"Use the talents you possess, for the woods would be very silent if no birds sang except the best."
AUTHOR: Henry Van Dyke
MEANING OF THE QUOTE:
“A person does not have to be a professional musician in order to
“A person does not have to be a professional musician in order to
experience the joys of making music.”
COMPOSER
TCHAIKOVSKY
Violin Concerto in D Major, Op. 35
Performed by David Oistrakh
Violin Concerto in D Major, Op. 35
Performed by Jascha Heifetz, 1937
Violinist Itzhak Perlman talks about this concerto
Violinist Itzhak Perlman (Allegro Moderato part I)
Violinist Itzhak Perlman (Allegro Moderato part II)
GENERAL MUSIC
PERIODS 1 and 2:
01. THEORY
.......a. COLLECTED TREBLE CLEF THEORY FOR GRADING
02. VIOLIN PLAYING OVERVIEW
.......a. DIFFICULTY IN PLAYING A VIOLIN
............1) DIFFERENT MOVEMENTS USED IN RIGHT and LEFT HANDS and ARMS
............2) RIGHT and LEFT TECHNIQUES EACH TOTALLY PLANNED OUT AHEAD OF TIME
a) RIGHT: ALL BOWINGS PLANNED IN ADVANCE
1) UP and DOWN
2) HOW MUCH BOW IS USED AT ANY GIVEN TIME
3) WHAT BOW SPEEDS ARE USED AT CERTAIN PASSAGES
4) BOW PLACEMENT FOR EACH NOTE
5) WHAT PART OF THE BOW IS USED
b) LEFT: ALL FINGERINGS ARE PLANNED IN ADVANCE
1) FINGERINGS DETERMINED BY WHOLE and HALF STEPS FOLLOWING THE PATTERNS FORMED BY WHOLE and HALF STEPS ON A KEYBOARD (THE EAR FINE TUNES THE PITCHES)
2) FINGERINGS ARE DETERMINED BY THE PLAYER IN ADVANCE AS TO NEED FOR MUSICALITY IN A PASSAGE (THERE ARE MANY VARIATIONS)
............3) BALANCE
a) IMPORTANCE OF HOLDING THE VIOLIN PARALLEL TO THE FLOOR FOR BOW TO BE BALANCED ON TOP IN ORDER THAT THE FINGERS ON TOP OF THE BOW REMAIN FLEXIBLE AS THEY DO NOT ACTUALLY HOLD (OR SQUEEZE) ON THE BOW
1) HOLDING THE VIOLIN WRONG ON THE LEFT WILL CAUSE TROUBLE WITH THE RIGHT BOW TECHNIQUE
............4) HOLDING THE VIOLIN AT THE JAW WITH EASE PARALLEL TO THE FLOOR WITHOUT USING THE HAND
a) USE OF A SHOULDER REST TO HELP DO THIS (WHEN NEEDED)
......b. OVERVIEW ON HOW A VIOLIN WORKS SOUND PRODUCTION and GENERAL PARTS
(DEMONSTRATIONS TOMORROW)
PERIOD 3:
01. COMPOSER WORKSHEET (50 OPEN BOOK FILL-IN and SHORT ANSWER QUESTIONS)
........a. STUDENTS TO READ HANDOUT INFORMATION ON THE COMPOSER JOSEPH HAYDN AND FIND THE ANSWERS TO THE QUESTIONS ASKED ON THE LAST TWO PAGES
(LESSON TO BE CONTINUED TOMORROW)
ADV. STRINGS
01. STAIRWAY TO HEAVEN
02. HOUDINI
PERIODS 1 and 2:
01. THEORY
.......a. COLLECTED TREBLE CLEF THEORY FOR GRADING
02. VIOLIN PLAYING OVERVIEW
.......a. DIFFICULTY IN PLAYING A VIOLIN
............1) DIFFERENT MOVEMENTS USED IN RIGHT and LEFT HANDS and ARMS
............2) RIGHT and LEFT TECHNIQUES EACH TOTALLY PLANNED OUT AHEAD OF TIME
a) RIGHT: ALL BOWINGS PLANNED IN ADVANCE
1) UP and DOWN
2) HOW MUCH BOW IS USED AT ANY GIVEN TIME
3) WHAT BOW SPEEDS ARE USED AT CERTAIN PASSAGES
4) BOW PLACEMENT FOR EACH NOTE
5) WHAT PART OF THE BOW IS USED
b) LEFT: ALL FINGERINGS ARE PLANNED IN ADVANCE
1) FINGERINGS DETERMINED BY WHOLE and HALF STEPS FOLLOWING THE PATTERNS FORMED BY WHOLE and HALF STEPS ON A KEYBOARD (THE EAR FINE TUNES THE PITCHES)
2) FINGERINGS ARE DETERMINED BY THE PLAYER IN ADVANCE AS TO NEED FOR MUSICALITY IN A PASSAGE (THERE ARE MANY VARIATIONS)
............3) BALANCE
a) IMPORTANCE OF HOLDING THE VIOLIN PARALLEL TO THE FLOOR FOR BOW TO BE BALANCED ON TOP IN ORDER THAT THE FINGERS ON TOP OF THE BOW REMAIN FLEXIBLE AS THEY DO NOT ACTUALLY HOLD (OR SQUEEZE) ON THE BOW
1) HOLDING THE VIOLIN WRONG ON THE LEFT WILL CAUSE TROUBLE WITH THE RIGHT BOW TECHNIQUE
............4) HOLDING THE VIOLIN AT THE JAW WITH EASE PARALLEL TO THE FLOOR WITHOUT USING THE HAND
a) USE OF A SHOULDER REST TO HELP DO THIS (WHEN NEEDED)
......b. OVERVIEW ON HOW A VIOLIN WORKS SOUND PRODUCTION and GENERAL PARTS
(DEMONSTRATIONS TOMORROW)
PERIOD 3:
01. COMPOSER WORKSHEET (50 OPEN BOOK FILL-IN and SHORT ANSWER QUESTIONS)
........a. STUDENTS TO READ HANDOUT INFORMATION ON THE COMPOSER JOSEPH HAYDN AND FIND THE ANSWERS TO THE QUESTIONS ASKED ON THE LAST TWO PAGES
(LESSON TO BE CONTINUED TOMORROW)
ADV. STRINGS
01. STAIRWAY TO HEAVEN
02. HOUDINI
BEG. STRINGS
01. WARM-UP
........a. OPEN STRING ONE OCTAVE MAJOR SCALES IN THE CYCLE OF STRINGS
VIOLIN FINGER PATTERN: 0 1 23
CELLO FINGER PATTERN: 0 1 3 4
...............1) PLAYED LOWER HALF (LH) BOW
...............2) PLAYED UPPER HALF (UH) BOW
........b. SHIFTING THE 1ST FINGER (FULL SHIFT MOVING FINGER and THUMB TOGETHER)
................1) UP: DO-RE-MI (0 1-1)
................2) DOWN: MI-RE-DO (1-1 0)
......................a) FINGER NEVER LOSES CONTACT WITH THE STRING DURING THE SHIFT
......................b) SHIFT SHOULD BE MADE SLOWLY HEARING ALL THE SOUNDS DURING THE SLIDE PROCESS (A "SLURPY" TYPE SOUND (AS THE SHIFTING SPEED LEARNS TO BE CONTROLLED THE "SLURPY" SOUND WILL NOT BE AS PRONOUNCED and WILL BE ABLE TO BE CONTROLLED AS TO WHAT THE PLAYER MUSICALLY INTENDS)
02. SONG: SOMEBODY THAT I USED TO KNOW
........a. SIGHT READ THE VIOLIN 2 PART
(WILL TRY THE MORE ADVANCED PART POSSIBLY TOMORROW)
01. WARM-UP
........a. OPEN STRING ONE OCTAVE MAJOR SCALES IN THE CYCLE OF STRINGS
VIOLIN FINGER PATTERN: 0 1 23
CELLO FINGER PATTERN: 0 1 3 4
...............1) PLAYED LOWER HALF (LH) BOW
...............2) PLAYED UPPER HALF (UH) BOW
........b. SHIFTING THE 1ST FINGER (FULL SHIFT MOVING FINGER and THUMB TOGETHER)
................1) UP: DO-RE-MI (0 1-1)
................2) DOWN: MI-RE-DO (1-1 0)
......................a) FINGER NEVER LOSES CONTACT WITH THE STRING DURING THE SHIFT
......................b) SHIFT SHOULD BE MADE SLOWLY HEARING ALL THE SOUNDS DURING THE SLIDE PROCESS (A "SLURPY" TYPE SOUND (AS THE SHIFTING SPEED LEARNS TO BE CONTROLLED THE "SLURPY" SOUND WILL NOT BE AS PRONOUNCED and WILL BE ABLE TO BE CONTROLLED AS TO WHAT THE PLAYER MUSICALLY INTENDS)
02. SONG: SOMEBODY THAT I USED TO KNOW
........a. SIGHT READ THE VIOLIN 2 PART
(WILL TRY THE MORE ADVANCED PART POSSIBLY TOMORROW)