“Music is meaningless noise, until it touches a receiving mind.”
AUTHOR: Paul Hindemith
“Art only has meaning for those who bother to spend the time to
really think about what the artist is trying to convey.”
POLONAISE:
This is a stately, slow Polish processional folk dance performed by couples who walk around the dance hall in a 3/4 meter.
GENERAL MUSIC
01. ECHO IMPROVISATION: TO A PULSE EACH STUDENT PERFORMS A 2-MEASURE
ADV. STRINGS
01. SIGN-OUT INSTRUMENTS-LOAN FORMS OUT TO STUDENTS WHO NEED THEM
02. RULE SHEETS PASSED OUT TO BRING BACK SIGNED
COMPOSER
CHOPIN
POLONAISE:
This is a stately, slow Polish processional folk dance performed by couples who walk around the dance hall in a 3/4 meter.
GRANADA ADV. STRINGS
INTRO. TO INSTRUMENT
GRANADA BEG. STRINGS
HILLVIEW ORCHESTRA
01. ECHO IMPROVISATION: TO A PULSE EACH STUDENT PERFORMS A 2-MEASURE
RHYTHMIC PATTERN AND THE CLASS ECHOS (AS TIME IN CLASS FOR)
02. "ALLEY CAT" QUARTERS (INCLUDING RESTS) and EIGHTHS
.......a. COUNTING OUT LOUD USING RHYTHMIC SYMBOLS and SILLY WORDS or
SOUNDS (TEACHER HELPS TRACKING BY POINTING)
SOUNDS (TEACHER HELPS TRACKING BY POINTING)
...........1) QUARTER NOTE SAY "ONE" or "
...........2) QUARTER REST SAY "REST"
...........3) EIGHTH NOTES IN PAIRS SAY "JELL-O"
.......b. COUNTING OUT LOUD USING RHYTHMIC SYMBOLS and SILLY WORDS or
SOUNDS (STUDENTS TRACK ON THEIR OWN WITHOUT TEACHER HELP)
.......c. EXPLANATION OF THESE MUSICAL SYMBOLS USING MATHEMATICAL CONCEPTS AND MUSICAL
SOUNDS (STUDENTS TRACK ON THEIR OWN WITHOUT TEACHER HELP)
.......c. EXPLANATION OF THESE MUSICAL SYMBOLS USING MATHEMATICAL CONCEPTS AND MUSICAL
TERMINOLOGY
............1) MEASURE and BAR LINE
............1) MEASURE and BAR LINE
............2) METER (TIME SIGNATURE)
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...........3. ANATOMY OF A NOTE
................a) BODY or NOTE HEAD
................a) BODY or NOTE HEAD
................b) STEM (DIRECTIONS OF STEMS)
ANY NOTE FALLING ON THE MIDDLE LINE
OF THE MUSIC STAFF
OF 5 LINES and 4 SPACES
CAN EITHER HAVE THE STEM GO
DOWN TO THE LEFT or UP TO THE RIGHT
................c) FLAGS and/or BEAMS
...........4. CONCEPT OF HOW, BY ADDING CONSECUTIVE FLAGS, THE VALUE OF THE
NOTE DOUBLES IN SPEED, MAKING THE NEW NOTE WITH THE ADDED FLAG TWICE AS FAST AS THE NOTE BEFORE IT:
NOTE DOUBLES IN SPEED, MAKING THE NEW NOTE WITH THE ADDED FLAG TWICE AS FAST AS THE NOTE BEFORE IT:
In the United States we have different names for note lengths then they do in England.
An example is: what we call an eighth note the English call a quaver.
ADV. STRINGS
01. SIGN-OUT INSTRUMENTS-LOAN FORMS OUT TO STUDENTS WHO NEED THEM
02. RULE SHEETS PASSED OUT TO BRING BACK SIGNED
03. SHIFTING EXERCISE USING THE 1ST FINGER SHIFTING INTERVALS OF THE
MAJOR SCALE UP ON EACH STRING:
DO-RE; DO-MI; DO-FA; DO-SOL; DO-LA; DO-TI; DO-DO
MAJOR SCALE UP ON EACH STRING:
DO-RE; DO-MI; DO-FA; DO-SOL; DO-LA; DO-TI; DO-DO
04. GESU BAMBINO
BEG. STRINGS
01. PLACEMENT OF SHOULDER REST ON THE VIOLIN FOR COMFORT
02. EXPLANATION ON WHY THE BOW IS NOT TAUGHT UNTIL AFTER THE LEFT
VIOLIN HOLD TECHNIQUE IS MASTERED/ HOW IMPROPER LEFT VIOLIN HOLDS
EFFECT THE BOW
03. VIOLIN ANGLE TO BE DETERMINED FOR EACH PLAYER AS TO PLACEMENT OF
THE ARM UNDER THE VIOLIN
.......a. 1ST FINGER SLIDING EXERCISE ON THE LENGTH OF EACH STRING TO
DETERMINE LEFT ARM PLACEMENT UNDER THE VIOLIN (TO BE REPEATED
USING 2ND, 3RD, AND LASTLY 4TH FINGER
02. EXPLANATION ON WHY THE BOW IS NOT TAUGHT UNTIL AFTER THE LEFT
VIOLIN HOLD TECHNIQUE IS MASTERED/ HOW IMPROPER LEFT VIOLIN HOLDS
EFFECT THE BOW
03. VIOLIN ANGLE TO BE DETERMINED FOR EACH PLAYER AS TO PLACEMENT OF
THE ARM UNDER THE VIOLIN
.......a. 1ST FINGER SLIDING EXERCISE ON THE LENGTH OF EACH STRING TO
DETERMINE LEFT ARM PLACEMENT UNDER THE VIOLIN (TO BE REPEATED
USING 2ND, 3RD, AND LASTLY 4TH FINGER