Greenwich Public Schools Core Music Curriculum PK-5 · Greenwich Public Schools Core Music Curriculum PK-5 ... He suggests the following “musical workout:” 1. ... to create their

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Greenwich Public Schools Core Music Curriculum PK-5

Overview

As a means of having a uniform teaching approach and methodology for core music, grades Pre-K through 5th grade, the core music faculty have decided they will implement the music curriculum created by Dr. John Feierabend. A national leader in music education, Dr. Feierabend is Professor of Music and the Director of the Music Education Division at The Hartt School of the University of Hartford.

First Steps in Music for Preschool and Beyond1 is Feierabend’s text for Pre-K through the end of 1st grade. Its focus is developing singing and movement skills, and is rich in traditional folk music. The design encourages students to be “tuneful, beatful, and artful” (p.10). He suggests the following “musical workout:”

1. Pitch Exploration 5. Song Tales (songs that tell a story) 2. Song Fragments (echo/call & response songs) 6. Movement Exploration 3. Simple Songs 7. Movement for Form and Expression 4. Arioso (Child-created Tunes) 8. Movement with the Beat

Based on this methodology, the Pre-K/Kindergarten and Grade 1 Core Music Units of Instruction

include three strands—Tuneful, Beatful, and Artful. At the end of first grade, students are assessed for their readiness to move into Conversational Solfege.

Beginning in second grade and continuing through fifth grade, students begin Conversational Solfege Level One2, Feierabend’s curriculum for teaching music literacy. This method uses a twelve-step process developing students’ aural skills, the way language is taught, before musical symbols are introduced. The curriculum incorporates rhymes, songs, games, and movement activities. This provides teachers with opportunities for differentiation (process as well as product), meeting the needs of individual students and their various learning styles, specifically visual, auditory, and kinesthetic learners. Steps one and two are rote learning, or “readiness” activities that have students echo the teacher. Steps three and four involve “Conversational Solfege” techniques in which the teacher speaks/sings familiar and unfamiliar patterns and the students are then required to aurally decode. These steps serve as an assessment of the skills gained and also require students to use higher-order thinking. In step five students are asked to create their own rhythm and tonal patterns then followed by musical notation. In the sixth step, students read patterns and music by rote, and then decode familiar and unfamiliar patterns and songs (read/sing out loud) similarly as they do in language literacy classes. Following three reading steps, the students then begin to write notation. In step eleven, the teacher speaks, sings, or plays unfamiliar rhythm and tonal patterns for students to write down. The final step in the twelve-step process is composition. They are required to first create their own musical patterns, and then write them down. Students are informally assessed at each step with a summative assessment at the end of step twelve. 1 Feierabend, John. First Steps in Music for Preschool and Beyond. Chicago: GIA Publications, 2003. 2 Feierabend, John. Conversational Solfege, Level One. Chicago: GIA Publications, 2000.

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Table of Contents Pre-K/Kindergarten Units of Instruction 3 Tuneful 3 Beatful 5 Artful 7 Grade 1 Units of Instruction 9 Tuneful 9 Beatful 11 Artful 13 Grades 2-5 Unit of Instruction 15 Music and Movement 15 Grades 2-3 Unit of Instruction 17 GSO Young People’s Concert 17 Grades 4-5 Unit of Instruction 19 GSO Young People’s Concert 19 Grade 2 Units of Instruction 21 Conversational Solfege Level 1, Unit 1 – Rhythmic (Steps 1-12) 21 Conversational Solfege Level 1, Unit 2 – Rhythmic (Steps 1-5) 24 Conversational Solfege Level 1, Unit 4 – Tonal (Steps 1-3) 26 Grade 3 Units of Instruction 28 Conversational Solfege Level 1, Unit 2 – Rhythmic (Steps 6-12) 28 Conversational Solfege Level 1, Unit 3 – Rhythmic (Steps 1-12) 31 Conversational Solfege Level 1, Unit 4 – Tonal (Steps 4-12) 34 Grade 4 Units of Instruction 37 Conversational Solfege Level 2, Unit 5 – Tonal (Steps 1-12) 37 Conversational Solfege Level 2, Unit 6 – Rhythmic (Steps 1-12) 40 Conversational Solfege Level 2, Unit 7 – Rhythmic (Steps 1-12) 43 Conversational Solfege Level 2, Unit 8 – Rhythmic (Steps 1-12) 46 Grade 5 Units of Instruction 49 Conversational Solfege Level 2, Unit 9 – Rhythmic (Steps 1-12) 49 Conversational Solfege Level 2, Unit 10 – Tonal (Steps 1-12) 52 Conversational Solfege Level 3, Unit 19 – Rhythmic (Steps 1-12) 55 Fifth Grade Vocal Assessment 58

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Title: Tuneful—How We Use Our Voice Course: Core Music Topic: Songs & Pitch Exploration Grade: PK-K

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing Responding to the arts Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of

communication, capable of expressing feelings and emotions that surpass the spoken language.

• Humans are born with an instrument for making music-the voice.

• Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice.

Responding • The depth of musical knowledge one possesses

impacts how, and to what degree, one analyzes, describes, and evaluates music.

• The music to which one has been exposed influences one’s musical preferences.

• People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain).

• Listening to music evokes emotions, whether or not one has chosen to listen to it.

Connections • Music connects us to the past, present, and future.

Essential Questions: Performing • In what ways is singing easier than playing an

instrument? In what ways is playing an instrument easier than singing?

• How does having an audience impact the performers? Is the audience an essential component of a performance?

• How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself?

Responding • Why do we listen to music? • Why do we like the music we like? How can we

be open to liking music we do not understand? • How does familiarity with a piece of music affect

how we respond? Connections • Why is some music timeless? • How does my artistic work connect to other

subjects I study?

Students will know… • The four different ways of using their voices:

speaking, singing, shouting, and whispering. • The terms high/low, soft/loud, and fast/slow.

Students will be able to... • Identify, demonstrate, and differentiate between

the four different ways of using the voice—speaking, singing, shouting, and whispering.

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• That correct body position is necessary in order to sing well.

• That breathing is part of singing well.

• Echo song fragments and rhymes. • Explore pitch using vocal sliding activities

(glissandi). • Sing songs/say rhymes while maintaining a steady

beat. • Hear sounds that are high and low, loud and soft,

and fast and slow. • Listen and respond to teacher-performed “song

tales.” • Make connections between music they hear in

class and music/activities in their daily lives. Stage 2—Assessment Evidence

Performance Tasks: • Learn and perform simple songs as a group and/or individually. Key Criteria: • Students will be assessed on their ability in singing songs based on a 3-point rubric (3 = consistently

competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating singing and listening

will be used. Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher.

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Title: Beatful—Feeling the Pulse/Beat Course: Core Music Topic: Pulse/Steady Beat & Beats in 2s/3s Grade: PK-K


















subjects I study?

Students will know… • The terms: steady beat, fast/slow, and

same/different. • That music can be in 2’s or 3’s.

• Students will be able to…Maintain teacher-generated steady beat on their bodies or age-appropriate classroom instruments.

• Create a steady beat to familiar songs/rhymes on their bodies or age-appropriate instruments.

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• Move to the beat in 2’s and 3’s to recorded music, familiar songs, and rhymes by following the teacher’s lead.

• Make connections between music they hear in class and music/activities in their daily lives.

Stage 2—Assessment Evidence Performance Tasks: • Students will maintain a steady beat in 2’s and 3’s to a familiar song, rhyme, or recorded music. Key Criteria: • Students will be assessed on their ability in maintaining a steady beat in 2’s and 3’s based on a 3-point

rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating movement, singing,

playing instruments, and body percussion will be used. Stage 3—Learning Plan


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Title: Artful—Creative Exploration in Music Course: Core Music Topic: Moving to Music & Creating Simple Songs Grade: PK-K

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of




• Performing involves interpretative decisions. Creating • Improvisation expresses ideas and feelings in the

moment. Responding • The depth of musical knowledge one possesses









Creating • How do I express my ideas, feelings, or mood

through music? Responding • Why do we listen to music? • Why do we like the music we like? How can we



subjects I study?

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Connections • Music connects us to the past, present, and future. Students will know… • Age-appropriate movements to music (as reflected

in suggested Kindergarten movement repertoire). • The following terms: arioso, fast/slow, high/low,

same/different, pattern, personal space, and movement.

Students will be able to... • Discover the sounds they can make with their

voices (e.g. oo, ah, yee-ha, mm, etc.). • Explore pitch using vocal sliding activities/create

vocal glissandi. • Create (improvise) Level 1 ‘ariosos’ (child-created

songs without words) on a neutral syllable using a minimum of 2-3 pitches.

• Recognize same/different in Level 1 ‘ariosos.’ • Discover different ways they can move their

bodies. • Demonstrate an awareness of personal space. • Use age-appropriate movements (based on

suggested movement repertoire) to recorded music.

• Recognize patterns in movements. • Make connections between the vocal sounds and

movements they make in class to other disciplines (math, language arts, P.E., art) and to their daily lives.

Stage 2—Assessment Evidence Performance Tasks: • Students will create (improvise) Level 1 ‘ariosos’ (songs without words) based on teacher guidelines. • Students will create their own movements to recorded music based on teacher guidelines. Key Criteria: • Students will be assessed on their ability in creating Level 1 ‘ariosos,’ and movements based on a 3-point

rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating movement, singing

and improvising will be used. Stage 3—Learning Plan


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Title: Tuneful—How We Use Our Voice Course: Core Music Topic: Songs & Pitch Exploration Grade: 1





• Performing involves interpretative decisions. Responding • The depth of musical knowledge one possesses






Essential Questions: Performing • In what ways is making music a more effective

form of communication than speaking? In what ways is speaking a more effective form of communication than making music?

• In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing?






subjects I study? Students will know… Students will be able to...

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• The terms posture, “Song Tale,” high/low, loud/soft, and fast/slow.

• That breathing and correct posture is part of singing well.

• Echo song fragments and rhymes. • Explore pitch using vocal sliding activities

(glissandi). • Sing songs/say rhymes while maintaining a steady

beat. • Maintain correct body position while singing. • Distinguish between sounds that are high and low,

loud and soft, and fast and slow. • Listen and respond to teacher-performed “song

tales.” • Make connections between music they hear in

class to other disciplines (math, language arts, P.E., art) and to their daily lives.

Stage 2—Assessment Evidence Performance Tasks: • Learn and perform simple songs as a group and/or individually. Key Criteria: • Students will be assessed on their ability in singing songs based on a 3-point rubric (3 = consistently

competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating singing, improvising,

and listening will be used. Stage 3—Learning Plan


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Title: Beatful—Feeling the Pulse/Beat Course: Core Music Topic: Pulse/Steady Beat & Beats in 2s/3s Grade: 1






moment. • Improvisation and composition involve guidelines

and structure, which may be amended during the creative process.





• Listening to music evokes emotions, whether or









how we respond?

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not one has chosen to listen to it. Connections • Music connects us to the past, present, and future.

Connections • Why is some music timeless? • How does my artistic work connect to other

subjects I study? Students will know… • The terms steady beat, fast/slow, and

same/different. • That music can be in 2’s or 3’s.

Students will be able to... • Maintain teacher-generated steady beat on their

bodies or age-appropriate classroom instruments. • Establish and maintain a steady beat to familiar

songs and rhymes on their bodies or age-appropriate instruments.

• Move to the beat in 2’s and 3’s to recorded music, familiar songs, and rhymes by following the teacher’s lead.

• Make connections between music they hear in class to other disciplines (math, language arts, P.E., art) and to their daily lives.

Stage 2—Assessment Evidence Performance Tasks: • Students will establish and maintain a steady beat in 2’s and 3’s to a familiar song, rhyme or recorded

music. Key Criteria: • Students will be assessed on their ability in establishing and maintaining a steady beat in 2’s and 3’s

based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating movement, singing,

playing instruments, and body percussion will be used. Stage 3—Learning Plan


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Title: Artful—Creative Exploration in Music Course: Core Music Topic: Moving to Music & Creating Simple Songs Grade: 1

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of










• People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or









how we respond?

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alter a current emotional state, to entertain). • Listening to music evokes emotions, whether or

not one has chosen to listen to it. Connections • Music connects us to the past, present, and future.


subjects I study? Students will know… • The terms: arioso, heavy/light, and

high/middle/low. • Age appropriate movement vocabulary (based on

suggested Grade 1 movement repertoire).

Students will be able to... • Create (improvise) Level 1, 2, and 3 ‘ariosos’

(child-created tunes) using a minimum of 2-3 pitches.

• Respond to music by using different ways of using their bodies based on age-appropriate movement vocabulary.

• Demonstrate an awareness of heavy/light, and high/middle/low levels through age-appropriate movement activities (based on suggested movement repertoire).

• Make connections between the vocal sounds and movements they make in class to other disciplines (math, language arts, P.E., art), and to their daily lives.

Stage 2—Assessment Evidence Performance Tasks: • Students will create (improvise) Level 3 ‘ariosos’ based on teacher guidelines. • Students will create their own movements to recorded music based on teacher guidelines. Key Criteria: • Students will be assessed on their ability in creating ‘ariosos,’ and movements based on a 3-point rubric

(3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating movement, singing

and improvising will be used. Stage 3—Learning Plan


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Title: Music and Movement Course: Core Music Topic: Moving/Dancing to Songs & Recorded Music Grades: 2-5

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Responding to the arts Making connections to and through the arts Understandings: Students will understand that… Performing • Singing is a means of communication, capable of

expressing feelings and emotions that surpass the spoken language.

Responding • The music to which one has been exposed

influences one’s musical preferences. • People listen to music for a variety of reasons

(e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain).

Connections • Music connects us to the past, present, and future. • The arts connect to other disciplines, personal

experiences, and daily life. • There are similarities and differences in the arts

produced among cultures and across time.




Responding • How does familiarity with a piece of music affect

how we respond? • How does the addition of music to other art forms

(e.g. dance, theater, movies, TV shows, commercials, video games) affect how we respond?


subjects I study? Students will know… • The following terms: folk dance, movement theme,

steady beat, rhythm, and tempo. • Age-appropriate movement themes selected from

the following: awareness of body parts and

Students will be able to... • Perform/respond to music by using age-

appropriate movements and movement themes (based on suggested movement repertoire).

• Perform a variety of age-appropriate folk dance

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whole; awareness of time; awareness of space; awareness of levels; awareness of weight; awareness of locomotion; awareness of flow; awareness of shape; awareness of others; student created movement.

• Age-appropriate movement terms selected from the following: hop (one foot), jump, leap, gallop, skip, do-si-do, elbow swing, kick, sashay, forward, backward, clockwise, and counter-clockwise; and formations such as circle, line, and scattered formation.

movements and folk dances while singing. • Recognize patterns in movements and their

connection to musical form. • Make connections between movements and

dances to other disciplines (math, language arts, social studies, geography, P.E., art), cultures and their daily lives.

Stage 2—Assessment Evidence Performance Tasks: • Students will be able to perform a variety of age-appropriate songs, movements, and folk dances in a

group setting. Key Criteria: • Students will be assessed on their ability to sing and move/dance based on a 3-point rubric (3 =

consistently competent, 2=competent, and 1=emerging). Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating movement and

singing and dancing will be used. Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher, based on the following suggested movement repertoire list: Feierabend, John and Kahan, Jane. The Book of Movement Exploration. Chicago, IL: GIA Publications, Inc. 2003. Amidon, Peter et al. Down in the Valley. Brattleboro, VT: New England Dancing Masters Production. 2000. Amidon, Peter et al. Chimes of Dunkirk. Brattleboro, VT: New England Dancing Masters Production. 1991. Amidon, Peter et al. Sashay the Doughnut. Brattleboro, VT: New England Dancing Masters Production. 1991. Amidon, Peter et al. Listen to the Mockingbird. Brattleboro, VT: New England Dancing Masters Production. 1991. Weikart, Phyllis. Weikart: Beginning Folk Dances with Phyllis Weikart (vol. 1-6) HighScope Educational Research Foundation. DVD. Feierabend, John and Lyman, Peggy. Feierabend: Move It! 1 and Move It! 2. Chicago, IL: GIA Publications, Inc. DVD/CD. Weikart, Phyllis. Teaching Folk Dance. Ypsilanti, MI: High/Scope Press. 1997. Trinka, Jill. The Little Black Bull. Chicago, IL: GIA Publications, Inc. 1996. Trinka, Jill. My Little Rooster. Chicago, IL: GIA Publications, Inc. 1996. Trinka, Jill. Bought Me a Cat. Chicago, IL: GIA Publications, Inc. 1996. Trinka, Jill. John the Rabbit. Chicago, IL: GIA Publications, Inc. 1996.

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Title: Young People’s Concert/Greenwich Symphony Course: Core Music Topic: Variable depending on repertoire/materials* Grades: 2-3

Stage 1—Desired Results Established Goals: National Standards Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 9: Understanding music in relation to history and culture. *Depending on the repertoire, other standards may be incorporated. GPS Overarching Big Ideas Responding to the arts Making connections to and through the arts Understandings: Students will understand that… Responding • The music to which one has been exposed

influences one’s musical preferences. • Listening to music evokes emotions, whether or

not one has chosen to listen to it. Connections • Music connects us to the past, present, and

future.

Essential Questions: Responding • Why do we listen to music? • Why do we like the music we like? How can we be

open to liking music we do not understand? • How does familiarity with a piece of music affect

how we respond? Connections • Why is some music timeless?

Second Grade Students will know… • The names of the families of instruments (strings,

woodwinds, brass, percussion), the names of all the string instruments (violin, viola, cello, string bass, and harp), and one representative instrument from the other three families.

• How sound is produced for each family of instruments.

• The following terms: conductor, symphony orchestra.

• Age-appropriate characteristics of the repertoire. • The basic principles of concert etiquette. Third Grade Students will know all of above with the addition of… • The names of all the woodwind instruments

(flute, piccolo, oboe, clarinet, saxophone, and bassoon), the names of all the brass instruments (trumpet, French horn, trombone, and tuba) and the following percussion instruments: bass drum, snare drum, bells, cymbals, xylophone, piano, triangle, and auxiliary instruments of the

Second Grade Students will be able to... • Visually identify the four families of the orchestra. • Aurally identify the string and percussion families. • Visually identify all the string instruments. • Use age-appropriate words to describe the mood of

the pieces listened to in class (for e.g. scary, excited, sad, happy etc.).

• Apply the principles of concert etiquette during the concert.

• Discuss the role of the conductor. Third Grade Students will be able to do all of above with the addition of… • Visually identify all the instruments of each family of

the orchestra. • Aurally identify the brass and woodwind families.

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teacher’s choice. Stage 2—Assessment Evidence

Performance Tasks: • Students will attend the Greenwich Symphony Orchestra Young People’s Concert and apply the

principles of concert etiquette. Key Criteria: • Students will be assessed on their ability to visually and aurally indentify the families/instruments of the

orchestra as outlined above. • Students will reflect on their experience after the concert. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating listening and

describing music will be used based on the materials sent from the YPC Committee. Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher based on the materials sent. *Greenwich Public School students in grades 2-3 attend an annual performance of the Greenwich Symphony Orchestra’s Young People’s Concert. The repertoire that the Greenwich Symphony performs is different every year. The Young People’s Concert Committee sends the materials to all teachers at least one month prior to the concert.

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Title: Young People’s Concert/Greenwich Symphony Course: Core Music Topic: Variable depending on repertoire/materials* Grades: 2-5

Stage 1—Desired Results Established Goals: National Standards Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 9: Understanding music in relation to history and culture. *Depending on the repertoire, other standards may be incorporated. GPS Overarching Big Ideas Responding to the arts Making connections to and through the arts Understandings: Students will understand that… Responding • The depth of musical knowledge one possesses





Connections • Music connects us to the past, present, and future. • Studying the music of a time period can provide

insight into the emotional climate and historical and cultural milieu.

Essential Questions: Responding • Why do we listen to music? • Why do we like the music we like? How can we


how we respond? Connections • Why is some music timeless? • What would our world be like if we didn’t have the

arts? • How do artists from different eras and cultures

explore and express similar themes?

Students will know… • The names of the families of instruments (strings,

woodwinds, brass, percussion), the names of the instruments of each family (strings –violin, viola, cello, string bass, harp; woodwinds - flute, piccolo, oboe, clarinet, saxophone, bassoon; brass - trumpet, French horn, trombone, tuba; percussion - bass drum, snare drum, bells, cymbals, xylophone, piano, triangle;

• How sound is produced for each family of instruments.

• The following terms: conductor, symphony

Students will be able to... • Visually identify the four families of the orchestra

and the individual instruments of each. • Aurally identify the families of the orchestra and a

minimum of two instruments from each (for e.g. contrasting instrument sounds – violin/string bass, trumpet/tuba).

• Describe the mood of the pieces listened to in class.

• Describe how the musical elements (dynamics, timbre, tempo, tonality, meter, etc) create the mood

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orchestra, and concertmaster. • General characteristics of the style periods of the

repertoire being studied. • General information about the composers being

studied. • The principles of concert etiquette.

• Discuss the role of the conductor and practice conducting patterns (2/4, 3/4, and 4/4).

• Identify the style period for the composers represented.

• Apply the principles of concert etiquette during the concert.

Stage 2—Assessment Evidence Performance Tasks: • Students will attend the Greenwich Symphony Orchestra Young People’s Concert and apply the

principles of concert etiquette. Key Criteria: • Students will be assessed on their ability to visually and aurally indentify the families/instruments of the

orchestra as outlined above. • Students will reflect on their experience after the concert. • Based on the materials sent from the YPC Committee students will be assessed according to the

teacher’s choice, for e.g. a written reflection, a thank-you letter, class discussion, pair-share. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating listening, conducting,

and describing music based on the musical elements will be used based on the materials sent from the YPC Committee.

Stage 3—Learning Plan Learning Activities: To be developed by the individual teacher based on the materials sent. *Greenwich Public School students in grades 2-5 attend an annual performance of the Greenwich Symphony Orchestra’s Young People’s Concert. The repertoire that the Greenwich Symphony performs is different every year. The Young People’s Concert Committee sends the materials to all teachers at least one month prior to the concert.

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Title: Conversational Solfege Unit 1 (Steps 1-12) Course: Core Music Topic: Quarter & Paired Eighth Notes in 2/4 Meter Grade: 2

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Interpreting symbolic expressions/literacy Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of





moment. • Composition requires imagining, planning,

creating, evaluating, and refining one’s musical ideas.

• Composition results in a work that can be performed and replicated.

• Improvisation and composition involve guidelines






Creating • How does improvisation differ from composition?

How are improvisation and composition similar? • How is composing more satisfying or less

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Literacy • Notational literacy empowers independent

musicians. • Notation gives permanence to a composition. • Standard music notation includes symbols that

visually represent sounds, and a universal set of terms that aid understanding.

• Since music is an aural art form, aural literacy (e.g. listening critically) is an important component of being musically literate.



satisfying than performing works of other composers? How is performing my own composition more satisfying or less satisfying than performing works of other composers?

• How do I express my ideas, feelings, or mood through music?

• How can I use the elements of music (e.g. melody, harmony, rhythm, timbre, texture, and expressive devices) to convey my ideas and intent?



how we respond? Literacy • Why do composers use standard notation? • Is notation “music”? • What is the value in becoming musically literate? • What would change if we didn’t have a system of

written music notation? Connections • Why is some music timeless? • How does my artistic work connect to other

subjects I study?

Students will know… • The names of the following notation symbols: ta

and ta-ti (quarter note, paired eighth notes), bar line, ending bar line, stem, beam, and note-head.

• The terms steady beat, tempo.

Students will be able to... • Chant rhythmic patterns and sing/play (on non-

pitched age-appropriate classroom instruments) songs/rhymes using “ta” and “ta-ti” (quarter note, paired eighth notes).

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs, phrase by phrase, using “ta” and “ta-ti.”

• Conversationally create (improvise) rhythmic patterns using “ta” and “ta-ti.”

• Read, create and write (compose) rhythmic patterns using “ta” and “ta-ti.”

• Write stems, note heads, and beams properly. Stage 2—Assessment Evidence

Performance Tasks: • Students will decode, create and write (compose) rhythmic patterns using “ta” and “ta-ti.”

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Key Criteria: • Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics.

Proficiency will be based on an 80% level of accuracy. • Students’ writing will be assessed for accuracy with a manuscript checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,

reading, writing, and performing will be used from Conversational Solfege, Unit 1. Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to include readiness and rote activities from Units 2 & 4 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 2 (Steps 1-5) Course: Core Music Topic: Dotted Quarter & 3-Beamed Eighth Notes in 6/8 Meter Grade: 2

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of




Creating • Improvisation expresses ideas and feelings in the















• How do I express my ideas, feelings, or mood

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through music? • How can I use the elements of music (e.g. melody,

harmony, rhythm, timbre, texture, and expressive devices) to convey my ideas and intent?



how we respond? Students will know… • The terms ta and ta-to-te (dotted quarter note and

three-beamed eighth notes). • The terms steady beat, tempo, and improvise.


pitched age-appropriate classroom instruments) songs/rhymes using “ta” and “ta-to-te” (dotted quarter and three-beamed eighth notes).

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs, phrase by phrase, using “ta” and “ta-to-te.”

• Conversationally create (improvise) rhythmic patterns using “ta” and “ta-to-te.”

Stage 2—Assessment Evidence Performance Tasks: • Students will conversationally decode rhythmic patterns, songs and rhymes using “ta” and “ta-to-te.” • Students will conversationally create (improvise) rhythmic patterns using “ta” and “ta-to-te.” Key Criteria: • Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics.

Proficiency will be based on an 80% level of accuracy. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,

and performing will be used from Conversational Solfege, Unit 2. Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic concepts from Unit 1 and to include readiness and rote activities from Unit 4 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 4 (Steps 1-3) Course: Core Music Topic: Mi-Re-Do Grade: 2

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. GPS Overarching Big Ideas Making meaningful expression/performing Responding to the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of




• Performing involves interpretative decisions. Responding • The depth of musical knowledge one possesses










how we respond? Students will know… • The terms solfege, steady beat, tempo, and pitch. • The names of the solfege syllables mi, re, and do.

Students will be able to... • Echo/perform tonal patterns using a neutral

syllable. • Echo/perform tonal patterns using “mi-re-do.” • Conversationally decode familiar tonal patterns

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and songs, phrase by phrase, using “mi-re-do. Stage 2—Assessment Evidence

Performance Tasks: Students will conversationally decode tonal patterns using “mi-re-do.” Key Criteria: Students will be assessed on the accuracy of their decoding based on teacher-created rubrics. Proficiency will be based on an 80% level of accuracy. Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating performing and decoding will be used from Conversational Solfege, Unit 4.

Stage 3—Learning Plan Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic concepts from Units 1 and 2, and to include readiness and rote activities from Unit 3 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 2 (Steps 6-12) Course: Core Music Topic: Dotted Quarter & 3-Beamed Eighth Notes in 6/8 time Grade: 3

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7: Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Interpreting symbolic expression/literacy Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of
















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Connections • Music connects us to the past, present & future. • Studying the music of a time period can provide









subjects I study?

Students will know… • The names and meanings for the following

notation symbols: ta and ta-to-te (dotted quarter notes and a set of three-beamed eighth notes in 6/8 time), bar line, ending bar line, stem, beam, and note head.

• The terms steady beat, tempo, improvise, and compose.


pitched age-appropriate classroom instruments) songs/rhymes using “ta” and “ta-to-te” (dotted quarter and three-beamed eighth notes).

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs, phrase by phrase, using “ta” and “ta-to-te.”

• Conversationally create (improvise) rhythmic patterns using “ta” and “ta-to-te.”(the above steps are all review from Grade 2).

• Read, create and write (compose) rhythmic patterns using “ta” and “ta-to-te,” and tonal syllables, mi-re-do, (when applicable).

• Write stems, note heads, and beams properly. Stage 2—Assessment Evidence

Performance Tasks:

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• Students will read, decode, create and write (compose) rhythmic patterns using “ta” and “ta-to-te.” Key Criteria: • Students will be assessed on the accuracy of their creating and writing based on teacher-created rubrics. • Students’ writing will be assessed for accuracy with a manuscript checklist. • Proficiency will be based on an 80% level of accuracy. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, reading,

creating, performing, and writing will be used from Conversational Solfege, Unit 2 (Steps 6-12). Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher. This is a continuation of Unit 2 taught in Grade 2. Steps 1-5 should be reviewed first before advancing to Steps 6-12. While teaching this unit, it is important to review previously learned rhythmic concepts from Unit 1 and to review Steps 1-3 from Unit 4 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 3 (Steps 1-12) Course: Core Music Topic: Dotted Quarter, 3 Beamed Eighths, Quarter-Eighth Combination in 6/8 Time Grade: 3

Stage 1—Desired Results Established Goals: National Standards Standard 1. Singing, alone and with others, a varied repertoire of music. Standard 2. Performing on instruments, alone and with others, a varied repertoire of music. Standard 3. Improvising melodies, variations, and accompaniments. Standard 4. Composing and arranging music within specified guidelines. Standard 5. Reading and notating music. Standard 6. Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8. Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9. Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Interpreting symbolic expression/literacy Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of








• Composition results in a work that can be








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performed and replicated. • Improvisation and composition involve guidelines




















subjects I study?

Students will know… • The names of the following notation symbols: ta,

ta-to-te, and ta-te (dotted quarter, three-beamed eighth notes, quarter note/single eighth), bar line, ending bar line, stem, beam, and note-head.

• The terms steady beat and tempo.


pitched age-appropriate classroom instruments) songs/rhymes using “ta,” “ta-to-te,” and “ta-te,” and tonal syllables (“mi-re-do”) when applicable.

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs, phrase by phrase, using “ta,” “ta-to-te,” and “ta-te,” and tonal syllables (mi-re-do), when applicable.

• Conversationally create (improvise) rhythmic patterns using “ta,” “ta-to-te,” and “ta-te.”

• Read, create and write (compose) rhythmic patterns using “ta,” “ta-to-te,” and “ta-te.”

• Write stems, note heads, and beams properly (d’s and p’s, not b’s and q’s).

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Stage 2—Assessment Evidence Performance Tasks: • Students will decode, create and write (compose) rhythmic patterns using “ta,” “ta-to-te,” and “ta-te.” Key Criteria: • Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics. • Students’ writing will be assessed for accuracy with a manuscript checklist. • Proficiency will be based on an 80% level of accuracy. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,

reading, writing, and performing will be used from Conversational Solfege, Unit 3 (Steps1-12). Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review steps 1-3 from Unit 4 (taught in Grade 2) in preparation for future learning objectives.

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Title: Conversational Solfege Unit 4 (Steps 4-12) Course: Core Music Topic: Mi-Re-Do/Recorder Grade: 3

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7: Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Interpreting symbolic expressions/literacy Making connections to and through the arts Understandings: Students will understand that… Performing • Singing and playing an instrument are means of
















35




















subjects I study?

Students will know… • The meanings of the terms solfege, steady beat,

musical alphabet, tempo, and question/answer. • The names and meanings for the following

notation symbols: staff, bar line, ending bar line, and treble clef.

• The names of the solfege syllables mi, re, and do. • Where the notes mi, re, do in the key of G are

placed in the treble staff. • The notes B, A, and G and where they are placed

in the treble staff. • That the recorder is a woodwind instrument and

was invented before the flute. • Proper posture and technique (for e.g. appropriate

hand position, how sound is produced, and tonguing) are necessary for a good tone quality while playing recorder.

Students will be able to... • Echo/sing tonal patterns and songs using mi-re-

do. • Echo/play tonal patterns and songs on the

recorder using the notes B-A-G. • Conversationally decode familiar and unfamiliar

tonal patterns and songs, singing mi-re-do and playing B-A-G.

• Conversationally create (improvise) tonal patterns using mi-re-do.

• Create (improvise) tonal patterns using B-A-G on the recorder (for e.g. question/answer).

• Read, write and create (compose) tonal patterns and songs singing mi-re-do and playing B-A-G.

• Write stems, note heads, and beams properly (d’s and p’s, not b’s and q’s).

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Stage 2—Assessment Evidence Performance Tasks: • Students will perform, decode, create and write (compose) tonal patterns singing mi-re-do and playing B-

A-G on the recorder. Key Criteria: • Students will be assessed on the accuracy of their decoding, creating, and writing based on teacher-

created rubrics. • Students’ writing will be assessed for accuracy with a manuscript checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,


Learning Activities: To be developed by the individual teacher. This is a continuation of Unit 4 taught in Grade 2. Steps 1-3 should be reviewed first before advancing to Steps 4-12. While teaching this unit, it is important to review previously learned rhythmic concepts from Unit 3 and to include readiness and rote activities from Unit 6 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 5 (Steps 1-12) Course: Core Music Topic: Do-Re-Mi-So Grade: 4

















38




















subjects I study?

Students will know… • The meanings of the following terms: solfege

syllable, key signature, ostinato, bass line, intonation, partner song, and round.

• Where the notes do-re-mi-so are placed in the treble staff in both the keys of F and G.

• Letter names of do-re-mi-so in the keys of F and G (F, G, A, C/G, A, B, D) and where they are placed in the treble staff.

• Proper singing posture.

Students will be able to... • Echo tonal patterns and songs using “do-re-mi-

so.” • Conversationally decode familiar and unfamiliar

tonal patterns and songs using “do-re-mi-so.” • Conversationally create (improvise) tonal patterns

using “do-re-mi-so.” • Read, create and write (compose) tonal patterns

using “do-re-mi-so,” and the corresponding letter names in the keys of F and G (F, G, A, C/G, A, B, D).

Stage 2—Assessment Evidence Performance Tasks: • Students will perform, decode, create and write (compose) tonal patterns using “do-re-mi-so” and the

corresponding pitches (F, G, A, C/G, A, B, D) in the keys of F and G. Key Criteria:

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• Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics. Proficiency will be based on an 80% level of accuracy.

• Students’ writing will be assessed based on a manuscript checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,


Learning Activities: To be developed by the individual teacher. This unit adds the solfege syllable so. Some review of Unit 4 (mi-re-do) may be necessary. While teaching this unit, it is important to review previously learned rhythmic concepts and to include readiness and rote activities from Unit 6 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 6 (Steps 1-12) Course: Core Music Topic: Quarter Rest (one beat of silence) in 2/4 Meter Grade: 4

















41




















subjects I study?

Students will know… • The names and meanings of the following notation

symbols: quarter note, quarter rest, two eighth notes, 2/4 time signature, bar line, ending bar line, stem, beam, and note-head.

• The meanings of the following terms: solfege syllable, key signature, ostinato, bass line, intonation, partner song, and round.

• Where the notes do-re-mi-so are placed in the treble staff in the keys of F and G.


Students will be able to... • Chant rhythmic patterns and sing/play (on age-

appropriate classroom instruments) songs/rhymes that use quarter notes, quarter rests, and two eighth notes (using “ta,” “ta-ti,” and tonal syllables when applicable).

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs that use quarter notes, quarter rests, and two eighth notes (using “ta,” “ta-ti,” and tonal syllables when applicable).

• Think the quarter rest without making a sound. • Conversationally create (improvise) rhythmic

patterns that use quarter notes, quarter rests, and two eighth notes.

• Read, create and write (compose) rhythmic patterns that use quarter notes, quarter rests, and two eighth notes.

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Stage 2—Assessment Evidence Performance Tasks: • Students will decode rhythmic patterns, songs and rhymes using quarter notes, quarter rests, and two

eighth notes. • Students will create and write (compose) rhythmic patterns using quarter notes, quarter rests, and two

eighth notes. Key Criteria: • Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics.

Proficiency will be based on an 80% level of accuracy. • Students’ writing will be assessed based on a manuscript checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,


Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic and tonal concepts and to include readiness and rote activities from Unit 7 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 7 (Steps 1-12) Course: Core Music Topic: Half Note in 2/4 Meter Grade: 4

















44




















subjects I study?

Students will know… • The names and meanings of the following notation

symbols: half note, quarter note, quarter rest, two eighth notes, 2/4 time signature, bar line, ending bar line, stem, beam, and note-head.




Students will be able to... • Chant/sing/play rhythmic patterns (on age-

appropriate classroom instruments) songs/rhymes that use half notes, quarter notes, eighth notes, and quarter rests (using “ta-ah,” “ta,” and “ta-ti,” and tonal syllables, when applicable).

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs that use half notes, quarter notes, eighth notes, and quarter rests (using “ta-ah,” “ta,” and “ta-ti,” and tonal syllables, when applicable).

• Conversationally create (improvise) rhythmic patterns that use half notes, quarter notes, eighth notes, and quarter rests (using “ta-ah,” “ta,” and “ta-ti”).

• Read, create and write (compose) rhythmic

45

patterns that use half notes, quarter notes, eighth notes, and quarter rests.

Stage 2—Assessment Evidence

Performance Tasks: • Students will decode, create and write (compose) rhythmic patterns, songs, and rhymes that use half

notes, quarter notes, eighth notes, and quarter rests. Key Criteria: • Students will be assessed on the accuracy of their decoding and creating using rubrics. Proficiency will

be based on an 80% level of accuracy. • Students’ writing will be assessed based on a manuscript checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,


Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic and tonal concepts and to include readiness and rote activities from Unit 8 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 8 Course: Core Music Topic: Dotted Quarter Rest (one beat of silence) in 6/8 meter. Grade: 4









• Improvisation and composition involve guidelines and structure, which may be amended during the








47

creative process. • Since music is an aural art form, aural literacy

(e.g. listening critically) is an important component of being musically literate.

















subjects I study? Students will know… • The names and meanings for the following

notation symbols: dotted quarter note, three-beamed eighth notes, dotted quarter rest, quarter note/single eighth note in 6/8 time, and 6/8 time signature.






pitched age-appropriate classroom instruments) songs/rhymes that use dotted quarter notes, three-beamed eighth notes, quarter and single eighth notes (using “ta,” “ta-to-te,” and “ta-te” and tonal syllables, when applicable) and dotted quarter rests.

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs that use dotted quarter notes, three-beamed eighth notes, quarter and single eighth notes (using “ta,” “ta-to-te,” and “ta-te” and tonal syllables, when applicable) and dotted quarter rests.

• Think the dotted quarter rest without making a sound.

• Conversationally create (improvise) rhythmic patterns that use dotted quarter notes, three-beamed eighth notes, quarter and single eighth notes and dotted quarter rests (using “ta,” “ta-to-

48

te,” and “ta-te”). • Read, create and write (compose) rhythmic

patterns that use dotted quarter notes, three-beamed eighth notes, quarter notes and single eighth notes and dotted quarter rests.

Stage 2—Assessment Evidence Performance Tasks: • Students will decode, create and write (compose) rhythmic patterns, songs and rhymes that use dotted

quarter notes, three-beamed eighth notes, quarter notes and single eighth notes, and dotted quarter rests.

Key Criteria: • Students will be assessed on the accuracy of their decoding, and creating using rubrics. Proficiency will

be based on an 80% level of accuracy. • Students’ writing will be assessed based on a checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,

reading, performing, and writing will be used from Conversational Solfege, Unit 8. Stage 3—Learning Plan

Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic and tonal concepts and to include readiness and rote activities from Unit 9 and 10 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 9 (Steps 1-12) Course: Core Music Topic: Dotted Half Note in 6/8 meter Grade: 5

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Interpreting symbolic expressions/literacy Making connections to and through the arts Understandings: Students will understand that… Performing • Playing an instrument is a means of







• Improvisation and composition involve guidelines and structure, which may be amended during the creative process.

• Since music is an aural art form, aural literacy (e.g. listening critically) is an important component of








50

being musically literate. Responding • The depth of musical knowledge one possesses
















subjects I study? Students will know… • The names and meanings for the following

notation symbols: dotted half note, dotted quarter note, three-beamed eighth notes, dotted quarter rest, quarter note/single eighth note in 6/8 time, and 6/8 time signature.



pitched age-appropriate classroom instruments) songs/rhymes that use dotted half notes, dotted quarter notes, three-beamed eighth notes, quarter and single eighth notes (using “ta-ah,” “ta,” “ta-to-te,” and “ta-te,” and tonal syllables, when applicable) and dotted quarter rests.

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs that use dotted half notes, dotted quarter notes, three-beamed eighth notes, quarter and single eighth notes (using “ta-ah,” “ta,” “ta-to-te,” and “ta-te” and tonal syllables, when applicable) and dotted quarter rests.

• Think the dotted quarter rest without making a sound.

• Conversationally create (improvise) rhythmic patterns that use dotted half notes, dotted quarter notes, three-beamed eighth notes, quarter and single eighth notes and dotted quarter rests (using “ta-ah”, “ta,” “ta-to-te,” and “ta-te”).

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• Read, create and write (compose) rhythmic patterns that use dotted half notes, dotted quarter notes, three-beamed eighth notes, quarter notes and single eighth notes and dotted quarter rests.

Stage 2—Assessment Evidence Performance Tasks: • Students will decode, create and write (compose) rhythmic patterns, songs and rhymes that use dotted

half notes, dotted quarter notes, three-beamed eighth notes, quarter notes and single eighth notes, and dotted quarter rests.

Key Criteria: • Students will be assessed on the accuracy of their decoding, and creating using teacher-created rubrics.

Proficiency will be based on an 80% level of accuracy. • Students’ writing will be assessed based on a checklist. Other Evidence: • Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating,


Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic concepts and to include readiness and rote activities from Unit 10 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 10 (Steps 1-12) Course: Core Music Topic: Do-Re-Mi-So-La Grade: 5

















53




















subjects I study?

Students will know… • The meanings of the following terms: solfege

syllable, key signature, ostinato, bass line, intonation, partner song, round, steady beat, tempo, and pitch.

• The names of the solfege syllables do, re, mi, so, and la.

• Where the notes do-re-mi-so-la are placed in the treble staff in both the keys of F and G.

• Letter names of do-re-mi-so-la in the keys of F and G (F, G, A, C, D/G, A, B, D, E) and where they are placed in the treble staff.


Students will be able to... • Echo tonal patterns and songs using “do-re-mi-so-

la.” • Conversationally decode familiar and unfamiliar

tonal patterns and songs using “do-re-mi-so-la.” • Conversationally create (improvise) tonal patterns

using “do-re-mi-so-la.” • Read, create and write (compose) tonal patterns

using “do-re-mi-so-la,” and the corresponding letter names in the keys of F and G (F, G, A, C, D/G, A, B, D, E).

Stage 2—Assessment Evidence Performance Tasks: • Students will perform, decode, create and write (compose) tonal patterns using “do-re-mi-so-la” and the

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corresponding letter names (F, G, A, C, D/G, A, B, D, E) in the keys of F and G. Key Criteria: • Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics.


reading, performing and writing will be used from Conversational Solfege, Unit 10. Stage 3—Learning Plan

Learning Activities: To be developed by individual teacher. While teaching this unit, it is important to review previously learned tonal concepts from Unit 5, and to include readiness and rote activities from Unit 19 in preparation for future learning objectives.

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Title: Conversational Solfege Unit 19 (Steps 1-12) Course: Core Music Topic: 4 Beamed Sixteenth/Paired Eighth & Sixteenth Note Combinations Grade: 5

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating Responding to the arts Interpreting symbolic expressions/literacy Making connections to and through the arts Understandings: Students will understand that… Performing • Playing an instrument is a means of







• Improvisation and composition involve guidelines and structure, which may be amended during the creative process.

• Since music is an aural art form, aural literacy (e.g. listening critically) is an important








56

component of being musically literate. Responding • The depth of musical knowledge one possesses
















subjects I study? Students will know… • The names and meanings of the following notation

symbols: four-beamed sixteenth notes, paired sixteenth notes and eighth note combinations, quarter note, quarter rest, two eighth notes, 2/4 time signature, bar line, ending bar line, stem, beam, and note-head.


• Where the notes do-re-mi-so-la are placed in the treble staff in the keys of F and G.

• Letter names of do-re-mi-so-la in the keys of F and G (F, G, A, C-D/G, A, B, D-E) and where they are placed in the treble staff.

Students will be able to... • Chant rhythmic patterns and sing/play (on age-

appropriate classroom instruments) songs/rhymes that use four-beamed sixteenth notes, paired sixteenth notes and eighth note combinations, quarter notes, quarter rests, and two eighth notes (using “ta-ka-ti-ka,” “ta-ti-ka,” ta-ka-ti,” “ta,” “ta-ti,” and tonal syllables when applicable).

• Conversationally decode familiar and unfamiliar rhythmic patterns and songs that use four-beamed sixteenth notes, paired sixteenth notes and eighth note combinations, quarter notes, quarter rests, and two eighth notes (using “ta-ka-ti-ka,” “ta-ti-ka,” ta-ka-ti,” “ta,” “ta-ti,” and tonal syllables when applicable).

• Conversationally create (improvise) rhythmic patterns that use four-beamed sixteenth notes, paired sixteenth notes and eighth note combinations, quarter notes, quarter rests, and two eighth notes.

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• Read, create and write (compose) rhythmic patterns that use four-beamed sixteenth notes, paired sixteenth notes and eighth note combinations, quarter notes, quarter rests, and two eighth notes.

Stage 2—Assessment Evidence Performance Tasks: • Students will decode, create and write (compose) rhythmic patterns, songs and rhymes that use four-

beamed sixteenth notes, paired sixteenth notes and eighth note combinations, quarter notes, quarter rests, and two eighth notes.

Key Criteria: • Students will be assessed on the accuracy of their decoding, and creating using teacher-created rubrics.



Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic and tonal concepts.

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Title: Fifth Grade Vocal Assessment Course: Core Music Topic: Vocal Technique Grade: 5

Stage 1—Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 5: Reading and notating music. GPS Overarching Big Ideas Making meaningful expression/performing Interpreting symbolic expression/literacy Understandings: Students will understand that… Performing • Humans are born with an instrument for making

music—the voice. • Singing is a means of communication. Literacy • Standard music notation includes symbols that






Literacy • Why do composers use standard notation? • What is the value in becoming musically literate?

Students will know… • The meanings of the following terms: tonal center,

steady beat, singing posture, breath support, pitch, and rhythm.

• The names and values of the notes and rests that occur in the song “Music Alone Shall Live.”

• Proper singing posture and its importance in singing in tune.

• The importance of warming-up their voices before singing.

Students will be able to... • Sing with correct posture and proper breath

support. • Perform with pitch accuracy, good intonation and

a strong sense of tonality. • Perform with rhythmic accuracy and a consistent

internalized pulse. • Apply tempo and dynamic markings in

performance. • Sing a song and sing the resting tone. • Evaluate their singing.

Stage 2—Assessment Evidence Performance Tasks: • Students will sing “Music Alone Shall Live” solo, by memory. The teacher will record and listen to each

student’s performance, and, using the established rubric, will assess the following: pitch and rhythmic accuracy, the student’s ability in maintaining a tonal center and a steady tempo, and the student’s ability in singing with correct posture and proper breath support. Students will listen to the recording, and, using the established rubric, will complete a self-assessment of their performance.

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Key Criteria: • Students will sing a variety of songs in General Music class, and develop an awareness of correct

posture, breathing, and breath support, and the relationship these skills have to singing with good intonation.

• Students’ singing will be assessed on pitch and rhythmic accuracy. Other Evidence: • Students will perform and understand the importance of vocal warm-ups. • Formative assessments, ongoing informal assessments, and activities will be used from Conversational

Solfege units that are taught in Grade 5. Stage 3—Learning Plan


Documents

Greenwich Public Schools Core Music Curriculum PK-5 · Greenwich Public Schools Core Music Curriculum PK-5 ... He suggests the following “musical workout:” 1. ... to create their