Fifth Grade Music Scope & Sequence May 2012 1

Strand = Roman Numeral FINE ARTS - MUSIC Standard = Underline Scope & Sequence Benchmark = Bullets  Fifth Grade Articulation = Dash –

V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections 1. Apply skills and 2. Apply skills and 3. Analyze, describe, and 4. Understand, analyze, and 5. Recognize, analyze, and knowledge to perform in the knowledge to create in the evaluate works of art. describe the arts in their describe connections among arts. arts.  Identify music forms historical, social, and the arts; between the arts  Sing and play  Create through when presented aurally. cultural contexts. and other disciplines; independently with exploration, (ART.M.III.5.1)  Describe distinguishing between the arts and accurate rhythm, pitch, improvisation, and - Identify call and characteristics of everyday life. intonation, with composition, rhythmic response representative music  Observe and identify appropriate timbre, and melodic ostinati  Student genres and styles from similarities and technique, and tempo accompaniments. recognizes call various historic periods differences in the within various musical (ART.M.II.5.1) and response and cultures. meanings of common contexts. (ART.M.I.5.1) - Exploration melodies/rhythms (ART.M.IV.5.1) vocabulary used in the - Sing  Expose /review - Identify solo - Identify/Describe various arts.  Vocal timbres: the various  Introduce samples  Instruments used- (ART.M.V.5.1) bright and dark examples of through full orchestra, - Observe similarities  Using good accompaniments recordings selected and differences performance  Experiment with  Teacher models instruments,  Lines & spaces voices: projecting different ostinato solo electronic  Ascending & properly, well accompaniment - Identify chorus instruments, descending within tessitura on various  Introduce samples drone, a cappella. (contour:  Breathing from instruments and through - Music Genres high/low) the diaphragm: voices recordings  Alternative, blues,  Major/minor shoulders - Improvisation  Teacher models classical, country, (happy/sad) shouldn’t move  Offer individual chorus with class hip-hop, jazz,  Fast/slow when taking deep opportunities to - Identify ABA religious  Theme/variation breaths improvise  Introduce samples  Polyphony/  Introducing the accompaniments through  Describe how elements of harmony ideas of tall (student self and recordings with music are used in  Melodic/ vowels through peer-to-peer popular songs examples from world harmonic demonstration to assessments of students may cultures. (ART.M.IV.5.2) intervals help with pitch performance) know - Elements of music in  Staccato/legato intonation - Composition  Example: “The world music  pp, p, mp, mf, f,  Begin using  Take individual World’s Greatest”  The use of steel and ff appropriate ostinato ideas R. Kelly drums in repertoire that Fifth Grade Music Scope & Sequence – May 2012 1 V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections introduces and from students for Caribbean music  Observe and identify reinforces accompaniment  Use standard notation to  The use of drums cross-curricular articulation and and try it as a transcribe music. in African music connections. proper technique class (ART.M.III.5.2)  The use of (ART.M.V.1.2) - Play  Take individual - Transcribe rhythms classical guitar in - Observe/identify  Play accurate ideas based upon and melodies Latin music cross-curricular pitch and I, IV and V  Listen to simple  Listening to the within the curriculum rhythms, chords for melodies with use of the sitar  Check with 5th intonation accompaniment simple rhythms, and table in grade teachers for  Display in and out and try it as a using stepwise Indian music possible curricular of tune pitches class motion within  Introducing connections  Introduce meters of 2/4, “complex” time “interpretation”  Create through 3/4,or 4/4 signature (not all  Discuss the various and allow exploration, cultural music rationales for using music students to improvisation,  Understand and respect uses Common in daily experiences. interpret as composition, answers in that there are different Time) (ART.M.V.1.3) individuals or as a the same style to given responses to specific art - Music in Daily large ensemble rhythmic and melodic works in a global  Demonstrate audience Experiences how they may phrases. (ART.M.II.5.2) community. appropriate behavior for  Radio interpret specific - Explore (ART.M.III.5.3) the context and style of  Stores phrases  Exposure to - Different Responses music performed.  Call waiting different musical  Jazz vs. classical (ART.M.IV.5.3)  Concerts  Sing from memory and resolutions/ (example: It is - Performer appropriate  Elevators play a varied repertoire of cadences okay to clap in behavior  TV (commercials, music representing genres  Experiment with between jazz  Enter/exit the jingles) and styles from diverse answers to a solos during a stage  Movies (scores) cultures. (ART.M.I.5.2) melodic question performance of  Placement of - Sing from memory (play/sing a one single piece. hands while  Through melody, pause However, at a standing repetition from and finish it a classical  Behavior during rehearsal (not right way and ask performance you transitions monotony) if it sounded like do not clap within (between songs)  Association of it finished/ a single piece.)  How to react choreography resolved; finish a  Respect of what when audience - Sing/play music of wrong and ask if other cultures claps various genres/styles it sounded like it bring musically  Bowing  Begin to refer to finished/resolved) (Example: One

Fifth Grade Music Scope & Sequence – May 2012 2 V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections music on - Improvisation church approved  Sing/play a short community may MSBOA and melody, not primarily read MSVMA finished, and ask music from a repertoire list to students to finish hymnal while better prepare it another may sing students for  Improvise lyrics primarily Praise middle school in answer to & Worship) repertoire and melodic question expectations  Have students  Use music vocabulary to converse with analyze, describe, and  Sing expressively with each other by evaluate music. appropriate dynamics, creating their own (ART.M.III.5.4) phrasing and musical question - Musical Vocabulary interpretation. and answers  Syncopation – (ART.M.I.5.3) towards each placing of accents - Dynamics other on the usual weak  Pianissimo, piano, - Composition beats mezzo piano,  Teacher notates,  Melody – the mezzo forte, forte, while guiding main theme or fortissimo students, with statement of the  Associating how standard notation song, recurring in much breath on board, the the music over support each musical response and over dynamic level a student gave  Harmony – the may require supporting - Phrasing  Create through structure (e.g., the  Breathing when exploration, foundation of a appropriate and improvisation, and house; I & V recognizing the composition simple chords) symbols rhythmic variations and  Rhythm – the beat - Interpretation simple melodic  Tone color/timbre  Emphasis/accent embellishments on – instructing the on important familiar melodies. difference syllables or words (ART.M.II.5.3) between each - Melodic voice/instrument  Sing an ostinato. embellishments  Form – ABA; verse & refrain Fifth Grade Music Scope & Sequence – May 2012 3 V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections (ART.M.I.5.4)  Melodic freedom  Dynamics - Sing ostinato (students  Tempo  Two-part voicing experiment with  Identifying the  Using a repetitive the slight changes beginnings and phrase for of the melodic ends of phrases ostinato that may line or responses) change between  Add a  Identify and describe a the tonic and neighboring tone variety of sound sources, dominant chords that is well known including orchestra, band, to students electronic, world  Demonstrate ensemble - Rhythmic instruments, and voices. techniques by blending embellishments (ART.M.III.5.5) timbre, matching dynamic  Grace notes (flam - Listen to various levels, and responding to on percussion) recordings the cues of the conductor. - Rhythmic Variations  Identify (ART.M.I.5.5)  Based upon the recordings as - Blending timbre given rhythm, orchestral, band,  Place students of change a quarter electronic, world similar timbre note into two cultures, or choral next to each other eighth notes based upon what  Have students students hear sing in pairs or  Create and arrange songs trios “Row, Row, and instrumental pieces  Devise criteria for Row Your Boat” within specified objective evaluation of and place students guidelines. performances and accordingly (ART.M.II.5.4) compositions.  Listening to other - Create (ART.M.III.5.6) instruments or  Students may - Student-created voices (if you create their own Criteria cannot hear the instrumental  As a class, come section next to interpretation of a up with various you, then you are short children’s aspects of what too loud) story that they should be - Cues choose to read or evaluated from a  Prep beat have read to them performance  Cut off as a class (before evaluating  Dynamics - Arrange peers, students

Fifth Grade Music Scope & Sequence – May 2012 4 V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections - Conductor  Students arrange should prepare  Students practice their version of a and practice by being leader common or well- evaluating  Team building known song, recordings or  Role sharing/role vocally and/or watching video identification instrumentally recordings of live  Sing created performances and  Demonstrate technical lyrics to an evaluating what skills on rhythmic, already learned may have worked melodic, and harmonic melody or not worked) instruments. (ART.M.I.5.6)  Use a variety of  Explain, using music - Technical Skills traditional and non- vocabulary, personal  Posture (body and traditional sound sources aesthetic response to hand) and electronic media music. (ART.M.III.5.7)  Appropriate when composing, - Aesthetic Responses tonging for arranging, and  How to describe woodwinds, improvising. how you feel after brass, and (ART.M.II.5.5) listening to recorders - Traditional sources different genres  Proper bowing  Use classroom and styles of (staccato vs. instruments; for performances legato for strings) example, band &  Verbalize how  How to correctly orchestra they feel hold a mallet or instruments,  What story did stick as well as recorder, Orff, they imagine? strike the rhythm sticks, etc.  Describe the instrument - Non-traditional mood (percussion) sources  What were the  Record classroom dynamic levels,  Perform rhythmic and items/ sounds/ tempos and melodic patterns when ambient tonality? presented aurally. classroom noise (ART.M.I.5.7) and then arrange - Rhythmic an ostinato  Echo clapping accompaniments  Rapping (by rote for students to

Fifth Grade Music Scope & Sequence – May 2012 5 V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections or reading printed chant/sing with rhythmic  Students construct notation) non-traditional - Melodic instruments (trash  Rote singing cans, pots, pans,  Echo phrasing paper towel roll with a rubber  Perform independent band, etc.) instrumental parts while - Electronic Media other students sing or play  Garage Band & contrasting parts. Pro-tools (Project (ART.M.I.5.8) the computer - Accompaniment screen on Smart  Pitched, non- Board or pitched Promethean; instruments record students  Independence in singing and make an ensemble (solo musical decisions vs. small or large together; students group) can manipulate  Role the software) identification (accompanists vs.  Create and arrange music singers) to accompany readings,  Age-appropriate dramatizations, or visual accompaniment media. (ART. M.II.5.6) (I-IV-V) - Readings  As a class, read a  Use a system to read short children’s rhythmic notation in story. Discuss the various meters. various moods (ART.M.I.5.9) that occur and - Rhythmic Notation what instruments  Flags and note and sounds may heads association best feature those with note values moods - Various meters - Dramatizations/Visual Fifth Grade Music Scope & Sequence – May 2012 6 V. Analyze and Make I. Perform II. Create III. Analyze IV. Analyze in Context Connections  2/4, 3/4, 4/4 Media  Introduce 6/8  Prepare to show students clips  Use a system to read pitch from various notation in various movies. Have tonalities. students pay close (ART.M.I.5.10) attention to the - Pitch Notation orchestration  Solfege syllables  Show students a  Moveable ‘do’ short clip or work based upon on a short skit. various keys Have students  Immoveable ‘do’ then create an appropriate  Recognize the basic accompaniment expressive markings of that best evokes music and demonstrate the mood set from their understanding the acting and through performance. lighting (ART. M.I.5.11) - Expressive Markings  Identify phrases within a musical piece  Understand phrases and the use of slurs  Understand, recognize, and use the terms for “staccato” and “legato”  Recognize and use the terms for pp, p, mp, mf, f and ff.

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