Thursday, February 28, 2013

THEORY #2: MUSICAL ALPHABET ON THE KEYBOARD: WHITE KEY IDENTIFICATION




NAMING THE WHITE KEYS ON THE KEYBOARD 
USING THE MUSICAL ALPHABET
  
Locating the "D" on the keyboard is easy to visualize and remember 
because it is the white key located in between the black keys in groups of two.



 The first note usually learned on the keyboard is middle "C" 
so the following is a way to help remember it's location:

NAMING THE WHITE KEYS ON THE KEYBOARD BY
MEMORIZING THE LOCATION OF THE NOTE "C"

WORKSHEETS
--------------
1


--------------
2

--------------
3


--------------
4

--------------
5

--------------
6

--------------
7

--------------
8
PLAY ON THE KEYBOARD 
--------------
9



--------------
10

--------------

MUSICAL ALPHABET SONGS ON THE KEYBOARD








PRACTICE LEARNING YOUR PIANO WHITE KEY LETTER NAMES!
Check this site out:
http://www.quiz-tree.com/The-Musical-Staff_The-Keyboard_1_image.html

THURSDAY, FEBRUARY 28, 2013

QUOTE:
“Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience.”
AUTHOR: Ludwig van Beethoven
MEANING OF THE QUOTE:
“If you cant live with yourself because you act in a way contrary to your ethics 
  all the money in the world will not make you happy.”









COMPOSER
VIVALDI
CONCERTO for TWO VIOLINS, 
STRINGS and CONTINUO 
D MAJOR RV. 512
Performed by violinists David Oistrakh and Isaac Stern
http://www.sydneyconsort.com.au/concerts1.html

GENERAL MUSIC
01.  KEYBOARD WORKSHEETS
........a.  DRAWING A KEYBOARD and ADDING IN THE MUSICAL ALPHABET LETTERS (turned in)
02.  KEYBOARD REVIEW
........a.  PATTERNS OF BLACK and WHITE KEYS
.............1)  BLACK KEYS (PENTATONIC SCALES) PATTERNS OF 3 and 2 (5 BLACK KEYS)
.............2)  WHITE KEYS (DIATONIC SCALE) PATTERNS OF 7 (adding an 8th key makes a scale and octave                                 higher)
.............3)  WHITE and BLACK KEYS COMBINED (CHROMATIC SCALE) ALL THE SOUND COLORS 
........b.  APPLYING THE MUSICAL ALPHABET TO THE WHITE KEYS OF THE KEYBOARD
..............1)  DISCUSSION ON HOW THE KEYBOARD PRODUCES HIGH and LOW SOUNDS
....................a)  HIGHER NOTES MOVE TO THE RIGHT (UP THE MUSICAL ALPHABET)
....................b)  LOWER NOTES MOVE TO THE LEFT (BACKWARDS or DOWN THE MUSICAL ALPHABET)
........c.  FINDING "D" ON THE KEYBOARD BY FIRST LOCATING BLACK KEYS IN PATTERNS OF 2 WITH                              THE WHITE KEY IN BETWEEN BEING THE LETTER "D"
..............1)  BY LOCATING  "D" and KNOWING THAT THE KEYBOARD GOES HIGHER TO THE  RIGHT (UP                         THE MUSICAL ALPHABET) and LOWER TO THE LEFT (BACKWARDS DOWN THE MUSICAL                             ALPHABET) STUDENTS CAN DETERMINE THE LETTER NAMES OF ALL THE OTHER WHITE                          KEY NOTES ON THE KEYBOARD
...............2)  EACH STUDENT IS ASKED TO LOCATE "D" ON THE KEYBOARD
...............3)  PLAYING "B A G" SONGS ON THE KEYBOARD
.....................a)  STUDENTS FIND NOTES "B A G"  and TRY TO PLAY SONGS BY READING THE LETTER
                           NOTE NAMES
.................... b)   DEMONSTRATION ON WHY USING ONLY ONE FINGER IS NOT PRACTICAL TO PERFORM                                 THIS
.....................c)  DISCUSSION OF PREPARING THE FINGERS NEEDED TO PLAY THIS BY PLACING THE                                        FINGERS DOWN LIGHTLY OVER THE KEYS IN ADVANCE AND THEN MOVING THE
                           FINGERS AS WRITTEN DOWN ON THE PAGE WITHOUT USING THE EYES TO LOOK AT                                      THE FINGERS (EYES KEPT ON READING THE NOTES and FINGERS DEPRESS THE KEYS BY                              USING SENSE OF TOUCH)
03.  KEYBOARD RULES
........a.  REVIEWED RULES and PROCEDURES FOR USING THE KEYBOARDS
04   PLAYING AT KEYBOARDS (started today and continued tomorrow)
.........a.  STUDENTS TO LOCATE "D" and THEN LOCATE THE "B A G" LETTERS 
.........b.  STUDENTS TO PREPARE THREE FINGERS AND PLACE THEM LIGHTLY ON THE THREE KEYS                      NEEDED TO PLAY THE SONG
.........c.  STUDENT TO TRY TO PLAY "B A G" SONGS KEEPING EYES OFF THE KEYBOARD and ON THE                        LETTER READING (MOVING FINGERS BY SENSE OF TOUCH)
.........d.  STUDENTS NEED TO UNDERSTAND THE DIFFICULTY IN MOVING THE FINGERS AS                                              INDEPENDENT ENTITIES SOMETHING ESPECIALLY THE THIRD (RING) FINGER

ADV. STRINGS
01.  STAIRWAY TO HEAVEN
........a.  PLAYED WITHOUT THE RECORDED ACCOMPANIMENT
02.  PARADISE

BEG. STRINGS
01.  WHAT MAKES YOU BEAUTIFUL (MELODY)
........a.  WORKED ON FIRST 2 PASSAGES
........b.  PLAYED ENTIRE PIECE
02.  LOS MACHETES (MELODY)

Wednesday, February 27, 2013

WEDNESDAY, FEBRUARY 27, 2013

QUOTE:
“Music is an outburst of the soul.”
AUTHOR: Frederick Delius
MEANING OF THE QUOTE:
"Music is not just organized sound, it is an expression of the human condition.”









COMPOSER
VIVALDI

CONCERTO for TWO VIOLINS
A MINOR RV 522 OPUS 3 NO. 8
from "L'estro armonico"

Allegro
Larghetto e spiritoso
Allegro

The Concerto for Two Violins in A minor, Op.3 No.8, RV 522, is a piece of music which is a part of Vivaldi's first published set of concertos, written in 1711, as a  collection of twelve concertos for for one, two, three, or four violins called "L'estro armonico," [“harmonic inspiration” or “musical genius”(“estro” is a word which can mean genius; armonico means harmony)] meaning that it is music inspired by harmony. It was published in about 1712 by the Dutch firm of  Etienne Roger, which widely distributed Vivaldi's music in beautifully engraved editions giving the set a catchy title, drawing attention to this composer who was not yet known in the north. After this publication there was a rapid rise of Vivaldi's popularity which fueled demand for him to create more music and very quickly made him famous throughout Europe. Reprinted many times and performed all over Europe, L’estro armonico was perhaps the most popular and influential music publication of the first half of the eighteenth century. 

This collection was so well received even J.S. Bach knew of them transcribing six concerti from the twelve in l’Estro armonico for organ or keyboard, one of which is this A-minor Concerto.  Vivaldi’s music played an important role in influencing Bach’s musical development as a composer as he studied and used Vivaldi's stylistic formats not only in his concertos, but in many other instrumental and vocal genres. 

The Concerto in A minor, RV 522, (the eighth work in the collection) is a three-movement (fast-slow-fast) work with the presence of two solo violins (concertino) plus an orchestral ripieno of violins, violas, cello, and basso continuo (called concerti grossi due to their use of this concertino-style ensemble). This particular concerto has become a favorite of both professional and amateur musicians because of its virtuoso writing for the soloists, sharp contrast between the solo instruments and the larger orchestra, and an endless supply of rhythmic, constantly driving forward energy.

The opening movement, Allegro, has a powerful, energetic but serious opening theme for the ripieno (orchestra) followed by the two soloists playing in varied ways: unison, sometimes in thirds, and throughout the movement exchanging roles, taking turns leading and accompanying (with the second violin part often set above the first violin).

Written in D minor, the second middle movement, called  "e spiritoso," starts with an opening unison serving as the ostinato (repeated) bass line for the entire movement as the two solo violins perform tuneful solos of long melodic passages high above it ending with a final orchestral unison restatement.

The closing Allegro returns to the virtuoso manner of the opening movement starting with a fast and imitative sequence (functioning as a theme) for the ripieno (orchestra) alternating for the rest of the movement with soloists playing off each other with long and inventive solos finally leading to a strong ending cadence.

Tuesday, February 26, 2013

TUESDAY, FEBRUARY 26, 2013

QUOTE:
“An American or European can composer, for example, now has access to the music of various Asian, African, and 
  South  American cultures.”
AUTHOR: George Crumb
MEANING OF THE QUOTE:
“Because of mass communication, composers know more about music from other 
  cultures for which they can incorporate into their own music.”









COMPOSER
VIVALDI



Gloria in D Major RV 589: Known also as the Vivaldi Gloria, this is a choral-symphonic work based on the liturgical text of the Gloria (which is part of the Ordinary of the Mass) written for vocal soloists, chorus, and orchestra in 1713. This piece was lost for two centuries after Vivaldi's death when it was found amongst a pile of Vivaldi's forgotten manuscripts in the late 1920's and it was not until the fall of 1939 that it had its first modern performance. In this piece Vivaldi broke the standard liturgical text of the Gloria into 11 sections with each section given its own distinct musical setting.  Originally the piece was written for women's voices only since Vivaldi wrote the music to be played by his students at the all female Pio Ospedale della Pieta (a famous female only orphanage school in Venice).   In this piece he masterfully  alternates soloists and chorus, supported by soli and tutti string orchestra parts added with oboe and trumpet and a basso continuo accompaniment probably played by the organ.

Monday, February 25, 2013

MONDAY, FEBRUARY 25, 2013

QUOTE:
“If we were all determined to play the first violin we should never have an ensemble.
  Therefore, respect every musician in his proper place.”

AUTHOR: Robert Schumann
MEANING OF THE QUOTE:
“No one person is successful without a team behind him.”







COMPOSER
VIVALDI


FOUR SEASONS 
COMPLETE

The four concerti known as The Four Seasons (Italian: Le quattro stagioni) are part of a group of eight violin concerti published in Amsterdam in 1725 as Op. 8.  Vivaldi created this set of concertos (his most famous work) inspired by a set of sonnets describing each of the four seasons and explaining what was going on and supplying performance instructions. The Four Seasons is often classified as program music, instrumental music that tells a story of some kind.


Spring – Concerto in E Major


Allegro
Springtime is upon us. 
The birds celebrate her return with festive song,
and murmuring streams are softly caressed by the breezes.
Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven,
Then they die away to silence, and the birds take up their charming songs once more.

Largo
On the flower-strewn meadow, with leafy branches rustling overhead,
the goat-herd sleeps, his faithful dog beside him

Allegro
Led by the festive sound of rustic bagpipes, 
nymphs and shepherds lightly dance beneath the brilliant canopy of spring.

Summer – Concerto in g-minor

Allegro non molto
Beneath the blazing sun's relentless heat men and flocks are sweltering, 
pines are scorched.
We hear the cuckoo's voice; then sweet songs of the turtle dove and finch are heard.
Soft breezes stir the air….
but threatening north wind sweeps them suddenly aside. 
The shepherd trembles, fearful of violent storm and what may lie ahead.

Adagio e piano - Presto e forte
His limbs are now awakened from their repose 
by fear of lightning's flash and thunder's roar, 
as gnats and flies buzz furiously around.

Presto
Alas, his worst fears were justified, 
as the heavens roar and great hailstones beat down upon the proudly standing corn.

Autumn – Concerto in F Major

Allegro
The peasant celebrates with song and dance the harvest safely gathered in.
The cup of Bacchus flows freely, and many find their relief in deep slumber.

Adagio molto
The singing and the dancing die away
as cooling breezes fan the pleasant air,
inviting all to sleep
without a care.

Allegro
The hunters emerge at dawn,
ready for the chase,
with horns and dogs and cries.
Their quarry flees while they give chase.
Terrified and wounded, the prey struggles on,
but, harried, dies.

Winter – Concerto in f-minor

Allegro non molto
Shivering, frozen mid the frosty snow in biting, stinging winds;
running to and fro to stamp one's icy feet, teeth chattering in the bitter chill.

Largo
To rest contentedly beside the hearth, 
while those outside are drenched by pouring rain.

Allegro
We tread the icy path slowly and cautiously, for fear of tripping and falling. 
Then turn abruptly, slip, crash on the ground and, rising, 
hasten on across the ice lest it cracks up.
We feel the chill north winds coarse through the home 
despite the locked and bolted doors…
this is winter, which nonetheless brings its own delights.




Friday, February 22, 2013

THEORY: Musical Alphabet Words





http://www.music-theory-for-musicians.com/music-alphabet.html

FRIDAY, FEBRUARY 22, 2013

QUOTE:
“To study music we must learn the rules. To create music, we must break them.”
AUTHOR: Nadia Boulanger
MEANING OF THE QUOTE:
“You should not break music rules accidentally; only break them deliberately 
   for artistic reasons.”









COMPOSER
RIMSKY-KORSAKOV


"Hymn to the Sun" from Le Coq d'Or
(The Golden Cockerel)
Arranged and played on the violin by Fritz Kreisler

 Le Coq d'Or 
(The Golden Cockerel)
(with English subtitles)
Conductor: Kent Nagano
This is the back cover illustration for Alexander Pushkin's 
"The Tale of the Golden Cockerel" by illustrator Ivan Bilibin 

"Le Coq de la Liberation" 1944 by Picasso


Le coq rouge et le peintre by Chagall


GENERAL MUSIC
01.  MUSICAL ALPHABET WORKSHEET GRAPHS (turned in)
02.  KEYBOARD WORKSHEETS PASSED OUT
02.  ALLEY CAT (LEFT-RIGHT) RHYTHMIC PERFORMANCE USING HAND-HELD PERCUSSION
........a.  CONTINUED FROM YESTERDAY: STUDENTS PERFORMED THIS TRYING MANY DIFFERENT
              INSTRUMENTS
..............1)  STUDENTS PERFORMED WITHOUT TRACKING HELP (DEVELOPMENT OF FOCUSING                      SKILLS) 
03.  KEYBOARD RULES (to be continued Monday)
........a.  STARTED DISCUSSION OF RULES and PROCEDURES FOR USING THE KEYBOARDS IN                      PREPARATION FOR STARTING TO PLAY THEM NEXT WEEK 

ADV. STRINGS
01.  STAIRWAY TO HEAVEN
02.  MY HEART GOES ON
........a.  STARTED TO DISCUSS KEY CHANGES IN THIS PIECE (to continue next time we play this) 

BEG. STRINGS
01.  LOS MACHETES
02.  ORANGE BLOSSOM SPECIAL
03.  STAIRWAY TO HEAVEN (HARMONY)
04.  SOMEBODY I USED TO KNOW

Thursday, February 21, 2013

THURSDAY, FEBRUARY 21, 2013

QUOTE:
“A good composer does not imitate; he steals.”
AUTHOR: Igor Stravinsky
MEANING OF THE QUOTE:
“There are no new ideas only old ones which are combined to form new combinations. The
   better composers study the music of many others giving them a larger selection of ideas to
   use.”







COMPOSER 
RIMSKY-KORSAKOV

"Song of India" from the opera Sadko


Stage Design For the Opera "Sadko" 1901 by 


THE STORY OF THE OPERA "SADKO"

Sadko is a Russian fairy tale opera in three acts which tells the story of Sadko, a gusli (an old Russian multi-string plucked instrument similar to a psaltery) player, who played his instrument on the shores of a lake.  The Sea Tsar appeared to express his gratitude. On his advice, he made a bet with the local merchants about a fish in the lake; then he caught it, and they had to pay the bet, making him a rich merchant.
"Gusli musicians" by Viktor Vasnetsov, 1899

He traded on the seas with his new wealth, but one day, his ships stopped in the sea and would not move. They tried to appease the Sea Tsar with gold, but finally Sadko had to jump into the sea. He played the gusli for the Sea Tsar, who offered him a new bride, the daughter of the King and Queen of the Ocean. On advice, he took the last maiden in a long line. He later woke up on the shore and rejoined his wife Lubava and home in Novgorod (one of the most important historic cities in Russia).

Painting of Sadko by Andrei Ryabushkin

Sadko (full opera)



GENERAL MUSIC
01.  MUSICAL ALPHABET WORKSHEET GRAPHS (to be turned in tomorrow)
02.  ALLEY CAT (LEFT-RIGHT) RHYTHMIC PERFORMANCE USING HAND-HELD PERCUSSION
........a.  DISCUSSED ORCHESTRATION TO ALLOW FOR CONTRAST
........b.  DIFFERENT COLORS ON THE NOTES OF THE CHART WERE GIVEN TO DIFFERENT                        INSTRUMENTS
........c.  STUDENTS ASSIGNED DIFFERENT INSTRUMENTS (COLORS OF RHYTHMS ON THE                         CHART) TO PLAY
........d.  EVERYONE COUNTS AS DONE BEFORE WHEN PERFORMING THIS PIECE WITH BODY                    PERCUSSION BUT THIS TIME STUDENTS ARE TO ONLY PLAY THE INSTRUMENTS WHICH              HAVE BEEN ASSIGNED TO THE DIFFERENT COLORS

ADV. STRINGS
01.  CABALITO
02.  SOMEBODY I USED TO KNOW

BEG. STRINGS
01.  WARM-UP: TWINKLE: W.B. G+D/D+A/A+E 
........a.  USE HUCKLEBERRY HOUND DOG RHYTHM
02.  LOS MACHETES (MELODY)
........a.  PIECED TOGETHER ALL 3 SECTIONS 
03.  STAIRWAY TO HEAVEN (HARMONY)