Teaching Resource Library

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Success and achievement in music education require engagement in four creative practices: imagination, investigation, construction, and reflection in multiple contexts. These practices transfer to all aspects of learning and life in the 21st century. The combination of sequential skill development, conceptual understanding, and the application of skills and concepts provides unique opportunities for our students through their music education.

The study of choral music enriches students' social, expressive, aesthetic, intellectual, and creative musical growth. Participation in a choral ensemble reinforces and promotes metacognitive skills, teamwork, responsibility, and positive self-esteem, contributing beneficially to the school culture and broader community.

A comprehensive choral program should provide an understanding of the basic properties of melody, rhythm, harmony, and form through a sequential course of study. Students should experience performing, creating, and responding to a variety of music styles to become artistically literate, informed, and lifelong participants in music and the arts.

This document outlines a sequential, comprehensive program for high school choral music instruction. The outcomes cover appropriate areas of music knowledge, technical proficiency, performance skills, critical evaluation, and aesthetic awareness. School choral music instruction is interactive and focuses on the study and performance of quality music from diverse styles, cultures, and historical periods.

The study of choral music in Norwalk at the high school level (grades 9-12) is designed to provide interested students with opportunities to develop their vocal skills and musicianship further.

• Choir: This entry-level group, for students recommended by their middle school teacher or through audition, is intended for grade 9 students.
• Advanced Choir: Described as the “Accomplished Level” in the grade level expectations section of this document, this group meets regularly and is open to students in grades 10-12 by audition, challenging them to perform higher-level vocal literature.
• Choral Ensemble: Also referred to as the “Advanced Level” in the grade level expectations section, this auditioned ensemble is open to students in grades 10-12 by audition, challenging them to perform higher-level vocal literature.
• Honors Chamber Choir: Under the “Advanced Level” in the grade level expectations section, this auditioned ensemble is open to students in grades 10-12 by audition, challenging them to perform higher-level vocal literature.

All ensembles meet during the school day and may include some evening rehearsals and performances. Small ensemble experience is an essential aspect of the choral curriculum. A vocal class is offered as an independent study course for ensemble members interested in improving their vocal technique. All high school ensembles have a minimum expectation of 3-4 formal public concerts per school year.

ENDURING UNDERSTANDINGS

IMAGINE: Musician’s creative choices are influenced by their personal experiences, context and expressive intent.

PLAN AND MAKE, EVALUATE AND REFINE: Musicians make, evaluate and refine their own work through openness to new ideas and through feedback from multiple sources.

PRESENT: A musician’s presentation of creative work is the culmination of a process of creation and communication

Essential Questions:

1. How does the study of music provide essential ways to understand and express life experiences?
2. How does the study of music develop deeper understandings of past and present cultures and prepare students for active participation in creating culture of the present and future?
3. How does music develop imagination and creativity and help students to develop the full range of their abilities?
4. How does music enable students to make informed aesthetic choices and prepare them for enjoyable recreation and leisure time?
5. How does participation in music develop self-discipline and focus and develop the capacity to refine work and aspire to high quality standards?

CHOIR  9th grade 

IMAGINE:

Students will:

1. Create 4 measures of rhythmic patterns using only quarter notes and eighth notes to be sight read by the choir
2. Create 4 measures of a melodic pattern using syllables DO – SOL to be sight read by the choir
3. Compose a 4 measured melody to be sung by the choir using the first 5 syllables of solfege.

PLAN AND MAKE:

Students will:

1. Develop a draft by selecting a time signature and using previously learned patterns.
2. Develop the style of the melody.

EVALUATE AND REFINE:

Students will:

1. Split into cooperative groups and test the aspects of their draft within their group.
2. Give, receive, and share constructive feedback.
3. Make appropriate changes if necessary.

PRESENT:

Students will:

1. Present their project to the instructor.
2. Present their project to the class.

ADVANCED CHOIR  10-12 grade

Students will:

IMAGINE:

Students will:

1. Create 8 measures of rhythmic patterns using quarter, eighth, sixteenth and half notes to be sight read by the choir
2. Create 8 measures of a melodic pattern ranging from DO - DO to be sight read by the choir
3. Compose an 8 measure melody to be sung by the choir using one octave of all solfege syllables.

PLAN AND MAKE:

Students will:

1. Develop a draft by selecting a time signature and using previously learned patterns.
2. Develop the style of the melody.

EVALUATE AND REFINE:

Students will:

1. Split into cooperative groups and test the aspects of their draft within their group.
2. Give, receive, and share constructive feedback.
3. Make appropriate changes if necessary.

PRESENT:

Students will:

1. Present their project to the instructor. 
2. Present their project to the class.

CHORAL ENSEMBLE  10-12 grade

IMAGINE:

Students will:

1. Create 8 measures of rhythmic patterns using ALL LEARNED RHYTHMIC NOTES to be sight read by the choir
2. Create 8 measures of a melodic pattern ranging from DO - DO and must include a triad to be sight read by the choir
3. Compose an 8 measure melody to be sung by the choir using one octave of all solfege syllables.

PLAN AND MAKE:

Students will:

1. Develop a draft by selecting a time signature and using previously learned patterns.
2. Develop the style of the melody.

EVALUATE AND REFINE:

Students will:

1. Split into cooperative groups and test the aspects of their draft within their group.
2. Give, receive, and share constructive feedback.
3. Make appropriate changes if necessary.

PRESENT:

Students will:

1. Present their project to the instructor.
2. Present their project to the class.

HONORS CHAMBER SINGERS  10-12 grade

IMAGINE:

Students will:

1. Create 8 - 12 measures of rhythmic patterns using ALL LEARNED RHYTHMIC NOTES AND METERS to be sight read by the choir
2. Create 8 - 12 measures of a melodic pattern ranging AN OCTAVE AND A HALF and must include a DIATONIC AND PENTATONIC triad to be sight read by the choir
3. Compose an 8 - 16 measured melody to be sung by the choir using all solfege syllables and a combination of at least 5 rhythmic patterns.

PLAN AND MAKE:

Students will:

1. Develop a draft by selecting a time signature and using previously learned patterns.
2. Develop the style of the melody.

EVALUATE AND REFINE:

Students will:

1. Split into cooperative groups and test the aspects of their draft within their group.
2. Give, receive, and share constructive feedback.
3. Make appropriate changes if necessary.

PRESENT:

Students will:

1. Present their project to the instructor.
2. Present their project to the class.

Enduring Understanding: The personal evaluation of musical works and performances are informed by analysis, interpretation, and established criteria. 

Essential Question: How do we describe and judge the quality of musical works and performances? 

Process Component(s): Select, Analyze, Interpret, Evaluate, Synthesize

Choir: Students will compare and contrast musical examples and describe how 3-4 elements of the music are used to create musical interest and effectiveness using musical terminology.

Advanced Choir: Compare and contrast musical examples and describe how 5 elements of music are used to create musical interest and effectiveness using musical terminology. 

Choral Ensemble: Compare and contrast complete musical works and explain how the 6 elements of music interact to create an effective artistic composition using musical terminology. 

Honors Chamber Singers: (Accomplished):  Compare and contrast complete musical works and explain how the 7 elements of music interact to create an effective artistic composition using musical terminology.

SELECT – Choose music appropriate for a specific purpose or context.

Students will:

1. Listen to a recording of a piece of music
2. Discuss expected audience etiquette at various venues and for various genres of music.
3. Listen to two arrangements of a given melody composed in two different styles, and work in small groups to discuss which they prefer. 
4. Listen to two contrasting play-along accompaniments and describe a likely performance place and audience for each style of music.

ANALYZE – Analyze how the structure and context of varied musical works inform the response.

Students will:

1. Compare the arrangement of a popular song they are rehearsing to a recording of the original work.  
2. Work with a partner to describe the shape of a melody. 
3. Work with a partner to name the tonality of pieces performed.  
4. Identify patterns and larger forms in their music by sight and sound
5. Write program notes for a piece of music that they will be performing 

INTERPRET – Support interpretations of musical works that reflect creators’/performers’ expressive intent.

Students will:

1. Listen to an excerpt and discuss alternative titles that would tell the audience members something about the music
2. Listen to a play-along accompaniment track, then discuss the mood of feeling suggested in the music.
3. Listen to multiple performances of a piece and discuss what they find interesting about each performance.
4. View or listen to a performance of a piece the ensemble is working on and compare.

EVALUATE – Support evaluations of musical works and performances based on analysis, interpretation, and established criteria.

Students will:

1. Compare a piece of music that the students are working on to a recording of the original work.
2. Reflect about the pieces in their concert and explain what elements they enjoyed the most.
3. Listen to multiple performances of a piece and discuss what they find interesting about each performance.
4. Name the piece they feel most confident performing and explain why it stands out from the others.
5. Identify one section of the piece that has been difficult to master and explain what they did to be able to perform it accurately and expressively.

SYNTHESIZE - Relate musical ideas and works to varied contexts and daily life to deepen understanding.

Students will:

1. Research the cultural or historical context of a piece.
2. Study the lyrics of a song
3. Study and relate music to the artwork that inspired it
4. Study and relate music to a poem or literature that inspired it.

The Elements of Music (see appendix 1 below)

• Melody: (pitch, theme, conjunct, disjunct, intervals) 
• Harmony: (chord, progression, consonance, dissonance, key, tonality, atonality) 
• Rhythm: (beat, meter, tempo, syncopation) 
• Form: (binary, ternary, strophic, rondo, through-composed) 
• Texture: (monophonic, homophonic, polyphonic, imitation, counterpoint) 
• Dynamics: (pianissimo – fortissimo, crescendo, decrescendo, dynamic contour) 
• Tone color: (register, range, instrumentation) 

A

Alto-- The range of a voice between mezzo-soprano and tenor. The second highest part in a four-part arrangement.

Articulation-- The action of the speech organs in the formation of consonants and vowels.

Atonality-- Music without tonality, or music that is centered around no central key or scale. The term was first used to describe certain compositions by Arnold Schoenberg, Anton von Webern, and Alban Berg. Schoenberg's term was pantonal.

B 

Baritone-- The range of a male voice between tenor and bass.

Bass-- The range of the lowest male voice.

Bass clef-- It is also called the F clef. It is a musical sign to show low pitched notes.

Beat-- The regular pulse of music which may be dictated by the rise or fall of the hand or baton of the conductor, by a metronome, or by the accents in music.

Bel canto-- A style of singing developed in Italy during the Renaissance, characterized by brilliant vocal ornamentation and purity of tone.

Belting-- A singing style used in pop, rock, and Broadway music, especially by female singers. Tones are produced in the middle and low registers of the voice, by using chest resonance which is amplified by diaphragmatic pressure.

Binary form-- a musical structure that divides a piece into two related sections, usually repeated in chronological order

Breath control-- The ability to use breath conservatively and efficiently to sing long vocal phrases.

Breath mark-- A comma in between music notes to indicate places for singers to breathe.

Breath support-- Muscular support of the breathing process provided by the diaphragm and rib cage. It creates a feeling of balance between the breath and tone.

Bridge-- The transitional section of a song, different from Verse and Chorus sections. It is usually positioned right before the return of the final chorus section of a song.

C

Chest register-- The low range of the voice, produced by using chest resonance.

Chord-- The sounding of two or more notes (usually at least three) simultaneously. Most chords are based on triads or three notes with the interval of a major or minor third between each of the three notes. The two most common chords are the major and minor chords. A major chord is composed of a major third above the tonic note, and a perfect fifth above the tonic, a minor chord is composed of a minor third and a perfect fifth.

Chord symbols-- Abbreviations for chords, such as C7, Gm7, or Db.

Chromatic scale-- A sequence of notes that progresses in consecutive half steps, ascending and/or descending.

Chorus-- 1. A group of singers who sing together. 2. A section of a song that always uses the same melody and lyrics.

Clavicular breathing-- Shallow breathing which occurs in the upper part of the lungs.

Coloratura-- A singer capable of singing brilliant runs, trills and other ornamentations in the soprano range.

Conjunct-- Smooth, connected melody that moves principally in stepwise motion.

Connotative lyric-- A song lyric that implies something more than the literal meaning of the written words, such as the use of metaphor.

Consonance-- An accord of sounds sweet and pleasing to the ear as opposed to dissonance. Perfect consonances are the perfect  fourth, perfect fifth, and octave, imperfect consonances are the major and minor thirds and sixths.

Contralto-- The range of the lowest female voice, usually from the first F below middle C to the second F above.

Counterpoint-- The art of combining two or more melodies to be performed simultaneously and musically. In counterpoint, the melody is supported by another melody rather than by chords.

Countertenor-- An adult male voice, usually in falsetto, with a range similar to the contralto and sometimes reaching the soprano.

Crescendo-- A gradual increase in volume.

D

Decrescendo-- A gradual decrease in volume.

Diaphragmatic breathing-- Deep breathing which involves the use of the diaphragm.

Diaphragm-- A dome-shaped muscular plate that separates the chest cavity from the abdominal cavity.

Diminuendo-- A gradual decrease in volume.

Diphthong-- Double vowel sound, such as the "oi" in voice.

Disjunct-- A melodic line that moves by leaps and skips rather than in steps.

Dissonance-- Two or more notes sounded together which are discordant, and, in the prevailing harmonic system, require resolution to a consonance.

Double vowel sound-- A complex sound composed of two consecutive vowel sounds, such as sigh and smile.

Dynamic contour-- 

Dynamics-- Degrees of volume in a musical composition.

E

Eight-- An individual section of a song usually consists of eight measures.

Embellishment-- An added note or group of notes to a song melody, rhythm, or harmony.

Enunciation-- The pronunciation of words regarding fullness and clearness.

Explosive consonants-- The consonants that are produced by using an explosion of air, such as “t”, “p”, and “k”.

F 

F clef-- Same as bass clef. The musical sign indicates low pitched sounds. Hundreds of years ago, a calligraphic letter "F" was written by starting on the fourth staff line to indicate the sound and the position of "F".

Falsetto-- The high range of a male singer’s voice, which resembles the normal range of a female singer’s voice. It is also used as a female singer's light and breathy head voice.

Form-- The structure of a musical composition.

Forte-- A directive in music to perform the indicated passage loudly. Forte is typically notated by the letter "f".

Fortissimo-- A directive to perform the indicated passage very loudly symbolized by "ff". Louder than forte "f"

G

Grace note-- An ornament, a note or a group of notes printed in small type, borrows the rhythmic value from the preceding note.

G clef-- Same as treble clef. The musical sign indicates high pitched sounds. Hundreds of years ago, a calligraphic letter "G" was written by starting on the second staff line to indicate the sound and the position of "G".

H

Half step-- The distance between one key and the next adjacent key of the piano keyboard, including all black and white keys. It is also called an Interval of a Minor Second.

Head register-- The high range of the voice, which is produced with head resonance.

Head resonance-- The quality of tone produced in the high part of the voice when sung with normal volume.

Hissed consonants-- The consonant sounds which are produced with a hissing sound, such as "s", "sh", and "f".

Homophonic-- A style of composition in which there is one melody, and all the voices and accompaniments move rhythmically together. This is opposed to polyphony, in which each voice may move independently. Homophony is not to be confused with monophony, in which all the voices and accompanying instruments are performing exactly the same notes, in homophony there is a distinct melody with accompanying harmony, but all move in the same rhythmic pattern.

Hummed consonants-- The consonant sounds which are produced with nasal resonance.

I 

Imitation-- The repetition in a second  voice or part of a theme, motif, or phrase presented by a first voice or part. The first presentation of the theme is called the antecedent, the answer is called the consequent, and is usually a different pitch from the antecedent. The antecedent usually continues while the consequent is coming in, and the consequent need not imitate the antecedent exactly, but may vary the tune slightly.  

Improvisation-- A spontaneous interpretation of a song which may include changes in its melody, rhythm, and/or phrasing.

Instrumentation-- the list of instruments for which a composition is scored.

Intercostal breathing—A breathing method that involves the expansion and contraction of the rib cage.

Interpretation-- An individual singer's stylistic treatment of a song.

Interval-- The measurement of distance between two notes on a music staff or keyboard.

K 

Key-- The tonal center of a song or musical composition.

Key signature-- Sharps and flats located at the beginning of the music staff which indicate the key of the music.

L 

Larynx-- The structure of muscle and cartilage at the upper end of the human trachea, containing the vocal cords and serving as the organ of the voice.

Lead sheet-- A chart containing the melody and lyrics of a song, with the harmony indicated in chord symbols.

Legato-- A vocal technique that involves smooth and connected singing.

Legit-- Short for legitimate, which means the classical style of singing.

Lyrical phrase-- A group of words that complete a thought or idea.

Lyrics-- The words to a song.

M

Measure-- Also called a Bar. A unit of musical time, usually composed of two, three, or four beats. The first beat is always accented.

Metaphor-- A figure of speech in which one object is spoken of as if it were another.

Meter - the unit of measurement, in terms of number of beats, adopted for a given piece of music. 

Mezzo Forte - somewhat softer than forte but louder than piano; moderately loud.

Mezzo Piano - somewhat louder than piano but softer than forte; moderately soft

Mezzo-soprano-- The range of a voice between soprano and alto.

Middle register-- The range of voice that is produced by using a mixture of head and chest resonance. It is also called Middle Voice.

Monophonic - a musical style employing a single melodic line without accompaniment.

Mouth tones-- The notes of the middle register that feel as though they are produced in the mouth.

Musical ear-- The ability to recognize and differentiate sounds and pitches.

O 

Octave-- A tone with either twice or half the frequency of another given tone, or eight "letter" tones span between such notes.

P 

Palate-- The roof of the mouth, consisting of the hard palate and soft palate. The hard palate is the bony part of the roof of the mouth and the soft palate is the fleshy back part of the roof of the mouth.

Perfect pitch-- The somewhat rare ability to sing a precise musical pitch without the aid of an instrument or tuning device. It is also called the Absolute Pitch.

Phrase-- A natural division of the melodic or lyrical line, comparable to a sentence of speech.

Phrase mark-- A curved line used to mark a musical phrase.

Piano - soft

Pianissimo - very soft

Pitch-- The relative highness or lowness of a tone, as measured in its vibrations per second. It is also a single musical note.

Polyphonic -having two or more voices or parts, each with an independent melody, but all harmonizing; contrapuntal (opposed to homophonic ).

Pop-- A genre of music characterized by contemporary lyrics, standard chord patterns, and electronic instruments.

Progression - the way chords, or melodic tones follow one another; a succession of chords or tones. 

R 

Range-- A span of notes of a singer's voice or a piece of music.

Register - a.  a part of this range produced in the same way and having the same quality: b.  the compass or range of a voice or an instrument; c.  (in an organ) a stop.

Reinforced falsetto-- The developed falsetto range of a male singer.

Release-- The execution of the ending of a word.

Rondo -Term referring to a form of composition in which the first section recurs after the second section is performed in an A-B-A style.

S

Scale-- A specific sequence of tones, beginning and ending on a keynote or the tonal center.

Sheet music-- The printed version of a song, such as a piano/vocal arrangement.

Skip-- Two tones separated by one or more tones.

Song form-- The structure of a song, designated by letters naming each section, such as ABA, or AABA.

Sounded consonants-- The consonant sounds "z", "dj" and "v", counterparts of hissed consonants "s", "sh", and "f".

Soprano-- The range of the highest voice of women or boys, usually from middle C to two or more octaves above.

Staccato-- Notes marked with a dot above or below mean to be sung quickly and lightly.

Staff-- The lines and spaces upon which musical notes are written to show high or low pitches.

Strophic - having the same music for each successive stanza

Syncopation -a shifting of the normal accent, usually by stressing the normally unaccented beats. 

T

Tempo-- The relative speed of a song or song section.

Tenor-- The range of a voice between countertenor and baritone. The second lowest part in a four-part arrangement.

Ternary - consisting of or involving three; threefold; triple.

Tessitura-- The most comfortable part of a singer's vocal range.

Theme -a unifying or dominant idea, motif, or a principal melodic subject in a musical composition.

Through Composed -having different music for each verse

Time signature-- The two numbers at the beginning for the song or the section of a song that represent how many of what type of note in each measure, 4/4 means four quarter notes per measure, and 3/8 means three eighth notes per measure.

Tonality - a particular scale or system of tones; a key

Transpose-- To change the tonal center of a song, ascending or descending.

Treble clef-- It is also called the G clef. It is a sign to show high pitched notes.

V 

Vanish-- In phonetics, the faint, final part of certain double vowel sounds, such as the faint "ee" ending of the vowel sound in the word "high" (hah-ee").

Verse-- A section of a song that keeps the same melody, but changes lyrics as the song progresses.

Vocalize-- To sing vocal exercises.

Voice category-- A label designating voice type, such as soprano, alto, tenor, or bass.

Voiced consonants-- The consonants "b", "d", and "g", counterparts of explosive consonants "p", "t", and "k".

Vowel consonants-- The consonants "y" and "w", which are pronounced as vowel sounds.