |

| | |substitutions. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Traditional harmony chord progressions and analysis (traditional) |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Traditional harmony chord progressions will continue to scaffold on students’ knowledge of cadences. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

| |

|How does life experiences influence music? |

|Enduring Understandings |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales.The artistic process can lead to unforeseen or unpredictable outcomes. |

|Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, |

|composer, inventory, marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

| | | | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read, write and play traditional music using traditional analysis. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read and write music using traditional composition and analysis. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study traditional chord analysis. |

|Special ED: Adhere to all | |

|modifications and health concerns |Next teach them 6 (first inversion of a major chord), 64 (second inversion of a major chord), 7 (root of a|

|stated in each IEP. |7th chord), 65 (first inversion of a 7th chord), 43 (second inversion of a 7th chord), and 42 (third |

|ELL: Use and post a word wall of |inversion of a 7th chord) inversions. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students study score that have been analyzed using traditional standards. |

|be given more time to complete | |

|projects that were not turned in |Have the students analyze chord progressions using traditional methods. |

|without penalty. | |

|Special Needs: Modified | |

|instructional strategies including:|G&T Students |

|Socratic seminar, group |Students will be given a chord progression with 7th chords for piano and they will do a harmonic analysis |

|discussions, think-pair-share, |using figured bass numbers for all chords. |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Traditional harmony chord |Analyze, label, read, write and |Minimum of 3 |

| |progressions and analysis |play traditional music using | |

| |(traditional) |traditional analysis. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Cadences Topic: Contemporary chord progressions and analysis (jazz) |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|By analyzing the cadences in jazz compositions, it will help students internalize their knowledge of this concept. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How does music education affect a community? |

|Enduring Understandings |

|Different styles of music are all art forms. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read, write and play contemporary and jazz music. |

|Use jazz harmonic analysis to analyze music jazz and contemporary music. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read and write music using jazz composition and analysis. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study jazz harmony. |

|Special ED: Adhere to all | |

|modifications and health concerns |Use jazz harmonic analysis to analyze contemporary and jazz scores. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students listen to music while looking at the score with the analysis. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students write the analysis on a score while listening to the recording. |

|be given more time to complete | |

|projects that were not turned in |Have the students write chord changes in several different keys and harmonically analyze it using jazz |

|without penalty. |theory. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Students will look at a big band chart and do harmonic analysis of jazz chords including extensions and |

|individual assignments, more |altered pitches. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Cadences |Contemporary chord progressions and|Correctly analyze, label, read, |Minimum of 3 |

| |analysis (jazz) |write and play contemporary and | |

| | |jazz music. | |

| | |Use jazz harmonic analysis to | |

| | |analyze music jazz and contemporary| |

| | |music. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Modes Topic: Modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrain |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Recognizing the patterns in the Ionian, Dorian, Phrgian, Lydian, Mixolydian, Aeolian, and Locrain Modes will provide a better understanding |

|of modes and their purposes. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Can music change a country? |

|Enduring Understandings |

|Some very prominent music have used Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrains Modea. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read, write and play all the modes. (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrain) |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to write out the modes in all keys. |

|- ability to analyze, label, read, write and play music in all the modes. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study the history of the modes. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students write out the major scale in the key of “C”. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Next, have the students analyze the intervals in half and whole steps. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Go through the rest of the modes and analyze the pattern. |

|be given more time to complete | |

|projects that were not turned in |Explain how the pattern shifts as you increase to the next mode. |

|without penalty. | |

|Special Needs: Modified |Have the students write out all the modes in every key. |

|instructional strategies including:| |

|Socratic seminar, group |Have the students listen and play music written in varying modes. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. |G&T Students |

|Gifted and Talented: Modified |Students will be given a lead sheet for Miles Davis’ modal tune “So What” and they will then sketch out a |

|instructional strategies including:|simple harmonic analysis so they can follow along while they actively listen to the landmark performance |

|Socratic seminar, group |on YouTube while taking notes. Put thoughts/ideas together while reflecting on what was heard. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Modes |Modes: Ionian, Dorian, Phrygian, |Analyze, label, read, write and |Minimum of 3 |

| |Lydian, Mixolydian, Aeolian, |play all the modes. (Ionian, | |

| |Locrain |Dorian, Phrygian, Lydian, | |

| | |Mixolydian, Aeolian, Locrain) | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Modes Topic: Modal interchange and harmonic analysis |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Modal interchange is the practice of temporarily borrowing chords from a parallel tonality/modality without abandoning the established key. |

|This technique has been around for centuries and is well established in most genres, including rock, pop, jazz and classical music. For |

|example, the Natural Minor key for example, inherently relies on modal interchange to create a strong dominant cadence |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Can music change your life? |

|Enduring Understandings |

|Creativity can inspire thought |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

| | | | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly analyze scores and label the correct harmonic analysis. |

|Study modal interchange and correctly apply the concept to songs and improvisation. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read and write music using all of the modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrain |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study jazz harmonic analysis. (see appendix) |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students analyze jazz standards and apply the correct harmonic analysis. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Start with simple songs and changes and progress to harder songs that use modal interchange and key |

|cognate words whenever possible. |changes. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students study modal interchange. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified | |

|instructional strategies including:|G&T Students |

|Socratic seminar, group |Students will be given a lead sheet for Oliver Nelson’s modal tune “Stolen Moments” and they will then |

|discussions, think-pair-share, |sketch out a simple harmonic analysis (this is more complex than the Miles tune) so they can follow along |

|individual assignments, more |while they actively listen to the landmark performance on YouTube while taking notes. Put thoughts/ideas |

|rigorous rubrics, multimedia |together while reflecting on what was heard. |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Modes |Modal interchange and harmonic |Correctly analyze scores and label |Minimum of 3 |

| |analysis |the correct harmonic analysis. | |

| | |Study modal interchange and | |

| | |correctly apply the concept to | |

| | |songs and improvisation. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Modes Topic: Chord scales using the modes. |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|A mode is a scale that is created by establishing a new root to within a pre-existing scale. Modes are different ways of thinking about |

|scales and keys. Using modes allows us to allocate an individual mode/scale to every single chord in a progression. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why have people created music since the dawn of history? |

|Enduring Understandings |

|Creating and performing music are forms of self-expression. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

| | | | | | |

| | | | | | |

| | | | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly analyze, label, read, write and play chord scales using all the modes. |

|Assessments |

|Formative: Student(s) will be able to play musical exercises in order to raise their level of proficiency in playing their chosen instruments |

|in class and in performances |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Explain to the students how when analyzing the harmony within a song, each chord has it’s own scales |

|Special ED: Adhere to all |called “chord scales”. |

|modifications and health concerns | |

|stated in each IEP. |Explain how each chord scale is derived from a modal scale. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students analyze a simple jazz standard and discover the chord scale for every chord within the |

|At risk of failure: Students will |song. |

|be given more time to complete | |

|projects that were not turned in |Have the students harmonically analyze a song and write out all the chord scales. |

|without penalty. | |

|Special Needs: Modified |Have the students transpose songs and rewrite the chord scales. |

|instructional strategies including:| |

|Socratic seminar, group |Have the students play an improvised melody adjusting to the new chord scale as the harmony changes. |

|discussions, think-pair-share, | |

|individual assignments, more |Have the students listen to a jazz musician improvise a song using chord scales. |

|rigorous rubrics, multimedia | |

|projects, primary source document, |G&T Students |

|and completing case studies. |Students will learn/practice and become proficient in playing all modes within the C major scale on piano |

|Gifted and Talented: Modified |– both hands |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

| |College presentations, field trips, guest speakers. |

|D | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Modes |Chord scales using the modes. |Correctly analyze, label, read, |Minimum of 3 |

| | |write and play chord scales using | |

| | |all the modes. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Form Topic: Phrase, the period, repetition and sequence |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Learning phrases gives the students the opportunity to create a complete musical thought, which ends with a cadence. A period is a pair of |

|phrases that work together, followed by a sequence. By repeating the period in sequences will allow student to create several measures of |

|music. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Why did humanity decide that music should have a beat? |

|Enduring Understandings |

|Each music performance is unique. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read, write and play music that contains the following techniques for establishing form: phrase, the period, |

|repetition and sequence. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read, write and play music that contains the following techniques for establishing form: phrase, the period, |

|repetition and sequence. |

|- ability to transpose a melody into all keys. |

|- ability to analyze the intervals from each note within their melody. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

| | |

| |Have the students study melody writing and the following techniques: writing a phrase, the period, |

| |repetition and sequence. |

|Activities | |

|Accommodations: |Have the students write out a melody using those techniques and then transpose it into every key. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students analyze the intervals for every note within their melody. |

|stated in each IEP. | |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |G&T Students |

|At risk of failure: Students will |Students will use workstations to view David Farrell’s lecture on Musical Form – Part II – Period and |

|be given more time to complete |Sentence, taking notes and reflecting on what was discussed. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Form |Phrase, the period, repetition and |Analyze, label, read, write and |Minimum of 3 |

| |sequence |play music that contains the | |

| | |following techniques for | |

| | |establishing form: phrase, the | |

| | |period, repetition and sequence. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Pitch Topic: Intervals and scales passages, leading tones |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Understanding of the fact that some notes sound higher than others – this difference is called pitch. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

| | |

|Essential Question(s) |

|Could people who do not share the same language, communicate through music? |

|Enduring Understandings |

|Music is the universal language. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read and write melodies focusing on intervals, scales passages and leading tones. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read and write melodies focusing on intervals, scales passages and leading tones. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study how chord scales and leading tones are used in melody construction. |

|Special ED: Adhere to all | |

|modifications and health concerns |Analyze the intervals within the melody and transpose into all keys. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students write several combinations of chords and discover all leading tones. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students harmonically analyze several songs and write the chord scales for each chord. |

|be given more time to complete | |

|projects that were not turned in |Next, have the students isolate the leading tones between each scale. |

|without penalty. | |

|Special Needs: Modified |Have the students write a new melody using the chord scales and leading tones. |

|instructional strategies including:| |

|Socratic seminar, group |G&T Students |

|discussions, think-pair-share, |Allow students to expand on ideas and create assignments that go outside of the guidelines of the general |

|individual assignments, more |class assignment. Focus on the leading tone, proper voice leading, focal point, conjunct motion within |

|rigorous rubrics, multimedia |the melodic line. |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

| | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Pitch |Intervals and scales passages, |Correctly analyze, label, read and |Minimum of 3 |

| |leading tones |write melodies focusing on | |

| | |intervals, scales passages and | |

| | |leading tones. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Harmonic Implication Topic: Harmonic implication in a melody |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Knowledge of the evolution of western harmony would be incomplete without a discussion of the harmonic series and its implications for tonal |

|harmony. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|If we were to discover other intelligent life in the universe, would the aliens create music? Would it have any similarities to our music? |

|How could it be different? How could it be similar? |

|Enduring Understandings |

|All music has value even if it differs from an individual’s musical preferences. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

| | | | | | |

|Student Learning Targets/Objectives |

| |

|Correctly analyze and label the correct harmony through harmonic implication. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze a melody and write the correct harmony by using harmonic implication. |

|- ability to write a melody and use harmonic implication to find the correct harmony. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study harmonic implication. Have the students look at a Mozart melody and discover the |

|Special ED: Adhere to all |harmony using harmonic implication. |

|modifications and health concerns | |

|stated in each IEP. |Have a students write out a simple melody and have another student discover the melody through harmonic |

|ELL: Use and post a word wall of |implication. |

|cognate words whenever possible. | |

|At risk of failure: Students will | |

|be given more time to complete |G&T Students |

|projects that were not turned in |Allow students to expand on ideas by using melodies composed on last assignment, compose/notate a proper |

|without penalty. |harmonic reduction to compliment the melody. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Harmonic implication |Harmonic implication in a melody |Correctly analyze and label the |Minimum of 3 |

| | |correct harmony through harmonic | |

| | |implication. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Rhythm and Meter Topic: Rhythm and meter |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Rhythm and meter are both important elements of music and are terms used to relate music to time. A Meter refers to the organization of time |

|in music and the time signature defines the meter of a piece of music. It is essential that students understand the relationship between the |

|two. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|Are simple meters and compound meters necessary in music? |

|Enduring Understandings |

|Rhythmic and melodic notation facilitate the learning of music on an instrument |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly incorporate rhythm and meter techniques into melody and part writing. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label and write melodies using rhythmic |

|devices. |

|- ability to analyze, label and write melodies using metrical techniques. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study rhythmic techniques and the correlation between melodic sequence and rhythmic |

|Special ED: Adhere to all |sequence. |

|modifications and health concerns | |

|stated in each IEP. |Compare, contrast and critique melodies with similar and dissimilar melodic and rhythmic sequences. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students study metrical use from the fifteenth and sixteenth century. |

|At risk of failure: Students will | |

|be given more time to complete |Compare and contrast the form and use of meter from fifteenth and sixteenth century to modern music. |

|projects that were not turned in | |

|without penalty. | |

|Special Needs: Modified |G&T Students |

|instructional strategies including:|Students will look at highlights of Carl Orff’s Carmina Burana and analyze his effective use of mixed |

|Socratic seminar, group |meter within this choral work. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Music Literacy |Rhythm and meter |Correctly incorporate rhythm and |Minimum of 3 |

| | |meter techniques into melody and | |

| | |part writing. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Melodic composition Topic: Melodic composition techniques |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|A composer begins with writing a melody and builds chords to support that melody, which is the most important part of the song. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How is melody created? |

|Enduring Understandings |

|The main idea of most musical compositions is expressed through the melody. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze melodies and incorporate composition techniques in melody writing. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label and write melodies using rhythmic devices. |

|- ability to analyze, label and write melodies using metrical techniques. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study melodic composition techniques such as; retrograde, repetition, sequence, |

|Special ED: Adhere to all |inversion, periods, phrases etc. |

|modifications and health concerns | |

|stated in each IEP. |Have the students write and analyze melodies using the learned techniques. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students listen to what makes a good melody memorable. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students sing the melody to simple yet effective melodies (such as Beethoven’s ninth). Next have |

|projects that were not turned in |them sing melodies with large leaps and no repetition. |

|without penalty. | |

|Special Needs: Modified |Have the students compare, contrast and critique the melodies. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more |G&T Students |

|rigorous rubrics, multimedia |Provide more advanced techniques and methods that students can choose to do as an alternative to the |

|projects, primary source document, |general class assignment. |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Melodic composition techniques |Analyze melodies and incorporate |Minimum of 3 |

| | |composition techniques in melody | |

| | |writing. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Melodic Composition Topic: Harmonic progressions using the leading tone and inversions |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|It is important for students to have knowledge of harmonic progression, which is a series of chord changes forming the underlying harmony of |

|the piece of music. Knowledge of the leading tone is also key when designing harmonic progressions, which is typically the seventh scale |

|degree of the major scale. Finally, inversions are also integral part of music composition allowing the composer to rearrange the |

|top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. The inversion of chords and intervals is |

|utilized for various purposes such as creating a melodic bass line or (with certain chords) to modulate to a new key. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

| |

|Does music require a melody? |

|Enduring Understandings |

|Triads are used to build chords. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

| | | | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, label, read and write harmonic progressions. |

|Correctly navigate through a harmonic progression using inversions following the leading tone. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to analyze, label, read and write harmonic progressions. |

|- ability to use leading tones to find the closest inversion of a preceding chord within a harmonic progression. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students write out the three notes that make up the C major chord. Next, have them write out the |

|Special ED: Adhere to all |three notes that make up the F chord. |

|modifications and health concerns | |

|stated in each IEP. |Have the students circle the common tone (C). Next, show them how the remaining notes of the C chord |

|ELL: Use and post a word wall of |“lead” into the F chord. (E to F, G to A) |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students write out a harmonic progression moving in fourths. (IV ( vii() ( iii ( vi ( ii ( V ( I |

|be given more time to complete |( IV etc. |

|projects that were not turned in | |

|without penalty. |Next, have the students write out the triads for each chord. |

|Special Needs: Modified | |

|instructional strategies including:|Have the students write the closest inversion using leading tones for each chord. Follow the progression |

|Socratic seminar, group |increasing the starting chord to the next inversion as you progress. (start on IV root position, when you |

|discussions, think-pair-share, |get back to the IV chord, start it on its first inversion). |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students will show/prove that by taking the harmonic 4th progression above, students will develop this|

|projects, primary source document, |further as a progression of dominant 7th chords. Also, if we alter these chords as secondary dominants, we|

|and completing case studies. |can show and explain stronger voice-leading movement. |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Harmonic progressions using the |Analyze, label, read and write |Minimum of 3 |

| |leading tone and inversions |harmonic progressions. | |

| | |Navigate through a harmonic | |

| | |progression using inversions | |

| | |following the leading tone. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Melodic composition Topic: Parallel fifths and eighths |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions. |

|Overview/Rationale |

|Students need to have a good understanding of parallel fifths and octaves and have knowledge of how they have been traditionally used and how |

|previous rules have been broken in order for them to use the fifths and octaves where they are best suited. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What are the essential skills to create mastery in music? |

|Enduring Understandings |

|Music expands understanding of the world, its people, and one’s self. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Identify and rewrite music containing parallel fifths and octaves. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify and correct parallel fifths and octaves. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study parallel fifths and octaves. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students circle parallel fifths and octaves in written music. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Show how easily it is to produce these errors when not using conventional procedures. |

|cognate words whenever possible. | |

|At risk of failure: Students will |Demonstrate that by moving the bass note a minor seventh down is still a parallel octave called parallel |

|be given more time to complete |octaves by contrary motion. |

|projects that were not turned in | |

|without penalty. |The teacher will explain that the exception to the rule is typically found at the final cadence of a |

|Special Needs: Modified |composition or at the end of one of its major sections. |

|instructional strategies including:| |

|Socratic seminar, group |The soprano and bass commonly display the octave by contrary motion. |

|discussions, think-pair-share, | |

|individual assignments, more |Have the students fill in cadences avoiding parallel fifths and octaves. |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. |G&T Students |

|Gifted and Talented: Modified |Given several examples of orchestral scores, students will locate all parallel fifths and octaves. |

|instructional strategies including:|(Students will need to read instrumental parts as well as the clefs they are written for and their various|

|Socratic seminar, group |instrumental ranges.) |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

| | |

| | |

| | |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Parallel fifths and eighths |Identify and rewrite music |Minimum of 3 |

| | |containing parallel fifths and | |

| | |octaves. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Melodic Composition Topic: Figured bass |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|It is vital for students to have knowledge of figured bass, or thoroughbass, which is a type of musical notation where the numerals and |

|symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician performing on the piano, harpsichord, organ, lute |

|(or other instruments capable of playing chords), play in relation to the bass note that these numbers and symbols appear above or below. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|What is a melody? |

|Enduring Understandings |

|Music expands understanding of the world, its people, and one’s self. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, read and write music containing figured bass. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, read and write music containing figured bass. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students define figured bass and study its history. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students write out all inversions of three and four note chords and use figured bass to |

|stated in each IEP. |harmonically analyze the chords. |

|ELL: Use and post a word wall of | |

|cognate words whenever possible. |Have the students analyze traditional compositions and write in the correct figured bass. |

|At risk of failure: Students will | |

|be given more time to complete |G&T Students |

|projects that were not turned in |Students will be given traditional jazz lead-sheets and be able to first, do a chord analysis for the |

|without penalty. |harmony and then, notate all chords including all figured-bass numbers with the analysis. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Figured bass |Correctly identify, label, read and|Minimum of 3 |

| | |write music containing figured | |

| | |bass. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Melodic Composition Topic: Suspensions, passing and neighbor tones |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP6. Demonstrate creativity and innovation. |

|Overview/Rationale |

|Embellishing tones by using suspensions and passing and neighbor tones adds interest to the melodic composition. Passing and neighboring |

|tones provide a way or adding notes to two melodic tones. Suspensions in create tension by prolonging a consonant note while the underlying |

|harmony changes, normally on a strong beat. The resulting dissonance persists until the suspended note resolves by stepwise motion into a new |

|consonant harmony. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How does a musician know when the composition is complete? |

|Enduring Understandings |

|History and culture influence music. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly identify, label, read and write suspensions, passing and neighbor tones. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, read and write suspensions, passing and neighbor tones. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study non-harmonic tones such as: passing tone unaccented, passing tone accented, |

|Special ED: Adhere to all |neighboring tone upper, neighboring tone lower, suspension, retardation, anticipation, appoggiatura, |

|modifications and health concerns |escaped tone, successive neighbors and pedal. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Have the students analyze melodies and label how the notes are moving (passing tone, upper etc). |

|cognate words whenever possible. | |

|At risk of failure: Students will |Have the students analyze, label and write suspensions found within a melody. |

|be given more time to complete | |

|projects that were not turned in |Have the students add suspensions and passing tones to examples changing the rhythm to make the |

|without penalty. |suspensions possible. |

|Special Needs: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, |G&T Students |

|individual assignments, more |Provide more advanced techniques and methods that students can choose to do as an alternative to the |

|rigorous rubrics, multimedia |general class assignment. |

|projects, primary source document, |This will take place as students look at and do a full analysis of a Chopin Prelude in E minor which is |

|and completing case studies. |comprised mostly of suspensions. This is a beautiful example of non-chord tones and Chopin was a master |

|Gifted and Talented: Modified |at this compositional technique. |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Suspensions, passing and neighbor |Correctly identify, label, read and|Minimum of 3 |

| |tones |write suspensions, passing and | |

| | |neighbor tones. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Class Melodic composition Topic: Motivic development |

|Career Ready Practice Standard(s) |

|CRP6. Demonstrate creativity and innovation. |

|CRP8. Consider the environmental, social and economic impacts of decisions |

|Overview/Rationale |

|It is important for the students to have knowledge of motivic development and to be able to recognize rhythmic or melodic ideas, which are |

|repeated or evoked over different structures within a composition. This often manifests itself in the same or similar rhythmic ideas over |

|different chords in a progression. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How does knowledge of historical background enhance our music experience? |

|Enduring Understandings |

|Music is embedded in all aspects of life. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly use extensions in motivic development. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|- ability to identify, label, read and write extensions in motivic development. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |The teacher will explain to the students that extensions are often used for the development of a melodic |

|Special ED: Adhere to all |idea from the principal part of the phrase. |

|modifications and health concerns | |

|stated in each IEP. |Have the students study compositions and identify, analyze and label the following aspects of motivic |

|ELL: Use and post a word wall of |development: |

|cognate words whenever possible. |The beginning and ending of each phrase |

|At risk of failure: Students will | |

|be given more time to complete |The form of the entire melody |

|projects that were not turned in | |

|without penalty. |The location and description of extensions |

|Special Needs: Modified | |

|instructional strategies including:|The location of any phrases other then those of four-measure length |

|Socratic seminar, group | |

|discussions, think-pair-share, |The location of any idea later developed and a description of the process of development. |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students |

|projects, primary source document, |Compose 2 different melodies: the first will consist of a rhythmic motive that gets developed over 8 bars |

|and completing case studies. |and the second will consist of a melodic motive that gets developed over 8 bars. |

|Gifted and Talented: Modified | |

|instructional strategies including:| |

|Socratic seminar, group | |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Motivic development |Correctly use extensions in motivic|Minimum of 3 |

| | |development. | |

*In sequential order by unit.

|Content Area: |Music Theory |Grade(s) |9-12 |

|Unit Plan Title: |Melodic composition Topic: Modulation |

|Career Ready Practice Standard(s) |

|CRP4. Communicate clearly and effectively and with reason. |

|CRP8. Utilize critical thinking to make sense of problems and persevere I solving them. |

|Overview/Rationale |

|Modulation (music) In music, modulation is most commonly the act or process of changing from one key ( tonic, or tonal center) to another. |

|This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as |

|well as add interest. |

|Standard(s) |

|NJSLS 1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, |

|and/or storylines. |

|NJSLS 1.3B.12prof.Cr2a: Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences or abstract |

|ideas. |

|NJSLS 1.3B.12prof.Cr2b: Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (e.g., |

|one part, cyclical, binary). |

|NJSLS 1.3B.12prof.Cr3b: Share music through the use of notation, performance or technology, and demonstrate how the elements of music have |

|been employed to realize expressive intent. |

|NJSLS 1.3B.12adv.Cr3a: Research, identify, explain, and apply personally developed criteria to assess and refine the technical and expressive |

|aspects of evolving drafts leading to final versions |

|NJSLS 1.3B.12prof.Pr4b: Analyze how the elements of music (including form) of selected works relate to style and mood and explain the |

|implications for rehearsal or performance. |

|NJSLS 1.3B.12adv.Pr4c: Develop interpretations of works based on an understanding of the use of elements of music (including form), |

|compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creator’s intent. |

|NJSLS 1.3B.12prof.Pr5b: Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style|

|and mood. |

|NJSLS 1.3B.12adv.Pr5b: Using established criteria and feedback, identify the way(s) in which performances use compositional techniques and |

|convey the formal design, style and historical/cultural context of the works. |

|NJSLS 1.3B.12prof.Pr6a: Share live or recorded performances of works (both personal and others’) and explain how the elements of music are |

|used to convey intent. |

|NJSLS 1.3B.12prof.Re7b: Analyze aurally and/or by reading the elements of music (including form) of musical works, relating them to style, |

|mood and context, and describe how the analysis provides models for personal growth as a composer, performer and/or listener. |

|NJSLS 1.3B.12adv.Re8a: Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer’s intent by|

|citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work. |

|NJSLS 1.3B.12prof.Re9a: Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating |

|an understanding of the fundamentals of music theory. |

|NJSLS 1.3B.12adv.Re9a: Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating an|

|understanding of theoretical concepts and complex compositional techniques and procedures. |

|NJSLS 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and|

|responding to music. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12adv.Cr2a, 1.3A.12adv.Cr3b, |

|1.3A.12.Pr6a, 1.3A.12adv.Re7a) |

|NJSLS 1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies |

|NJSLS 1.3D.12nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple |

|melodies as well as chordal accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal|

|accompaniments for given melodies. |

|NJSLS 1.3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal |

|accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context. |

|NJSLS 1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, |

|repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation. |

|NJSLS 1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that |

|includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance |

|challenges and refine the performances. |

|NJSLS 1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces |

|and chordal accompaniments, while demonstrating an understanding of the audience and the context. |

|NJSLS 1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or|

|context. |

|NJSLS 1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music. |

|NJSLS 1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of |

|music, context (e.g., personal, social), and the setting of the text (when appropriate). |

|NJSLS 1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music. |

|NJSLS 1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the |

|response. |

|NJSLS 1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and |

|daily life. (This Performance Expectation is embedded in the following Artistic Processes: 1.3A.12nov.Cr2a, 1.3A.12nov.Cr3b, 1.3A.12nov.Pr4a, |

|1.3A.12nov.Re7a) |

|NJSLS 1.2.12acc.Cr2a: Organize and design artistic ideas for media arts productions. |

| |

|NJSLS 1.2.12acc.Cr3b: Demonstrate an understanding of media art principles through a selection of tools and production processes. |

| |

|NJSLS 1.2.12acc.Pr5a: Demonstrate effective command of artistic, design, technical and soft skills in managing and producing media artworks. |

|Technology Standard(s) |NJSLSA.R4. Interpret words and phrases as they are used in a text, |

|8.1.2.D.1 Develop an understanding of ownership of print and nonprint |including determining technical, connotative, and figurative meanings, |

|information. |and analyze how specific word choices shape meaning or tone. |

| |NJSLSA.R7. Integrate and evaluate content presented in diverse media |

| |and formats, including visually and quantitatively, as well as in |

| |words. |

|Essential Question(s) |

|How is sound organized? |

|Enduring Understandings |

|Everyone can perform, create, and respond to music in meaningful ways. |

|Students will gain an understanding the wide variety of careers in music such as: touring musician, teacher, music writer, composer, digital |

|recording, music marketing, or sales. |

|In this unit plan, the following 21st Century themes and skills are addressed. |

| |Indicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in |

|Check all that apply. |this unit by marking E, T, A on the line before the appropriate skill. |

|21st Century Themes |21st Century Skills |

| |x |Global Awareness | |TA |Creativity and Innovation |

| | |Environmental Literacy | |TA |Critical Thinking and Problem Solving |

| | |Health Literacy | |TA |Communication |

| | |Civic Literacy | |TA |Collaboration |

| |x |Financial, Economic, Business, and Entrepreneurial | | | |

| | |Literacy | | | |

|Student Learning Targets/Objectives |

|Correctly analyze, identify, label, read and write modulation. |

|Assessments |

|Formative: Student(s) will be assessed by: |

|ability to analyze, identify, label, read and write music containing modulation. |

|ability to listen and critique music containing modulation. |

|Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. |

|Summative: Student(s) will demonstrate proficiency in playing their chosen instruments in class and in performances. Perform the composition |

|for teachers and peers. Refine the work based on critical feedback. |

|Alternative Assessment: See appendix A |

|Teaching and Learning Actions |

|Instructional Strategies |Learning Centers/Stations |

|D |Designated areas in the classroom where students work on different tasks at the same time. Centers may be|

| |organized around ability level to ensure all students are receiving instruction at their appropriate |

| |level. The teacher should rotate to provide instruction and assistance when needed. |

| |Independent Study |

| |Students are given the opportunity to investigate a project independently with guidance and support from |

| |the teacher. Teacher may use this time to pull students into small groups who need extra assistance with |

| |specific content. |

| |Differentiation/Leveled Instruction |

| |Whole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a |

| |variety of activities with different levels of difficulty that will allow students to practice the skill |

| |at their own level. The teacher may choose assignments for students or give students the opportunity to |

| |choose their own activity. |

| |Individual Contracts |

| |The teacher gives each student a list of tasks to complete that are based on their ability level. As |

| |students work to complete all tasks, they also work with other students who also need remediation on the |

| |same skill or concept. |

| |Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The |

| |role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This |

| |is done by continuously probing the subject with questions. |

|Activities | |

|Accommodations: |Have the students study modulation. |

|Special ED: Adhere to all | |

|modifications and health concerns |Have the students listen to modulation in traditional music and contemporary. |

|stated in each IEP. | |

|ELL: Use and post a word wall of |Next have the students study modulation techniques such as enharmonic modulation, common-tone modulation, |

|cognate words whenever possible. |chromatic modulation, phrase modulation and sequential (rosalia) modulation. |

|At risk of failure: Students will | |

|be given more time to complete |Have the students listen to songs containing modulation and critique how the emotion and flavor of the |

|projects that were not turned in |piece changes. |

|without penalty. | |

|Special Needs: Modified |Have the students write melodies and songs containing modulation. |

|instructional strategies including:| |

|Socratic seminar, group |Have the students transpose the songs in all keys. |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia |G&T Students |

|projects, primary source document, |Allow students to expand on ideas and create assignments that go outside of the guidelines of the general |

|and completing case studies. |class assignment. This should be accomplished by utilizing all modulation techniques used above to |

|Gifted and Talented: Modified |compose a simple melody with accompanying harmony (A-B-A form) and then modulate to a different key for |

|instructional strategies including:|the bridge and back to the original key for the final A section. (Analysis should accompany the |

|Socratic seminar, group |composition.) |

|discussions, think-pair-share, | |

|individual assignments, more | |

|rigorous rubrics, multimedia | |

|projects, primary source document, | |

|and completing case studies. | |

|See appendix A for additional | |

|accommodations and modifications. | |

|Experiences | |

|D |College presentations, field trips, guest speakers. |

|Resources |

|Keyboards, music, stands, & consumable instrumental needs |

|Robert W. Ottman Elementary Harmony Theory and Practice textbook. |

|Any beginner piano/keyboard book from Alfred, Bastian or Hal Leonard. |

|See Appendix B for Specialized Programs that Reflect the Needs of Students and Community |

|See Appendix D for Websites |

|Suggested Time Frame: | |

| |Pacing Guide |

|Concepts |Topics |Skills |Days of Instruction* |

|Melodic composition |Modulation |Correctly analyze, identify, label,|Minimum of 3 |

| | |read and write modulation. | |

*In sequential order by unit.

Sample Rubric

|CRITERIA |UNSATISFACTORY |SATISFACTORY |VERY GOOD |EXCELLENT |SCORE |

| |(1-5) |(6-7) |(12) |(9-10) | |

|PREPARED SOLO |Unable to perform solo |Only able to perform part |Able to perform the |Able to perform entire solo | |

| | |of the solo with reasonable|entire solo with |with accuracy of pitch, time,| |

| | |accuracy of pitch, time |reasonable accuracy of |and/or rhythm with technical | |

| | |and/or rhythm with |pitch, time and/or |proficiency | |

| | |reasonable technical |rhythm with technical | | |

| | |proficiency |proficiency | | |

|PREPARED |Unable to perform |Only able to perform a |Able to perform all |Able to perform all ensemble | |

|ENSEMBLE PART |ensemble part(s) |portion of the ensemble |ensemble parts with |parts with accuracy of pitch,| |

| | |part(s) with reasonable |reasonable accuracy of |time and/or rhythm with | |

| | |accuracy of pitch, time |pitch, time and/or |technical proficiency | |

| | |and/or rhythm with |rhythm with technical | | |

| | |reasonable technical |proficiency | | |

| | |proficiency | | | |

|SIGHT-READING |Unable to perform |Only able to sight-read a |Able to sight-read a |Able to sight-read a musical | |

| |requested sight-reading |musical selection with |musical selection with |selection with accuracy of | |

| |musical selection |reasonable accuracy of |reasonable accuracy of |pitch, time and/or rhythm | |

| | |pitch, time and/or rhythm |pitch, time and/or |with technical proficiency | |

| | |with reasonable technical |rhythm with technical | | |

| | |proficiency |proficiency | | |

|PREPAREDNESS |Reported to 50% or less |Reported to 60-70% of |Reported to 120% of |Reported to 90-100% of | |

| |of scheduled classes |scheduled classes and/or |scheduled classes |scheduled classes and/or | |

| |and/or performances with |performances with music, |and/or performances |performances with music, | |

| |music, instrument and |instrument and appropriate |with music, instrument |instrument and appropriate | |

| |appropriate attire |attire |and appropriate attire |attire | |

|LESSON |Attended and participated|Attended and participated |Attended and |Attended and participated in | |

|ATTENDANCE |in less than 50% of the |in 60-70% of the scheduled |participated in 120% of|90-100% of scheduled lessons| |

| |scheduled lessons |lessons |scheduled lessons | | |

|PERFORMANCE |Attended and participated|Attended and participated |Attended and |Attended and participated in | |

|ATTENDANCE |in less than 50% of |in 60-70% of scheduled |participated in at |90-100% of scheduled | |

| |scheduled performances |performances |least 120% of scheduled|performances | |

| | | |performances | | |

|TOTAL POINTS | | | |

|Special Education |Adhere to all modifications and health|Written quizzes, tests, and critiques |Develop rubrics that assess the NJ |

| |concerns stated in each IEP. |may be completed orally. |Learning Standard addressed in the |

| | | |objective, eliminating secondary |

| |Supply percussion, ukuleles, |Projects may be scaled down to meet |objectives. |

| |keyboards, and Orff instruments as an |the students needs while meeting the | |

| |alternative. |objective of the Standard. |Assessments may include oral responses |

| | | |instead of written. |

| |Give students a MENU option allowing |Modify the music using Sibelius to | |

| |students to pick assignments from |provide lower-level scores to meet the|Provide more time on performance |

| |different levels based on difficulty. |student’s ability. |preparation, tests, quizzes and written |

| | | |work. |

| | |Allow students to use percussion, | |

| |Students have the option of learning |ukuleles, keyboards, Orff and other | |

| |the curriculum at their comfort level |elementary instruments as an | |

| |while challenging themselves to grow. |alternative. | |

| | | | |

| |Use the NEWELA software, which can | | |

| |revise the reading Lexile level to | | |

| |meet students at current reading | | |

| |level. | | |

| |Other instructional strategies | | |

| |including: read to the student aloud; | | |

| |the use of graphic organizers; study | | |

| |guides; one-on-one instruction; refer | | |

| |students to class website (Google | | |

| |Classroom); provide handouts; provide | | |

| |a definition list; and provide large | | |

| |print and outlines. | | |

| | | | |

| |Utilize Snap and Read and Co-Writer. | | |

|English Language |Snap and read Google Extension |Scale down the assignment to meet the |Allowed to write in their native language|

|Learners |addition. Will read to the student in |main objective of the unit. |and ultimately translate into English. |

| |selected language. | | |

| | | |Allow more time to translate into |

| |Vocabulary Spelling City word banks. | |English. |

| | | | |

| |Use visuals as much as possible to | | |

| |support classroom instruction and | | |

| |classroom activities. | | |

| | | | |

| |Teacher modeling and written | | |

| |instructions for every assignment. | | |

| | | | |

| |Use and post a word wall of cognate | | |

| |words whenever possible. | | |

| | | | |

| |When available sit the child next to | | |

| |another child whose has the same | | |

| |native language and is bi-lingual. | | |

| | | | |

| |Meet with the ESL bi-lingual teacher | | |

| |to develop a plan of action. | | |

| | | | |

| |Provide directions in native language.| | |

| | | | |

| |Concepts taught in English or native | | |

| |language. | | |

| | | | |

| |Provide sentence starters for critique| | |

| |writing. | | |

|At Risk of Failure |Students will be given more time to |Provide more time for the completion |Develop rubrics that assess the NJ |

| |complete projects that were not turned|of the project, or if the student |Learning Standard addressed in the |

| |in without penalty. |deems the project complete before the |objective, eliminating secondary |

| | |deadline, provide a secondary project |objectives. |

| |Give students a MENU options allowing |that meets the main objective. | |

| |students to pick activities based on | |Assessments may include authentic |

| |interest that address the objectives |If student determines work is complete|hands-on projects incorporating student |

| |and standards of the unit. |before the deadline, provide a |interest. |

| | |secondary project that meets the main | |

| |Other instructional strategies |objective of the unit. |Provide opportunity to make-up projects, |

| |including: read to the student aloud, | |tests, quizzes and written work. |

| |the use of graphic organizers, study | | |

| |guides, one-on-one instruction, refer | | |

| |students to class website (Google | | |

| |Classroom), and provide peer support, | | |

| |handouts, definition lists, and | | |

| |outlines. | | |

| | | | |

| |Constant parental contact along with | | |

| |mandatory tutoring appointments. | | |

| | | | |

| |Academic Contracts. | | |

|Gifted and Talented|Modified instructional strategies |Allow G&T students to expand on ideas |Provide the student with the opportunity |

| |including: Socratic seminar, group |and create projects that go outside of|to self-reflect on how they could have |

| |discussions, think-pair-share, |the guidelines of the assignment. |improved their project or what they would|

| |individual assignments, more rigorous | |like to try in the future. |

| |rubrics, multimedia projects, primary |Provide more advanced techniques and | |

| |source document, and completing case |methods that G&T students can choose |If the student elects to take advantage |

| |studies. |to do as an alternative to the general|of the more advanced project that was |

| | |class assignment. |offered, a rubric will be used reflecting|

| |Student led classroom instruction also| |the additional objectives of the |

| |project based learning |Allow more time for G&T students to |assignment. |

| | |complete their work, when they choose | |

| |Provide instruments to allow G&T |to become more involved in details and|Socratic Seminars |

| |students to take their instruments |perfecting their work. |As a seminar leader, the teacher's role |

| |home to work on during weekends and | |is to guide students to (I) a deeper and |

| |after school hours. |When G&T students finish their |clarified consideration of the ideas of |

| | |assignment before others, provide a |the text, (2) a respect for varying |

| |Provide teacher created videos or |more advanced assignment of the same |points of view, and (3) adherence to and |

| |YouTube videos depicting more advanced|standard. |respect for the seminar process. The |

| |techniques that the G&T students can | |leader questions, helps para |

| |watch while the general student body |Allow students the choice to work |phrase and restate ideas based on |

| |works on the main objective. |larger than the general assignment. |students' responses and helps students |

| | |If opportunity allows, offer the |solve problems when they are at |

| | |gifted and talented students the |loggerheads. The leader also models |

| | |choice to illustrate the performing |behaviors that are expected from |

| | |arts program cover for spring and |students-listening. thinking, and |

| | |winter concert performances. |interaction: |

| | | |...What I heard you say was_." |

| | | | ...Can you compare Tamika's response to |

| | | |what you heard Jose say?" |

| | | |  |

| | | |"Where in the [artwork, performance] is |

| | | |the evidence for what you said?" |

| | | | ...I want to hear what Monica thinks." |

| | | |There is no need to preach protocol-when |

| | | |students see it, they will follow suit. |

| | | |Teachers may also participate in Socratic|

| | | |seminars themselves (Tredway, 1995, p. |

| | | |27)1. |

| | | | |

| | | |1 Tredway, L. (1995). Socratic seminars: |

| | | |engaging students in intellectual |

| | | |discourse. Educational Leadership, 53, |

| | | |26–29. |

|504 Plans |Adhere to all modifications and health|Delivery of objective and instructions|Assess the academics of the student by |

| |concerns stated in 504 plan. Then |as well as lessons, assignments, |evaluating the student work using the |

| |assess the academics of the student to|projects, group work, and performances|required modifications as described in |

| |implement the necessary modifications |will be modified to meet the needs of |the document. |

| |as described in this document. |the individual’s 504 plan. | |

| | | | |

| |Room assignment, location of seat, or | | |

| |other physical changes will be | | |

| |adjusted as well as considerations | | |

| |sensitive to the student’s visual, | | |

| |audio, and tactile requirements. Any | | |

| |and all medical and psychological | | |

| |needs as per the individual 504 plan | | |

| |will be implemented. | | |

|Intervention and Referral Service |

|I & R S policies and procedures will be coordinated by the teacher and the multidisciplinary team to address the learning, behavioral, and |

|health needs of all students. |

|Action plans will be developed by the multidisciplinary team and the teacher. The teacher will monitor student data and desired outcomes. |

Appendix B

Core Instructional and Supplemental Materials

|Name of Instructional Material |Grade Level |

|Uniforms/Props/Specialized Footwear marching band |9-12 |

|Musical Instruments |All Levels |

|Musical Method Books |Al Levels |

|Instrumental Mouthpiece/reeds/ and other consumables |All Levels |

Specialized Programs that Reflect the Needs of Students and Community

|Name of Program |Description of Program |Grade Level |

|Marching Band |Provides students who are interested in music to play for OHS marching |8-12 |

| |band at football games, parades, and competitions | |

|School Concert Band Ensembles |Provides students from each school’s Music Theory programs an |4-12 |

| |opportunity to further musical technique and participate in school-wide| |

| |and community performances. | |

|Band Club |Offers an after-school program providing students with the opportunity |5 - 12 |

| |to create music. | |

|String Club |Offers an after-school program providing students with the opportunity |5 - 12 |

| |to create music. | |

|High Note Festival |Students learn music during the school year and head to a performance |4-12 |

| |where adjudicators are all current or retired Music Educators with | |

| |years of experience, rate their performance | |

|Stage Crew |Provides students who are interested in set design, lighting and sound |5-12 |

| |the opportunity to work behind the scenes to assist in the production | |

| |of plays, musicals, concerts and other events. | |

Appendix C

Music Glossary

A

Absolute music  Instrumental music with no explicit pictorial or literal associations. As opposed to program music.

a cappella   Music for voices alone, without instrumental accompaniment.

accelerando  Getting faster.

accent  A conspicuous, sudden emphasis given to a particular sound, usually by an increase in volume.

accidental  A notational sign in a score indicating that a specific note is to be played as a flat, sharp, or natural. The most common accidentals (flats and sharps) correspond to the five black notes in each octave of the keyboard.

accompaniment  The subordinate material or voices that support a melody.

acoustics  (1) the science of sound; (2) the art of optimizing sound in an enclosed space.

adagio  Quite slow tempo.

allegro; allegretto  Fast tempo; slightly fast tempo

alto  (1) The lowest adult female voice; (2) the second-highest voice in a four-part texture.

anacrusis Up beat or pick-up

andante; andantino  Moderately slow (walking) tempo; a little faster than andante.

antiphon  Originally, a plainchant that framed the singing of a psalm.  The term derives from the early practice of singing psalms "antiphonally"- that is, with two or more alternating choirs.

appoggiatura  A strong-beat dissonance that resolves to a consonance; used as an expressive device in much tonal music.

arco To bow a stringed instrument

aria  In opera or oratorio, a set piece, usually for a single performer, that expresses a character's emotion about a particular situation.

arioso  A singing style between aria and recitative.

arpeggio  A chord whose individual notes are played successively rather than simultaneously.

arrangement  An orchestration of a skeletal score or a reorchestration of a finished composition.

ars nova  The "new art" of fourteenth-century France; refers to the stylistic innovations, especially rhythmic, of composers around 1320.

articulation  The manner in which adjacent notes of a melody are connected or separated.

artist a person skill in one of the fine arts

art song  A song focusing on artistic rather than popular expression.

a tempo  At the original tempo.

atonality; atonal  The absence of any sense of tonality.

audio technician a person who controls the electronic representation of sound

augmentation  The restatement of a theme in longer note values, often twice as long (and therefore twice as slow) as the original.

avant garde  In the art, on the leading edge of a change in style.

Axial movement the use of the body in stationary movement, where without traveling from point to point, the artist moves to show the 3 levels (low, middle and high) and various shapes

B

back beat a popular style of drumming where the second and fourth beats of a measure are emphasized

ballade  (1) One of several types of medieval secular songs, usually in A-A-B form; (2) a type of nineteenth-century character piece for piano.

ballad opera  A popular eighteenth-century English dramatic form characterized by spoken dialogue on topical themes interspersed with popular folk songs.

ballata  A type of fourteenth-century italian secular song, similar to the French virelai.

ballet  The theatrical presentation of group or solo dancing of great precision to a musical accompaniment, usually with costumes and scenery and conveying a story or theme.

bar  Same as measure.

baritone  Adult male voice of moderately low range.

Baroque The historical period of music roughly from 1600 to 1750.

basic set  The underlying tone row in a serial composition.

bass  (1) The lowest adult male voice; (2) the lowest voice in a polyphonic texture.

bass clef  The clef in the upper staff that shows pitches mostly below middle C

basse danse  A popular Renaissance court dance for couples.

beam The horizontal line that connects groups of eighth notes, sixteenth notes, thirty-second notes, etc. in place of flags

belt voice the use of the body in stationary movement, where without traveling from point to point, the artist moves to show the 3 levels (low, middle and high) and various shapes

blue note In blues singing or jazz, the deliberate off pitch lowering of certain pitches.

blues A form of African-American folk music, characterized by simple, repetitive structures and a highly flexible vocal delivery; (2) the style of singing heard in the blues.

body percussion The art of creating percussive sounds using body movement and body parts exclusively

bordun A repeated pattern used to accompany music. It has two pitches, one of which is the home tone

bow In string playing, a bundle of bleached horsehairs stretched tautly between the ends of a wooden stick. To produce a sound, the bow is drawn over one or more of the strings.

branle A high-stepping Renaissance group dance.

brass A family of instruments with cup-shaped mouthpieces through which the player blows into a series of metal tubes. Usually constructed of brass or silver.

bridge (1) A passage connecting two sections of a composition; (2) on string instruments, a small piece of wood that holds the strings above the body.

C

cadence cadential The musical punctuation that separates phrases or periods, creating a sense of rest or conclusion that ranges from momentary to final.

cadenza An improvised passage for a soloist, usually placed within the closing ritornello in a concerto movement.

call and response When separate groups of performers alternate or respond to each other.

canon (1) Strict imitation, in which one voice imitates another at a staggered time interval; (2) a piece that uses canon throughout, such as "Row, Row, Row Your Boat."

cantata A Baroque genre for voice(s) and instruments on a sacred or secular poem, including recitatives, arias, and sometimes choruses.

cantus firmus ("fixed melody") A pre-existing plainchant or secular melody incorporated into a polyphonic composition, common from the twelfth through the sixteenth centuries.

castrato A male singer castrated during boyhood to preserve his soprano or alto vocal register. Castratos played a prominent role in seventeenth- and eighteenth-century opera.

CD-ROM Compact disc-read only memory. A compact-disc technology that enables a personal computer to access digitally text, still images, moving pictures, and sound.

celesta A small keyboard instrument invented in 1886 whose hammers strike a series of resonating steel plates to produce a bell-like but veiled sound. Used by composers from Tchaikovsky to Boulez.

cell In certain twentieth-century compositions, a brief, recurring musical figure that does not undergo traditional motivic development.

chamber music Music played by small ensembles, such as a string quartet, with one performer to a part.

chance music A type of contemporary music in which some or all of the elements, such as rhythm or the interaction among voices, are left to chance.

chanson (French, "song") The most popular form of secular vocal music in northern Europe during the late fifteenth and early sixteenth centuries. character piece A short Romantic piano piece that expresses a single overall mood. choir (1) A vocal ensemble with more than one singer to a part; (2) a section of an instrumental ensemble, such as a brass choir.

chant Unaccompanied monophonic sacred plainsong in free rhythm

chorale (1) A German hymn, especially popular in the Baroque; (2) a polyphonic setting of such a hymn, such as those by J. S. Bach.

chord A group of three or more pitches sounded simultaneously.

chordal style An alternate term for homophony. chorus (1) Same as choir; (2) each varied repetition of a 12-bar blues pattern; (3) the principal section of an American popular song, following the verse(s).

chorus a group of singers not associated with a church.

chromatic A descriptive term for melodies or harmonies that use all or most of the twelve degrees of the octave.

chromatic scale The pattern that results when all twelve adjacent semitones in an octave are played successively.

Classical The musical period from 1750-1820 where form and structure was stressed over expression. Composers of this period include Haydn, Mozart, and Beethoven. 2. “Serious” or “art” music as opposed to popular or folk music.

clef   In musical notation, a symbol at the beginning of a staff that determines the pitches of the lines and spaces. The most common clefs are treble (4) for indicating pitches mostly above middle C and bass (9;) for indicating pitches mostly below middle C.

closing area  In a movement in sonata form, the final stage in an exposition or recapitulation that confirms the temporary or home key with a series of cadences.

countermelody A different melody that is played or sung at the same time as the main melody

coda The optional final section of a movement or an entire composition.

combinatorial A descriptive term for tone rows in which the second half is a transposed version of the first half.

compound meters Duple or triple meters in which the individual beats are subdivided into triple units.

concertina The solo group in a Baroque concerto grosso.

concerto An instrumental composition for orchestra and soloist (or a small group of soloists).

concerto grosso The principal variety of Baroque concerto, for a small group of soloists (the concertino) and a larger ensemble (the ripieno).

countermelody A secondary melody that is sounded simultaneously with the principal one

D

da capo From the head or from the beginning. Go back to the beginning.

Dalcroze A method of teaching musical concepts through movement

dal segno Go back and play from the sign. Abbreviated D.S.

descant The highest part in polyphonic music

do In the fixed-do system, the note C. 2. In the moveable-do system, the first note of the scale.

diction Pronunciation and enunciation of words in singing

dictation The performing of music (rhythm, melody, harmony) to be reproduced by a student

disco A style of popular dance music characterized by slick, ostinato-like rhythms and propulsive, repetitive lyrics.

disjunct motion Melodic motion by a leap rather than by a step.

dissonance Intervals or chords that sound impure, harsh, or unstable.

dominant (1) The fifth degree of the diatonic scale. (2) the triad built on this degree; (3) the key oriented around this degree.

dominant seventh chord A dominant triad with an added seventh degree-for example, G-B-D-F. dotted rhythm The alternation of LONG and short notes, named after the notation used to record them.

dot A dot over or under a note indicates it is to be played staccato. 2. A dot to the right of a note indicates the note's value is increased by half. A second or third dot to the right of a note indicates the note's value is increased by half of the value of the dot.

double flat The symbol that lowers the pitch of a note two half steps or one whole step

double sharp The symbol that raises the pitch of a note two half steps or one whole step

downbeat A strong or accented beat, most frequently the first beat of a measure.

drone A sustained tone (a kind of permanent pedal point) over which a melody unfolds.

duet A composition for two performers.

duple meter The regular grouping of beats into twos (STRONG-weak). The most common duple meters have two or four beats per measure. dynamics The relative softness or loudness of a note or passage.

duration Length.

dynamics The symbols that indicate varying degrees of volume.

E

electronic music Music in which some or all of the sounds are produced by electronic generators. embellishment An ornamental addition to a simpler melody.

Engineer

elements of music the basic components which make up the music curriculum (rhythm, beat, pitch, etc.)

ensemble (1) A group of performers; (2) a musical number in an opera, oratorio, or cantata sung by two or more performers; (3) the extent to which a group of performers coordinate their performance.

entry In an imitative texture, the beginning of each statement of the theme.

envelope The graphic representation of a sound's attack, duration, and pattern of decay.

episode (1) In a fugue, a freer passage between full statements of the subject; (2) in ritornello form, a freer concertina passage between ripieno statements of the ritornello.

espressivo Expressively.

estampie A type of early instrumental (perhaps dance) music consisting of independent sections strung together.

Etude A musical piece designed to address a particular technical problem on an instrument.

exposition The first section of a movement in sonata form.

expression (I)The general character of a passage or work; (2) the blend of feeling and intellect brought to a performance by the performer.

Expressionism A short-lived Austro-German art movement at the beginning of the twentieth century, marked by a focus on the dark, mysterious side of the human mind.

F

Fa In the fixed-do system, the note F. 2. In the moveable-do system, the fourth note of the scale.

Fauvism The French version of Austro-German Expressionism.

fermata In musical notation, a sign (-) indicating the prolongation of a note or rest beyond its notated value.

figure (1) In Baroque and Classical music, the numbers below a staff designating the harmonies to be filled in above; (2) a general term for a brief melodic pattern.

figured bass The Baroque system of adding figures to a bass line, indicating what harmonies are to be improvised on each beat.

final In plainchant, the concluding note in a mode; corresponds roughly to the tonic note in a tonal scale.

finale (1) The last movement of an instrumental work; (2) the large ensemble that concludes an act in an opera.

fine arts The realm of human experience characterized as aesthetic rather than practical or utilitarian, including music, painting, dance, theater, and film.

fingerboard A piece of wood extending from the body of a string instrument; the strings are attached to the end of the fingerboard.

finger cymbals Small cymbals in pairs that are placed on the fingers and struck together.

flat (1) In musical notation, a sign (6) indicating that the note it precedes is to be played a half step lower; (2) the term used to specify a particular note, for example, B6.

FM-synthesis Frequency-modulation synthesis; a superior version of electronic synthesis introduced in the consumer market by Yamaha in 1982.

folk music Music indigenous to a particular ethnic group, usually preserved and transmitted orally.

form A term used to designate standardized musical shapes, such as binary form or sonata form.

forte; fortissimo Loud; very loud.

fortepiano The wooden-framed eighteenth-century piano used by Mozart, Haydn, and their contemporaries.

fragmentation The technique of developing a them,, by dividing it into smaller units, most common in the music of the Viennese Classicists.

frequency In acoustics, the number of times per second that the air carrying a sound vibrates as a wave. fret A raised strip across the fingerboard of a stringed instrument, designed to produce a specific pitch when stopped at that point.

frottola A light, popular Italian song, a precursor of the Italian madrigal.

fugato A fugal passage within a composition.

fugue A polyphonic composition that makes systematic use of imitation, usually based on a single subject, and that opens with a series of exposed entries on that subject.

fundamental The basic pitch of a tone.

G

gamelan A small Javanese orchestra consisting mainly of metal percussion instruments.

genre. The term used to identify a general category of music that shares similar performance forces, formal structures, and/or style-for example, "string quartet" or " 1 2-bar blues."

glissando Rapid sliding from one note to another, usually on continuous-pitch instruments such as the trombone or violin, but also on discrete-pitch instruments such as the piano or harp.

glockenspiels Percussion instruments made up of tuned metal bars that are arranged like a keyboard and played with mallets.

grand staff The combination of the bass and treble staves which is commonly used to notate music for the piano

ground (bass) A repeating pattern, usually in the bass, over which a melody unfolds, as in Dido's lament from Purcell's Dido and Aeneas.

H

half cadence An intermediate cadence, usually on the dominant chord, within a musical period.

half step (semitone) The interval between any two adjacent notes on a keyboard; the smallest interval in common use in Western music.

harmonic (1) In acoustics, a synonym for overtone or partial; (2) in string playing, a high-pitched, whistling tone made by bowing a lightly stopped string. harmonic minor scale The scale that results from flatting the third and sixth degrees of the major scale. harmonic rhythm The rate at which harmony changes and the degree of regularity with which it changes.

harmonize To provide a melody with a chordal accompaniment.

harmony (1) In general, the simultaneous aspects of music; (2) specifically, the simultaneous playing of two or more different sounds.

harpsichord A Baroque keyboard instrument in which the strings are plucked by quills.

head The beginning of a theme.

head voice The higher register of a voice

heavy metal A descriptive term for rock bands since the 1970s whose heavily amplified electric and percussion sounds have been associated with youthful rebellion and defiance.

heterophony (heter-off-ony) A texture in which two or more variations of the same melody are performed simultaneously, common in folk music.

hexachord the six usable degrees of the modal scale, often used to organize Renaissance music.

hocket In late medieval polyphony, the alternation of short melodic phrases (or even single notes) between two voices.

Home tone The tonal center of a composition

homophony; homophonic (ho-mof-ony;homo-fonick) Texture in which all the voices move more or less together (often referred to as the chordal style).

hymn A simple religious song in several stanzas, sung in a church service by the congregation.

I

idee fixe (French, "fixed idea") Term used by Berlioz for the theme representing his beloved in every movement of his Symphonie fantastique.

imitation The successive repetition in different voices of a single musical idea.

improvise Music that is created spontaneously

Impressionism A French art movement of the late nineteenth century that rejected Romanticism in favor of fleeting, informal scenes from everyday life. improvisation The spontaneous, on-the-spot creation of music, preserved today largely in jazz but common in Western music well into the nineteenth century. incidental music Music performed before and during a play to intensify the mood.

intermedio In the Renaissance, a musical entertainment between the acts of a play.

interpretation The manner in which a performer carries out a composer's performance directions.

interval The acoustical distance between two pitches, usually reckoned by the number of intervening scale degrees.

introduction A passage or section, often in a slow tempo, that prepares the way for a more extended section.

inversion The playing of a melody upside down, with upward intervals played downwards and vice verse, most common in contrapuntal and serial music.

irregular meter The mixture at a single rhythmic level of more than one metric grouping.

J

jazz A style of performance developed largely by African-Americans after 1900; the most original form of American music in the twentieth century.

jongleur; jongleuress (zhong-ler;zhong-ler-ess)Male and female musical minstrels of the Middle Ages.

K

key (1) In tonal music, one of twelve possible tonalities organized around a triad built on the main note(2) on a keyboard, a lever pressed down to produce sound.

key signature Sharps or flats placed at the beginning of a staff to indicate the key of a passage or work.

Kodaly

K. numbers The common method of referring to works by Mozart, after the chronological catalogue first published by Ludwig Kochel in 1865.

L

La In the fixed-do system, the note A. 2. In the movable-do system, the sixth note of the scale.

largo; larghetto Very slow tempo; less slow than largo.

legato The smooth, seamless connection of adjacent notes in a melody.

Leitmotiv A term adopted by Wagner's disciples to designate the "leading motives" in his operas.

libretto A "little book" that contains the complete text of an opera, oratorio, and so forth.

Lied (German, "song") A vocal piece dating back to the polyphonic Lied of the fourteenth century. The solo German Lied, accompanied by piano, reached its zenith during the nineteenth century.

line A general term for a discrete voice or part in a vocal or instrumental composition.

liturgical drama A sung religious dialogue that flourished during the eleventh and twelfth centuries. Liturgical in spirit even when performed outside the formal liturgy, liturgical dramas were the most elaborate form of medieval music.

lyre An ancient plucked string instrument in the shape of a box (Figure 5. 1), whose association with music especially with the mythological character Orpheus) is so strong that the word lyric is derived from it.

lyrics The words or text of a popular song

M

madrigal A vocal form that arose in Italy during the sixteenth century and developed into the most ambitious secular form of the Renaissance.

madrigalism An alternate term for word painting, reflecting the frequent use of word painting in the Renaissance madrigal.

major mode One of two colorings applied to a key, characterized by the major scale and the resulting predominance of major triads. Generally sounds bright and stable.

major scale A pattern of seven (ascending) notes, five separated by whole steps, with half steps between the third and fourth and the seventh and eighth degrees.

major seventh A highly dissonant interval a half step smaller than an octave.

major third An interval consisting of four half steps-, a major third forms the bottom interval of a major triad.

major triad A triad consisting of a major third plus a minor third bounded by a perfect fifth.

manuscript An original copy of a pieced of music physically written by the composer

marcato Accented, stressed.

march A military style (or piece) characterized by strongly accented duple meter and clear sectional structures.

Mass (1) The central worship service of the Roman Catholic Church; (2) the music written for that service.

mazurka Polish folk dance in rapid triple meter with strong offbeat accents.

measure (bar) The single recurrence of each regular pattern in a meter, consisting of a strong first beat and weaker subsidiary beats and set off in musical notation by vertical lines known as bar lines. melisma; melismatic (muh-liz-muh;mel-iz-mat-ic) Technique of singing in which a single syllable receives many notes.

Medieval The historic period of music roughly from 500 to 1450. Also known as the Middle Ages.

melody (1) The aspect of music having to do with the succession of single notes in a coherent arrangement; (2) a particular succession of such notes (also referred to as tune, theme, or voice).

metallophone a musical instrument consisting of tuned metal bars which are struck to make a sound, usually with a mallet

meter The organization of strong and weak beats into a regular, recurring pattern.

metronome Mechanical (or, today, electrical) device that ticks (or blinks) out regular tempos from about 40 to 208 beats per minute.

metronome marking A number, usually placed at the top of a piece, that indicates tempo by telling how many beats of a certain note value will be heard per minute, for example, J = 60.

mezzo (met-zoh) Medium, as in mezzopiano (medium soft).

Mi In the fixed –do system, the note E. In the movable do, the third note of the scale.

microphone An instrument whereby sound waves are caused to generate or modulate an electric current usually for the purpose of transmitting or recording sound.

microtones Intervals smaller than a half step.

MIDI Acronym for "musical instrument digital interface," the industry-wide standard adopted in 1982 that permits personal computers and synthesizers to talk to one another.

miniature A descriptive term for a short Romantic piece, usually for piano.

minimalism A contemporary style marked by steady pulse, simple triadic harmonies, and insistent repetition of short melodic patterns.

minor mode One of two colorings, generally dark and unstable, applied to a key, characterized by the minor scale and the resulting predominance of minor triads.

minor scale The scale in which the third and sixth degrees are the lower of two options. The melodic minor scale raises the sixth and seventh degrees in ascending passages and lowers them in descending passages.

minor third An interval consisting of three half steps; a minor third forms the bottom interval of a minor triad.

minor triad A triad consisting of a minor third plus a major third bounded by a perfect fifth.

minuet A seventeenth-century court dance in moderate triple meter that later served as the model for the third movement of Classical instrumental works. mode (1) In the Middle Ages, a means of organizing plainchant according to orientations around the seven-note diatonic scale (corresponding to the white notes on a keyboard); (2) in the tonal system, one of the two colorings, called major and minor, that may be applied to any of twelve keys.

Modal Pertaining to the notes arranged into a specific scale.

modulation The process of changing keys in a tonal work, as in "the modulation from C major to F minor."

modern Music composed during the20th century also known as contemporary music.

molto allegro Very fast tempo.

monody A style of accompanied solo singing that evolved in the early Baroque in which the meaning of the text was expressed in a flexible vocal line.

monophony; monophonic (mo-nof-ony;mo-no-fonick) A musical texture consisting of a single voice, as in plainchant.

Moog Robert, American inventor of early synthesizers. During the 1970s his most popular synthesizer was itself known as "the Moog." morality play In the Middle Ages, a monophonic drama set to music to illustrate a moral point, such as the struggle between good and evil. An example is Hildegarde of Bingen's Play of the Virtues (pages 7982).

motet A descriptive term for the several varieties of polyphonic vocal music, mostly sacred, from the Middle Ages to the present.

motif A short melodic or rhythmic figure that recurs throughout a composition

motive The smallest coherent unit of a larger musical idea.

movement A self-contained, largely independent portion of a larger piece, such as a symphony or concerto.

multimedia Rapidly developing technology that enables information of all kinds-text, still images, moving pictures, sound-to be stored and retrieved on a single digital medium, such as CD-ROM or videodisc.

multi-timbral A descriptive term for the ability of a synthesizer to record different timbres simultaneously.

music Broadly speaking, sounds organized to express a wide variety of human emotions.

Music synthesis

musical theater (musical) A hybrid form of twentieth-century American musical entertainment that incorporates elements of vaudeville, operetta, jazz, and popular song.

music drama Wagner's designation for his operas. musicology The scholarly study of music and its historical contexts.

musique concrete Natural sounds that have been recorded electronically.

mute A mechanical device used with string and brass instruments to muffle the tone.

N

nationalism A nineteenth-century political movement that led in music to the frequent use of national folk songs, styles, and historical subjects.

natural (1) In musical notation, a sign -- -- indicating that the preceding accidental applied to this note is to be cancelled; (2) the name given to such a note, for example, C.

neoclassicism A twentieth-century movement characterized by a selective and eclectic revival of the formal proportions and economical means of eighteenth century music.

neumatic In plainchant, a style in which each syllable of text receives several notes.

neume The stemless symbols used in medieval sources to notate plainchant (see Figure 4.12).

nocturne ("night piece") A nineteenth-century character piece for piano.

non-imitative counterpoint Same as unequal-voiced counterpoint.

non-legato The slight separation of adjacent notes.

non-pitched percussion Instruments whose sounds are created by striking or shaking. They include drums, cymbals, tambourine, triangle

notation The method of writing down music (pitch, rhythm, dynamics, etc) for performance

note (1) A sound with a specific pitch and duration; (2) in musical notation, the symbol (e.g., J) for such a sound; (3) a single key on a keyboard.

O

octave The interval in which one pitch is doubled (or halved) in frequency by another pitch. The octave is found in virtually all music systems.

Office (Divine) The eight daily worship services, apart from the Mass, in the Roman Catholic Church.

Orff An approach to music education that includes everyday activities in the purpose of music creation. This includes singing in groups and performing voice instrumental music, rhymes and playing instruments such as the metallophone, xylophone, glockenspiel and other percussive instruments. The music generated to large improvisational and original tonal construction which builds a sense of confidence of interest in the process of creative thinking

ondes martenot An early electronic instrument invented in the late 1920s by Maurice Martenot.

opera A drama set to music; the dominant form of Western music from the seventeenth through the nineteenth centuries.

opera buffa A comic form of eighteenth-century Italian opera featuring everyday characters involved in outlandish plot intrigues.

opera seria A serious, heroic form of eighteenth century opera featuring historical or mythological figures in stereotypical plots stressing the tension between love and duty.

operetta A light, entertaining version of Romantic opera with spoken dialogue between numbers.

opus A "work"; opus numbers were introduced by publishers in the seventeenth century to identify each of a composer's works.

oratorio (English) A musical entertainment usually on a sacred subject and including recitatives, arias, choruses, and an overture.

orchestration The designation of what instruments are to play what voices or notes in a composition. The process of orchestrating is often referred to as scoring.

Ordinary of the Mass In the Roman Catholic liturgy, the five items (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) that arc part of every celebration of the Mass.

organ An instrument in which air forced through pipes by mechanical means is controlled by one or more keyboards, including a foot-operated pedal keyboard.

organum The earliest type of medieval polyphonic music, in which voices were added above a plainchant.

ornament An embellishment, such as a trill, used to decorate a melodic line.

ostinato A brief pattern repeated over and over again at the same pitch, often in the bass.

overtones The spectrum of the higher-pitched frequencies that accompany the fundamental of any pitch and determine its tone color (also called  harmonic or partials).

overture An instrumental piece that precedes a dramatic work such as an opera (some overtures are nevertheless independent compositions).

P

paraphrase The practice by Renaissance composers of embellishing or elaborating a cantus firmus in polyphonic vocal works.

parlante Nineteenth-century operatic style in which the voices declaim in a rapid, speechlike manner against a backdrop of melody and accompaniment.

part (1) One of the voices in a polyphonic work; (2) the written music for a single player in an ensemble.

partial Same as overtone.

partner songs Two or more different songs that can be sung at the same time to create harmony

passacaglia Baroque technique in which a brief melodic idea repeats over and over while the other voices are varied freely.

passage work Descriptive term for figuration consisting of rapid runs and scales, common in keyboard music.

patch chords On early synthesizers, the cables required to connect various components.

PCM  Pulse-code modulation. A more sophisticated method of sampling introduced into the consumer synthesizer market in the late 1980s.

pedal board An organ's foot-operated keyboard.

pedal point Long-held tones, usually in the bass of a polyphonic passage.

pentatonic scale A five-note scale found in numerous non-Western musics and adopted as an exotic element by many twentieth-century Western composers.

percussion Instruments, either tuned or untuned, that produce sounds by being struck, rattled, or scraped. Common percussion include drums, cymbals, and bells.

performance directions Words or symbols provided by composers to instruct performers in how their music is to be played, including articulation, dynamics, expression, and phrasing.

period The musical equivalent of a paragraph. period instrument An instrument of a type that was in use at the time a work was originally performed. phrase The coherent segments that make up a melody; roughly equivalent to a sentence in prose.

phrase A complete musical idea. Part of a period.

phrasing The manner in which a performer organizes and presents the parts of a composition.

piano A keyboard instrument whose tone is produced by hammers striking strings tightly stretched over a large soundboard. A foot pedal controls the damping of the strings.

piano; pianissimo Soft; very soft. piano trio A chamber work for piano and two other instruments, usually violin and cello. pitch (1) The high and low of sounds, measured in acoustical frequencies; (2) a particular note, such as middle C.

pitch The location of a note related to its highness or lowness

pitched percussion Instruments that are played by striking in respect to a tone of high or low

pizzicato Playing a string instrument that is normally bowed by plucking the strings with the finger.

plainchant (plainsong, Gregorian chant) Monophonic unison music sung during Catholic church services since the Middle Ages.

poles of attraction A term introduced by Stravinsky to describe the harmonic equilibrium of his neoclassical works.

polyphony; polyphonic (po-lif-ony;poly-fon-ick)A musical texture in which the individual voices move independently of one another.

polyrhythm A texture in which the rhythms of various voices seem to exist independently of one another.

pop A generic term for popular music in contemporary America, overlapping but not identical with rock.

postmodern A term adopted around the mid- 1970s to describe our current eclectic, experimental age.

Posture The position or baring of the body whether characteristic or assumed for a special purpose.

prelude An introductory piece (though Chopin and other nineteenth-century composers wrote independent preludes).

premiere The first public performance of a musical or dramatic work.

prepared piano In contemporary music, the modifying of a traditional grand piano by such techniques as placing various objects between the strings.

presto; prestissimo Very fast; extremely fast.

primary area In a movement in sonata form, the first stage in an exposition; establishes the tonic key with one or more themes.

producer A person who supervises or finances the production of a stage or screen production or radio or television program.

program music An instrumental work associated explicitly by the composer with a story or other extramusical idea.

progression The movement from one note to another note, or one chord to another chord.

Proper of the Mass The parts of the Mass that vary from day to day according to the church calendar.

punk A descriptive term adopted by the most rebellious heavy metal bands and their followers.

Q

quarter tone Half a semitone.

quartet A piece for four singers or instrumentalists; (2) a group of four singers or instrumentalists.

R

ragtime A type of popular American music, usually for piano, that arose around 1900 and contributed to the emergence of jazz.

range The pitch distance between the lowest note and the highest note of an instrument, a composition, or an individual part.

Re In the fixed-do system, the note D. 2. In the moveable-do system, the second note of the scale.

recapitulation The third principal section of a movement in sonata form whose function is to resolve the harmonic conflicts set up in the exposition and development.

recitative A flexible style of vocal delivery employed in opera, oratorio, and cantata and tailored to the accents and rhythms of the text.

recorder An end-blown flute with a whistle mouthpiece, mot commonly found in music of the Middle Ages and Renaissance. Modern recorders are available in four sizes, soprano, alto, tenor and bass.

reduction The compression of a complex, multi-stave score onto one or two staves.

reed In wind instruments such as the clarinet and oboe, a small vibrating element made of cane that serves as all (double reed) or part (single reed) of the mouthpiece.

refrain A melody of a song that is repeated after each stanza (or verse).

register The relative location within the range of a voice or an instrument, such as "the piercing upper register of the oboe. "

Renaissance The historical period of music roughly from 1450 to 1600.

repetition Music that is the same or almost the same, as music that was heard earlier

resolution A move from a dissonance to a consonance.

rest In music, a brief silence; (2) in musical notation, a sign indicating such a silence.

retransition In sonata form, the passage that leads from the harmonic instability of the development to the stability of the recapitulation.

retrograde Playing a theme backward.

rhythm (1) The pattern in time created by the incidence and duration of individual sounds; (2) used more loosely to refer to a particular rhythm, for example, "a dotted rhythm." rhythm & blues (R&B) A term coined in 1949 to describe the heavily rhythmic urban blues cultivated mainly by Midwestern African-American musicians.

rhythmic background The subdivisions of beats within a regular meter.

rhythmic foreground The regular beats provided by meter.

ripieno The largest of the two instrumental groups in a Baroque concerto grosso.

ritard; ritardando Slowing down the tempo.

ritornello (Italian, "the little thing that returns") A recurring theme in eighteenth-century arias and concertos.

ritornello form Baroque instrumental form based on recurrences of a ritornello.

rock'n'roll(rock) Style of popular vocal music, often for dancing, that developed in the United States and England during the 1950s, characterized by a hard, driving duple meter and amplified instrumental accompaniment. Currently the most widespread musical style in the world.

Romantic The historical period of music roughly from 1820 to 1910. Composers of this period include Schubert, Schumann, Chopin, Brahms, Liszt, Wagner and Bruckner among many others.

rondo A musical form in which a main theme alternates with other themes or sections, for example, A-B-A-C-A.

root position The arrangement of a chord in which the root of the chord is the lowest pitch

round A simple sung canon in which all voices enter on the same note after the same time interval.

rubato "Robbed" time; the subtle pressing forward and holding back the tempo in performance.

S

sampling The capacity of a synthesizer to extrapolate from a single example a homogeneous timbre over a wide pitch range.

SATB Abbreviation in choral music for soprano, alto, tenor and bass

scale An array of fixed, ordered pitches bounded by two notes an octave apart. The common Western scales contain seven notes; in non-Western cultures, scales may contain fewer or more than seven notes.

scherzo (Italian, "joke") A faster, often humorous transformation of a minuet, introduced into symphonies by Beethoven.

score The complete musical notation of a composition, especially for an ensemble; the individual parts are lined up vertically.

scoring The process of orchestration.

secondary area In a movement in sonata form, the theme or group of themes that follows the transition and establishes the new key in the exposition.

semitone Same as halfstep.

sequence (1) The repetition of a musical idea at progressively higher or lower pitches; (2) a form of medieval chant.

sequencing On a synthesizer, programming a series of sounds.

serialist The technique, introduced by Schoenberg, of basing a composition on a series, or tone row. Boulez and others have extended serialism to rhythm and timbre.

shape The interrelationship through time of the parts or sections of a piece. Standardized shapes are commonly referred to as forms.

sharp In musical notation, a sign (#) indicating that the note it precedes is to be played a half step higher.

shuffle A repetitive rhythmic style consisting of dotted eighth and sixteenth notes played in s ccession (often swing time) wit an emphasis on the second and fourth beats in 4/4 time.

simple meter A meter in which the main beats arc subdivided into twos, such as 2/4 or 3/4.

Singspiel ("sung play") German folk or comic opera in which arias, ensembles, and choruses arc interspersed with spoken dialogue.

slur (1) In musical notation, a curved line connecting notes that are to be played legato; (2) in performance, the playing of legato.

Sol In the fixed-do system, the note G. 2. In the moveable-do system, the fifth note of the scale.

solo A piece where a performer plays alone or with accompaniment

solfeggio Vocal exercises in which syllables are assigned to notes. do, re, me, fa, sol, la, ti.

sonata A chamber work in several movements; in the Baroque, typically for three parts (the continuo part normally requiring two instruments); in later periods, for one or two instruments.

sonata-concerto form A hybrid of Baroque ritornello form and sonata form often used in the Classical concerto.

sonata form A musical form or style, originating in the eighteenth century, based on successive stages of stability, tension, and resolution; the most influential form developed during the age of tonality.

sonata-rondo form A synthesis of sonata and rondo forms, especially popular in finales of Classical instrumental works.

song cycle A collection of poems set to music and tied together by mood or story line.

song form A ternary form (ABA)

sonority A general term for sound quality, either of a brief moment or of an entire composition.

soprano (1) The high woman's (or boy's) voice; (2)the highest voice in a polyphonic texture.

spinning-out A translation of the German Fortspinnung, in reference to the single-minded use in Baroque music of a brief motive to generate a long, continuous phrase.

Sprechstimme A vocal delivery, developed by Schoenberg, intermediate between speech and song.

staccato In musical notation, a dot placed above a note-head to indicate that it is to be played crisply, with a short duration of sound.

staff (plural, staves) In musical notation, the five horizontal lines on which one or more voices are notated.

stem In musical notation, the vertical line attached to a notehead.

stop On the organ, hand-operated levers that activate different means of sound production, thereby varying the tone color.

stop (double, triple, quadruple) In string playing, the sounding of two, three, or four strings at once.

string quartet (1) Ensemble consisting of two violins, viola, and cello; (2) a work composed for this ensemble.

strings Family of bowed or plucked instruments in which thin strings are stretched over a wooden frame.

strophic form Vocal form in which each stanza of a poem is set to the same music. structure A term often used in music to mean shape or form.

style The result of the interaction among rhythm, melody, harmony, texture, color, and shape that gives the music of a particular period or composer its distinctiveness.

subdominant (1) The fourth degree of the diatonic scale- (2) the triad built on this degree; (3) the key oriented around this degree.

subject The main theme of a fugue.

subito Suddenly

support The singer or instrumentalist's use of the breath and body posture to produce and maintain a strong, supple, free and healthy sound

suite (I) A work consisting of a collection of dances, popular in the Baroque; (2) an abbreviated version of a longer work, for example, the suite from the film Star Wars.

swing (I)A style of jazz playing whose flexible, improvised rhythms resist notation; (2) name used to describe big band jazz from the 1930s and 1940s.

syllabic In plainchant, a style in which each syllable of text receives a single note.

symphonic piece An elaborate musical composition for an orchestra. It usually has three or four movements in different tempos but relate keys.

symphonic poem Same as Tone Poem.

symphony A large orchestral composition in several movements- a dominant form of public music in the eighteenth and nineteenth centuries.

syncopation The accenting, within a well-defined meter, of weaker beats or portions of beats.

synthesizer An electronic device that can create a wide variety of sounds in response to the user's instructions.

system A group of staves connected by a brace, indicating that they are to be played simultaneously.

T

tail The end of a theme.

tailpiece The holder to which the strings are attached at the lower end of the body of a string instrument.

tango A duple-meter dance from Argentina that was popular in Paris in the early twentieth century.

tempo (Italian, "time") The speed of a piece of music, usually reckoned by the rate of its beats. tenor (1) The high male voice; (2) the second-lowest voice in a four-part texture; (3) the long-held voice in a medieval organum.

tenor The highest natural male singing voice.

ternary form A three-part musical structure (A-B-A) based on statement (A), contrast (B), and repetition (A).

texture The musical weave of a composition, such as homophonic or contrapuntal.

thematic anticipation The Romantic practice of introducing fragments of a theme before presenting it in its entirety.

thematic transformation A Romantic technique that preserves the essential pitch identity of a theme while altering its rhythm or character.

theme A self-contained melodic idea on which musical works are frequently based.

theme and variations Popular form in which a theme is followed by variations that preserve the phrase lengths and harmonization of the theme while varying its rhythms, melodies, and textures.

through-composed A descriptive term for a song or an instrumental movement in which there is no large-scale repetition.

ti In the fixed-do system, the note B. 2. In the movable-do system, the seventh note of the scale.

tie A curved line that joins two or more notes of the same pitch that last the duration of the combined note values.

timbre (tam-burr) Same as tone color.

time signature The two numbers that appear in a score immediately after the clefs. The upper number indicates how many beats each measure is to receive; the lower number indicates the value of the note that receives each beat.

toccata An improvisatory style of keyboard music especially popular during the Baroque.

tonality; tonal A harmonic system in which triads are arranged hierarchically around a central triad called the tonic.

tone A more general term for pitch or note.

tone duster The simultaneous sounding of adjacent pitches.

tone color (timbre) The acoustical properties of a sound, including its envelope and the distribution of overtones above the fundamental. tone poem (symphonic poem) A piece of orchestral program music in one long movement. tone row In serial music, the ordering of all twelve notes of the chromatic scale to serve as the basis of a composition.

tone quality The quality of a musical note or sound that distinguishes different types of sound production such as voices or musical instruments.

tonic (1) The first degree, or central note, of the diatonic scale; (2) the triad built on this degree; (3) the key oriented around this degree. total serialist The application of serial techniques to all aspects of musical style.

transcription An arrangement, usually for a solo instrument such as a piano, of an orchestral or vocal work.

transition In a movement in sonata form, the unstable stage in an exposition that undertakes the modulation from the tonic to the new key.

transpose; transposition To move a passage (or section or entire work) from one pitch level to another.

treble clef The clef in the upper staff that shows pitches mostly above middle C.

tremolo In string playing, repetitions of a tone produced by rapid alternation between up-and-down strokes of the bow.

triad A chord consisting of three pitches constructed around intervals of interlocking thirds (on the white notes, this amounts to every other note).

trill Musical ornament that consists of two notes a half step or a whole step apart played in rapid alternation.

trio (1) A work for three performers; (2) the second section of a Baroque dance such as a minuet.

trio sonata A Baroque sonata for two treble instruments and continuo, generally requiring four performers.

triple meter The regular grouping of beats into threes, as in a waltz.

triplet The grouping of three notes per beat, usually in contrast to the standard grouping of two notes per beat.

tritone A dissonant interval consisting of three whole steps, known in medieval music as "the devil in music."

trope An addition to the plainchant, usually in the form of new text set to either existing or new music.

troubadors, trouveres Poet/musicians, usually aristocratic, active in southern and northern France during the Middle Ages.

tune A less formal term for a melody, especially a catchy melody.

turn around A chord or group of chords that takes you back to the beginning of a progression.

tutti (Italian, "all") The full ensemble.

Twelve bar blues

U

under-third cadence A fourteenth-century cadence, closely associated with Francesco Landini, in which the melody proceeds from the seventh to the sixth degree of the modal scale before rising a third to the tonic note.

unequal-voiced counterpoint (non-imitative counterpoint) A musical texture in which independent voices of different character compete for attention.

unison A descriptive term for music sung or played at the same pitch by two different voices or instruments.

unit pulse A rhythmic technique in which meter is replaced by a focus on the shortest rhythmic value.

upbeat A weak or unaccented beat that anticipates a strong downbeat.

V

variation (1) Generally, an altered version of a rhythm, motive, or theme; (2) in theme and variations, each regular section following the theme, in which the phrase lengths and harmonization remain true (or close) to the theme while the rhythms, melodies, and textures change.

verismo A descriptive term for a realistic, often sensational, type of late-Romantic Italian opera, whose disreputable characters are caught up in lust, greed, betrayal, or revenge.

vernacular dramas A sung monophonic play presented in the Middle Ages by roving minstrels, who freely mixed secular texts, instrumental music, and plainchant.

verse One of two sections (verse and bridge) of many American popular songs, especially common in the sequence verse-verse-bridge-verse.

vibrato On string instruments, small but rapid fluctuations in pitch used to intensify a sound.

virtuosity In a composition, a focus on exceptional technical demands; in a performance, a focus on exceptional technical display.

virtuoso A performer with exceptional technical skills.

voice (1) The human voice; (2) an independent line in any polyphonic piece.

W

walking bass A Baroque pattern in which a bass part moves steadily in constant rhythms.

waltz A popular nineteenth-century dance in moderate to fast triple meter.

white noise Sounds containing every audible frequency at approximately the same intensity.

whole step (whole tone) An interval equal to two half steps.

whole-tone scale An exotic non-Western scale employed by Debussy and other Western composers.

woodwinds A family of instruments, constructed largely of wood, that produce sound by means of blowing air across an aperture or through a vibrating reed.

word painting A technique that became prominent in the Renaissance, in which musical figures are used to represent specific images-falling, sighing, weeping, rejoicing, and so forth.

word wall A literacy tool composed of an organized collection of words which are displayed in large visible letters on a wall, bulletin board, or other display surface, usually in a classroom

X

Xylophone A percussion instrument consisting of a set of tuned wooden bars, arranged horizontally as on a piano keyboard, which are struck with hard or soft mallets.

Y

Yodel A type of singing popular in the Alps of Austria and Switzerland characterized by frequent alternation of chest tones with falsetto tones.

Z

APPENDIX D

WEBSITES

American Choral Directors Association:

Baroque Music:

Boston Symphony Orchestra:

Classics for Kids:

Classroom displays and bulletin boards:

Dallas Symphony site:

Invaluable Mail list through for music teachers:

mentors/music/posts.html

Invaluable Mail list through MENC for music teachers: works/genmus/openforum/wwwboard.htm

Making Tracks:

Morton Subotnik’s Creating Music:

:

Music Express Magazine:

:

Musical Mysteries:

NY Philharmonic Kids:

PBS Jazz site:

Reader’s Theater Scripts:

Ricci Adams :

SFS Kids:

Appendix E

Songs

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References

Robert W. Ottman Elementary Harmony Theory and Practice textbook. Prentice Hall; 5 edition (October, 1997

Robert W. Ottman Elementary Harmony Theory and Practice workbook. Prentice Hall; 5 edition (July 2, 1998)

C.L. Hannon. Virtuoso Pianist in 60 Exercises: Complete (Schirmer's Library of Musical Classics) (Paperback) G. Schirmer, Inc. (November 1, 1986)

Willard A. Palmer Alfred's Basic Adult Piano Course: Lesson Book, Level One (Paperback) Alfred Publishing Company (December 1983)

Jane Smisor Bastien, Lisa Bastien, Lori Bastien KP1B - Bastien Piano for Adults, 1 Book Only: A Beginning Course: Lessons, Theory, Technic, Sight Reading (Spiral bound) Kjos Music Company (June 1, 1999)

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