FRIDAY, AUGUST 23, 2013

QUOTE:
“Tones sound, and roar and storm about me until I have set them down in notes.”

AUTHOR: Ludwig van Beethoven

MEANING OF THE QUOTE:

“Some artists can never rest until they are allowed to express themselves.”

COMPOSER
CHOPIN

https://fbcdn-photos-f-a.akamaihd.net/hphotos-ak-xfa1/t1.0-0/398059_605815476112196_1935775020_n.jpg

Etude in C Minor
Revolutionary (Fall of Warsaw)1831

Chopin wrote this piece during his Polish homeland's revolution against Russia.

Due to poor health he could not fight for his beloved country so he wrote this music as a tribute instead.

Etude in C Minor

Revolutionary (Fall of Warsaw)1831

Played by Sviatoslav Richter

https://www.youtube.com/watch?v=8hOKcdZJJFU

ETUDE:

An etude is a French word for a musical study piece (short composition)
for a solo instrument designed to provide practice material for perfecting a particular musical skill.

It is intended to demonstrate technical virtuosity; a musical exercise.

GRANADA ADV. STRINGS
1. Jingle Bell Rock

INTRO. TO INSTRUMENTS
1. Following the conductor: non-verbal cues
2. Recorder: Making the first sounds
a.  Bad versus good sounds
b. Air, breathing and posture
c.  Tonguing/articulation
d. Left versus right
e. Placing fingers down: first notes (to be continued)

RECORDER
SHORT EXPLANATION ON HOW THE RECORDER WORKS
1)  IT IS AN INSTRUMENT MADE OUT OF A TUBE WITH HOLES IN IT
2)  COVERING HOLES IN CONSECUTIVE ORDER LENGTHENS THE TUBE
a)  THE LONGER THE TUBE THE LOWER THE SOUND
3)  SOUND IS PRODUCED BY BLOWING AIR DOWN THE TUBE WITH THE SPEED 
OF THE AIR HITTING THE SIDES OF THE TUBE TO CREATE THE VIBRATIONS 
d. BLOWING THE RECORDER
1)  GOOD VERSUS BAD SOUNDS
a)  PLAY THE RECORDER WITHOUT THE FINGERS TO ISOLATE THE BLOWING MECHANISM FROM THE FINGERING 
MECHANISM IN ORDER TO LEARN HOW TO TO PULL A GOOD TONE OUT OF THE INSTRUMENT
b)  BAD SOUNDS HEARD ON THE RECORDER CAN STEM FROM EITHER POOR BLOWING TECHNIQUE, 
POOR FINGERING, OR COMBINATIONS  OF BOTH
c)  USING THE "ECHO" TECHNIQUE TEACHER PLAYS RHYTHMIC PASSAGES THAT ARE REPEATED BY THE
CLASS (SOME PASSAGES THAT THE CLASS ECHOES HAVE GOOD SOUNDS AND SOME BAD ON PURPOSE)
d)  AFTER THE "ECHO" EXERCISE STUDENTS DISCUSS THEIR EXPERIENCES ON THE PRODUCTION OF GOOD 
AND BAD SOUNDS  (PROPER BREATHING, USE OF THE TONGUE, OVER USING THE MOUTH, 
PUFFING THE CHEEKS, BLOWING TOO HARD VS WHISPER AIR)
e)  DISCUSSION AND PRACTICE OF TONGUE ARTICULATIONS TO PRODUCE  EACH SINGLE SOUND
e. PUTTING FINGERS DOWN ON THE RECORDER INTRODUCTION 

GRANADA BEG. STRINGS
1. Assignment of instruments
a. Labelling the cases
b. Passing out of lon forms

HILLVIEW ORCHESTRA
1.  Tuning to concert "A" pitch/long tones
2.  Exercise passage from song : Jingle Bell Rock
a.  Played by the entire group
b.  Chromatic passage taken from the violin part
3.  Jingle Bell Rock first section
4. Jingle Bell Rock second section sight reading
5.  Pachelbel/Jolly: Introduction to the piece

WEDNESDAY; SEPTEMBER 15, 2010

GENERAL MUSIC PERIODS 2, 3, 6:
COMPOSER: Chopin Waltz in Db Major Opus 64 #1 "Minute Waltz" [Not really meant to be played in a minute but it is a very short piece played on the fast side.

Played by: Ignaz Friedman

http://www.youtube.com/watch?v=8PJqdkXDbSI

OBJECTIVE: Intro to Recorder: Making Sounds
(Periods 2,3,6):
1. Quote by J.S. Bach/explanation about how long ago he lived and how musicians of his time made a living (who could afford to pay his salary) and what types of audiences were listening to his music.
2. Solfege Roll: Review solfege hand signals adding "Sol." Teacher asks with hand signals: Sol-Mi-La-Sol-Mi ("Mar-y did you finish your quote?")/Student answers with hand signals: Sol-Mi-La-Sol-Mi ("Yes I did") and show the quote to me.
3. Finish percussion worksheets: Pictures of instruments need to be labelled with their correct names. A few students volunteer to go up to the white board and fill in the names of the instruments on the charts (same as the assignment) so everyone can check their answers. Worksheets to be turned in when finished: worth 2 points.
4. Recorders taken out and teacher gives directions with silent cues (as a conductor would). Students to echo sounds played by the teacher: loud vs soft, slow versus fast, ugly versus pretty sounds, steady versus bumpy type sounds.
5. Recorders left hand and right hand; why are the right hand fingers placed on the bottom of the instrument?
TOMORROW: DISCUSS THE SOUNDS WE MADE TODAY; HOW ARE UGLY SOUNDS CREATED? HOW MUCH AIR IS NEEDED TO PLAY THE INSTRUMENT? ROLE OF POSTURE AND BREATHING, ETC.
6. Do not forget to turn in signed rule sheets: worth 1 point

BEGINNING VIOLIN PERIOD 5:
OBJECTIVE: Violin Left Hold, Angle, and Pizzicato
1. TUNE
2. Left hand: finger springs; how fingers push down strings to start sounds.
a. Starting with left hand thumb placed under the curve of the neck (called 5th position) in a backwards "C" position, students depress the pad of the index finger (called 1st finger) down onto the "G" string in a "spring-like" motion four times (4x) silently then repeat the same on the"D" string 4x, "A" then "E" strings.
b. Repeat the same exercise again using the pad of the middle finger (called the 2nd finger), 3rd finger or "ring finger" and then finally using the 4th finger or "pinky" finger (the hardest finger to use or as I call it, "the dreaded 4th finger").
c. When using the 4th finger, if it can not reach the "G" string comfortably do not stretch it. Instead make more room for it by bring the left arm under the violin more. If when doing that the left arm feels stiff or in pain, try adjusting the violin angle slightly to the left.
d. Try to perform these "spring-like" finger actions by feel; without looking at the hand.
3. Add onto the previous step by performing a "plucking" or pulling the string-type motion called "pizzicato" or "pizz" for short. Pizzicato is the Italian musical term that means to pluck the string instead of using the bow.
a. To pizzicato: push down the left index finger pad onto the string and start the beginning of the "spring" motion (as we did before) then add a motion where you pull that finger away from the string to let it vibrate. Before performing the next pizzicato place the finger pad on the string (which stops the previous action's vibration) then restart: PLACE, PUSH DOWN, PULL
4. Left hand pizzicato is practiced 4x on each string starting on the "G" string using the first finger then using the 2nd, 3rd, and lastly the 4th finger. Adjustment of the violin angle may have to occur when plucking the "G" string with the 4th finger.
5. Left pizzicato and open string note reading to song "Cripple Creek."
a. Looking at open string notes (music notation) on the music chart posted (notes are color coated by string (BLUE"G," RED or PINK "D," YELLOW "A" and GREEN will be "E") students are to look at how high or low the notes are [as to their location on the staff (lines and spaces that notes sit on)] placed and comparing that to their violin string sounds determine the names: EX: Lowest color is "BLUE" and lowest violin string is "G."
b. Quarter note concept and notation are introduced (quarter notes are worth one beat of the heart). There are two types of beats: ones you hear and feel and ones that you only feel. The ones you only feel are called "rests" and they are notes that are not played, or silent notes.
c. Students are instructed to read the quarter notes saying the sound of "tah" and patsch (pat the knee with the hand) for quarter beats that are felt and heard and saying "rest" while creating a silent beat by waving the arm out and in for the beats that are only felt.
d. Repeat the above activity except change the "tahs" to the appropriate note name of the open string it represents.
e.. This activity is then transferred to the violin where the students are instructed to read the note letter names and rests out loud (as they occur ) while plucking the appropriate string using left hand pizzicato. All this is done to the recording.
f. A music "road map" direction (or what I like to call "music punctuation") for repeats (repeat sign) is introduced (a double bar with 2 dots) and the term "staff" (five lines and 4 spaces) is explained.

ADVANCED VIOLIN PERIOD 4:
OBJECTIVE: Preparation for Harvest Day performance on October 28th/Hoedown music
1. TUNE
2. Introduction to "Orange Blossom Special" song: teacher demonstration with posted chart
3. Hoedown: last section "CODA" is reviewed and quiz given on the violin parts. (Every student to play the passage: worth 4 points)
4. Hoedown CELLO: Fingering (and string names) are reviewed then section "A" of "Hoedown" is practiced with help of the piano.
5. Violin part "A" of Hoedown is reviewed from yesterday and then cello and violin parts are combined at section "A."
6. Students play Hoedown INTRO section and connect with section "A" (played 2x)
7. Section "B" (played 2x) of Hoedown is rehearsed and then added to the other sections already played.
8. First 3 sections are then played again to this format: INTRO/ "A" 2x/"B" 2x/ "A" 2x
9. ALL 4 sections are now put together by adding the CODA section at the end. This is practiced slowly before increasing the speed.
10. Start the beginning (train sound) of "Orange Blossom Special" using fingered (perfect 5th) double stops (which slide back and forth 1/2 step) and left hand pizzicato open "E" string