Showing posts with label AUGUST 2013. Show all posts
Showing posts with label AUGUST 2013. Show all posts

Friday, August 30, 2013

FRIDAY, AUGUST 30, 2013

QUOTE:
"Music, in performance, is a type of sculpture. The
  air in the performance is sculpted into something."
AUTHOR: Frank Zappa
MEANING OF THE QUOTE:
"The vibrations that emanate from music create a sound
   from air as an artist creates a sculpture from a rock."

COMPOSER:
FREDERIC CHOPIN
NOCTURNE OP. 27, NO. 2
D-FLAT MAJOR
Dinu Lipatti, Piano
http://www.youtube.com/watch?v=e0VhKERbhkE&feature=fvst
NOCTURNE OP. 27, NO. 2
D-FLAT MAJOR
With Calming Pictures
GRANADA ADV. STRINGS
Jingle Bell Rock
a.  Worked on chromatic fingering for violin in section 1

INTRO. TO INSTRUMENT
Hillview
1.  Recorder
a.  EAR TRAINING/WARM-UP 
1)  NOTES USING FINGERINGS:  1 (T1) alone/ 1 (T1) and 2 (T12)/ 1 (T1),  2 (T12), 3 (T123) IN CONSECUTIVE 
ORDER (BY STEP-WISE MOTION)
b.   RECORDER SONGS USING FINGERINGS 1 (T1 and T2)/quarters and eighths
1)  SHORT EXPLANATION OF TERMS:
a)  STAFF
b)  SPACE NOTE
c)  LINE NOTE
d)  STEP-WISE MOTION
2)  SHORT EXPLANATION OF HOW THE MUSICAL ALPHABET CAN BE USED IN NOTE READING  IN STEP-WISE MOTION
1)  WORK ON NOTES USING FINGERINGS T1, T12, T123 IN CONSECUTIVE ORDER 
b. PLAY SONGS USING NOTES WITH FINGER NUMBERS
1)  UN BERGERE
a)  SONG USING QUARTERS and T1 FINGERING
2)  KOOKABURRA
a)  SONG USING QUARTERS, EIGHTHS and  T1 FINGERING
3)  ALLEY ALLEY O
a)  SONG USING QUARTERS, EIGHTHS and  T1 and T12 FINGERING
4)  LUCERNE TO WEGGIS
a)  SONG USING QUARTERS, EIGHTHS and  T1 and T12 FINGERING
Granada
1. Percussion piece "Alley Cat" continued
a.  Worked on control of the body and how to focus
b.  Practiced the importance of counting out loud to help avoid daydreaming
c. Students played the different parts using different percussion instruments

GRANADA BEG. STRINGS
1.  Class was shown how to use Google Docs to access music and mp3 accompaniment files
2.  Reviewed right hand pizzicato then played the songs from yesterday again 
using this new technique
01.  RIGHT HAND PIZZICATO (WITHOUT HOLDING THE BOW)
a.  INSTRUCTION ON 2 TYPES OF RIGHT PIZZICATO
1)  TRADITIONAL
a)  PLUCKING (OVER THE FINGERBOARD) WITH THE RIGHT POINTER FINGER and THE RIGHT THUMB 
ANCHORED TO THE SIDE OF THE FINGERBOARD 
b)  THIS IS A MORE PRACTICAL PIZZICATO TO USE
2)  NON-TRADITIONAL
a)  PLUCKING (OVER THE FINGERBOARD) WITH THE RIGHT THUMB and THE OTHER RIGHT FINGERS
ANCHORED TO THE SIDE OF THE FINGERBOARD 
b)  THIS TECHNIQUE PRODUCES A FULLER, RICHER SOUND
c)  THE HAND POSITION USED IN THIS TYPE OF PIZZICATO IS SIMILAR TO THAT OF PLUCKING A 
GUITAR and FOR INSTRUCTIONAL PURPOSES IS A GOOD LEAD IN TO STARTING TO PUT 
FINGERS DOWN ON THE FINGERBOARD TO PLAY SONGS IN "GUITAR POSITION"
d)  THE RIGHT ARM POSITION WHICH RESULTS FROM USING THIS TYPE OF RIGHT PIZZICATO IS A
b.  STUDENTS REPLAY "CRIPPLE CREEK" and  "BATMAN" AGAIN THIS TIME USING THE RIGHT HAND 
"NON-TRADITIONAL" PIZZICATO

HILLVIEW ORCHESTRA
1. Jingle Bell Rock
a.  Pulled out a difficult rhythmic pattern and using the procedure of subdividing the beat to better understand the dotted notes, planned the counting
b.  After planning the counting the rhythm was verbalized and clapped speeding up the tempo in increments until the rhythm can be felt without the counting (memorized)
c. For continuity the entire song was practiced at tempo

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Thursday, August 29, 2013

THURSDAY, AUGUST 29, 2013

QUOTE:
“No man is complete without a feeling for music and an understanding of what it can do for him.”
AUTHOR: Zoltan Kodaly

MEANING OF THE QUOTE:
“Complete fulfillment in life is not possible unless you have some
  music appreciation.”
COMPOSER
CHOPIN

Piano Concerto No. 2 Op. 21
F minor 
III Allegro Vivace 
Performed by Artur Rubinstein 

Piano Concerto No. 2 Op. 21
F minor 
III Allegro Vivace 
Performed by Kaspar Uinskas

CONCERTO
A concerto is a music composition which, in most cases features, a solo instrument with an orchestra accompaniment 
(or piano accompaniment) where the soloist shows off his/her virtuosic skill.  
Each concerto consists of 3 movements generally in three different tempos (fast, slow, very fast)

GRANADA ADV. STRINGS
1.  Pachelbel/Jolly
2.  Jingle Bell Rock

INTRO. TO INSTRUMENT
1.  Hillview:
1. INTRODUCTION TO THE WOODWIND FAMILY/DEMONSTRATION
a.  CONSORT OF RECORDERS (bass, tenor, alto, soprano, sopranino, garklin)
b.  MODERN RELATIVES TO RECORDERS/DEMONSTRATION (flute/clarinet)
c.  HISTORY OF WOODWINDS

2.  Granada:
ALLEY CAT PERCUSSION ORCHESTRATION and PERFORMANCE
a.  REVIEW INSTRUMENT NAMES
1)  GO OVER  and REVIEW (AS NEEDED) HOW TO ORCHESTRATE PERCUSSION INSTRUMENTS
2)  ASSIGN COLORS ON THE CHARTS TO DIFFERENT INSTRUMENTS
3)  STUDENTS COUNT OUT LOUD and PLAY THE INSTRUMENTS ASSIGNED THAT MATCH THE COLORS
.4)  STUDENTS PERFORM TO THE RECORDING
5)  AFTER COMPLETION STUDENTS SWITCH INSTRUMENTS TO TRY ANOTHER



GRANADA BEG. STRINGS
1.  Left hand pizzicato to develop proper left arm angle and violin hold
2.  Depressing the finger(s) down on the string silently with a spring motion
3.  Depressing and pulling the string to start the pizzicato
5. Note reading quarter notes and musical road sign "repeat sign" introduced
4.  Cycle of strings:  from lowest to highest strings 
plucking 4x on each string with:
 1st finger (left index) 
repeating with 2nd finger (middle finger) 
followed by 3rd finger (ring) 
lastly using the 4th finger (pinky)
6. Open string note reading using colors
(students sing the letters as they pluck the open strings with a background accompaniment)
blue: G
red: D
yellow: A
green: E
7. Open string note songs:
a. Cripple Creek


b. Batman
HILLVIEW ORCHESTRA
1.  Concert C Major Scale Introduced
2.  SILENT NIGHT
3.  JINGLE BELL ROCK
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Wednesday, August 28, 2013

WEDNESDAY, AUGUST 28, 2013

QUOTE:
“Do not take up music unless you would rather die than not do so.”
AUTHOR: Nadia Boulanger
MEANING OF THE QUOTE:
“A true musician must be willing to give up everything for his art"










COMPOSER
CHOPIN


Prelude Op.28 No.15
"Raindrop"
A I Keller, "Chopin, The Raindrop Prelude" (1919)
Steinway
Played by Horowitz
GRANADA ADV. STRINGS
1.  Pachelbel/Jolly
2.  Jingle Bell Rock

INTRO. TO INSTRUMENT
1.  Hillview:
ALLEY CAT PERCUSSION ORCHESTRATION and PERFORMANCE
a.  REVIEW INSTRUMENT NAMES
1)  GO OVER  and REVIEW (AS NEEDED) HOW TO ORCHESTRATE PERCUSSION INSTRUMENTS
2)  ASSIGN COLORS ON THE CHARTS TO DIFFERENT INSTRUMENTS
3)  STUDENTS COUNT OUT LOUD and PLAY THE INSTRUMENTS ASSIGNED THAT MATCH THE COLORS
.4)  STUDENTS PERFORM TO THE RECORDING
5)  AFTER COMPLETION STUDENTS SWITCH INSTRUMENTS TO TRY ANOTHER
2.  Granada:
a.  Keyboard Procedures
b.  Locating musical alphabet notes on the keyboard starting with "D"
c.  Finding notes B-A-G to play "mary" on the keyboard

GRANADA BEG. STRINGS
1.  Shoulder rest and left violin hold and proper violin angle
a. PLACEMENT OF SHOULDER REST ON THE VIOLIN FOR COMFORT
b. EXPLANATION ON WHY THE BOW IS NOT TAUGHT UNTIL AFTER THE LEFT 
c. VIOLIN HOLD TECHNIQUE IS MASTERED
d. HOW IMPROPER LEFT VIOLIN HOLDS EFFECT THE BOW
e. VIOLIN ANGLE TO BE DETERMINED FOR EACH PLAYER 
AS TO PLACEMENT OF THE ARM UNDER THE VIOLIN
2.  Left pizzicato introduction
ESTABLISHING THE PROPER VIOLIN LEFT ANGLE THROUGH  LEFT HAND PIZZICATO

PIZZICATO (OFTEN SHORTENED TO "PIZZ.") 
IS AN ITALIAN TERM MEANING "TO PLUCK" THE STRING


a.  LEFT THUMB PLACED AT THE CURVE OF THE VIOLIN NECK (CALLED THE 5TH POSITION) IN A BACKWARDS "C" POSITION
b.  USING THE PAD OF THE 1ST (LEFT INDEX) FINGER DEPRESS EACH STRING (STARTING WITH "E") 8 TIMES AS IF YOU WERE DEPRESSING A BUTTON OF A DOORBELL THUS CREATING A SPRING WITH THE FINGER ON THE STRING 
c.  REPEAT THE SAME AGAIN USING THE 2ND FINGER, THEN THE 3RD, and LASTLY THE 4TH 
1)  IF THE LEFT ARM, WHICH IS UNDER THE VIOLIN, IS IN PAIN ADJUST THE VIOLIN ANGLE 
2)  IF THE ARM ACHES (THE A MUSCLE IS BUILDING) GIVE THE ARM A   LITTLE REST 
d. REDO THE EXERCISE AGAIN ONLY THIS TIME AFTER DEPRESSING THE STRING EACH TIME, 
TO CREATE THE PIZZICATO PULL THE STRING TO THE RIGHT
(TO THE RIGHT MEANING FROM THE VIOLINIST'S PLAYING POSITION WHILE LOOKING TOWARD THE SCROLL) 
1) BE SURE TO DEPRESS (FEEL) THE STRING BEFORE PULLING IT EACH TIME


HILLVIEW ORCHESTRA
1.  Concert D Major Scale to the rhythm of Jingle Bell Rock we worked on yesterday
a.  Played the entire rhythm on one pitch of the scale then repeated again on the next one, etc.
b. Students worked on phrasing (breathing) and articulation of sound
2.  JINGLE BELL ROCK
a.  Tried to read throught the entire piece without stopping at performance tempo
b.  Reviewed the beginning
3.  SILENT NIGHT
a.  Started to sight read
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Tuesday, August 27, 2013

TUESDAY, AUGUST 27, 2013

QUOTE:
“There is no top. There are always further heights to reach.”
AUTHOR: Jascha Heifetz
MEANING OF THE QUOTE:
“There is always a way to improve yourself.”











 COMPOSER
CHOPIN

Etude Op. 10 No. 3
Played by Pollini

Etude Op. 10 No. 3

A modern treatment of this etude is called:

"No Other Love"

Sung by Jo Stafford
Etude Op. 10 No. 3

A modern treatment of this etude is called:

"So Deep is the Night"

Sung by Webster Booth & Anne Ziegler



GRANADA ADV. STRINGS
1. Pachelbel/Jolly
a.  Worked on parts separately and together

INTRO. TO INSTRUMENT
1. Theory Worksheet:  Drawing a keyboard
2. Review of musical alphabet forward and backwards
3. Short quiz on memorizing the musical alphabet backwards
3.  Musical alphabet on the white keys of the keyboard/location of the note "D" 


GRANADA BEG. STRINGS
1.  Shoulder rest instruction
a.  How to adjust and place on violin
b.  Making the instrument comfortable to hold
2. How to sit in a chair to play violin/posture and Conductor Directions
01.  CONDUCTOR PLAYING DIRECTIONS: RESTING and PLAYING POSITIONS TO CUES
02.  POSTURE and HOW TO SIT IN THE CHAIR 
a.  BOTH FEET TO BE SOLIDLY ON THE FLOOR WITH THE LEFT FOOT AHEAD OF 
THE RIGHT (SMALLER PEOPLE MAY HAVE TO SIT MORE TOWARD THE EDGE OF THEIR CHAIR)
b.  CHAIR TO BE ANGLED SO THE RIGHT FOOT CAN BE BEHIND THE LEFT WITHOUT GOING UNDER THE CHAIR 
(THIS IS TO KEEP THE BOW FROM HITTING THE RIGHT KNEE WHEN PLAYING THE "E" STRING
c.  USING THE VIOLIN LEFT ANGLE 
(PREVIOUSLY DETERMINED FOR EACH  STUDENT SEPARATELY) 
MOVE THE LEFT FOOT TOWARD THE DIRECTION OF WHERE THE VIOLIN SCROLL IS POINTED
d.  WHEN SITTING IN THE CHAIR MAKE SURE THE LEFT FOOT and THE SCROLL ARE POINTING TOWARD THE MUSIC 
(OR IN CLASS, TOWARD OUR WHITE BOARD)
e.  WE USE OUR ENTIRE BODY TO PLAY THE VIOLIN SO POSTURE AND THE PLACEMENT OF FEET IS VERY IMPORTANT

HILLVIEW ORCHESTRA
1.  Concert D Major scale (1 octave) separate notes with strings shifting up and down 
the scale using 1st finger after the initial open string
2.  Subdivision of the beat: counting a passage from Jingle Bell Rock
3.  Worked on 2nd section of  Jingle Bell Rock
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Monday, August 26, 2013

MONDAY, AUGUST 26, 2013

QUOTE:
“I can't understand why people are frightened of new ideas. I'm frightened of the old ones.”
AUTHOR: John Cage
MEANING OF THE QUOTE:
“To continue to grow as a human being you must be open to try 
  new ideas otherwise you stagnate.”
















COMPOSER

CHOPIN


Waltz No.1 in E-flat major 
(Grande Valse Brillante) 
Op.18, No.1
Performed by LEONARD PENNARIO 
http://www.youtube.com/watch?v=KusVQYcGVwM&playnext=
1&list=PL02E4F94F47C60E6C&feature=results_main
Waltz No.1 in E-flat major 
(Grande Valse Brillante) 
Op.18, No.1

Performed by VALENTINA IGOSHINA 

GRANADA ADV. STRINGS
1. Scales using  proper bowings/following a bow leader
2.  Started Pachelbel/Jolly

INTRO. TO INSTRUMENT
1.  Review of making articulated sounds on the recorder
2.  Learned first 3 notes Do-Re-Mi in stepwise motion
a.  Discussed the 3rd finger use and how if not depressed properly can 
cause the instrument to squeak
b.  Talked about the importance of playing with both hands on the recorder even when one 
of the hands does not need to finger a note as the other hand lends support to help 
seal the finger holes correctly
3.  Started to learn Mary Had a Little Lamb by echo/memory
4.  Discussed the keyboard and the black and white patterns of the keys
a.  Black keys (pentatonic 5 key pattern)
b.  White keys (diatonic 7 key pattern)
c.  7 white keys forms the 7 letters of the musical alphabet
d.  The class memorized the musical alphabet backwards and forwards and then was shown how the musical alphabet is applied the recorder fingering

EXPLANATION OF THE MUSICAL ALPHABET RELATING IT TO THE EXAMPLE OF THE KEYBOARD
a. WHAT PATTERNS CAN BE SEEN (and HEARD) ON A KEYBOARD?
b. HOW MANY BLACK KEYS FORM A PATTERN?
c. USING THE BLACK KEYS AS A GUIDE HOW MANY WHITE KEYS ARE THERE IN A PATTERN?
d. THERE ARE ONLY 5 BLACK KEYS (A PATTERN REPEATED OVER and OVER
 EITHER HIGHER or LOWER) and THUS 7 WHITE KEYS ON A KEYBOARD
1) WHITE KEYS ARE OFTEN GIVEN NAMES TAKEN FROM THE ALPHABET and
SINCE THERE ARE ONLY 7 WHITE KEYS IN THE PATTERN WE ONLY HAVE 7 LETTERS IN OUR MUSICAL ALPHABET
e. IF THERE ARE ONLY 5 BLACK KEYS and 7 WHITE KEYS ON A KEYBOARD THEN 
THERE ARE ONLY 12 DIFFERENT KEYS THAT WE NAME ON A KEYBOARD WHICH ARE CALLED THE "CHROMATIC SCALE"
1) THESE 12 KEYS ARE THE "TONE" COLOR CHOICES THAT CAN BE USED TO CREATE MUSIC 
2) THESE COLORS CAN BE PLAYED SEPARATELY OR COMBINED TO FORM
NEW COLORS JUST AS ARTISTS COMBINE PRIMARY COLORS TO CREATE OTHER COLORS
f. RELATING MUSIC TO ART: MUSIC COLORS ARE HEARD INSTEAD OF SEEN

GRANADA BEG. STRINGS
1.  Completed procedures to check out instruments
2.  Practiced how to get instruments out/open cases/ and started to put on shoulder rests

HILLVIEW ORCHESTRA
1.  Concert D Major scale (1 octave) slurring 2 notes in a patterns
2.  Sight read through and started to work on Pachelbel/Jolly music
3.  Worked on 1st section of  Jingle Bell Rock
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Friday, August 23, 2013

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


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
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
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