MONDAY, SEPTEMBER 30, 2013

QUOTE: 
“Any great work of art... revives and re-adapts time and space, and the measure of its success is the 

  extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets 

  you breathe its strange, special air.”

AUTHOR: Leonard Bernstein

MEANING OF THE QUOTE: 
“A great piece of music can transport your imagination back in 
  time, ahead in the future, make you laugh or cry, and send you 
  to exotic places.”

COMPOSER

COPLAND

Fanfare For The Common Man

http://www.youtube.com/watch?v=4NjssV8UuVA&feature=related

This fanfare was written on request from Eugene Goossens,

Eugene Goossens, 1920

composer and conductor of the Cincinnati Symphony Orchestra,

 in response to the US entry into the Second World War.

Fanfare For The Common Man

Aaron Copland Conducts

From the New York Philharmonic's "Young People's Concerts"

Ep. 2 "What is American Music?"

Original broadcast February 1st, 1958

https://www.youtube.com/watch?v=pgj7_DmgDqs

LESSON PLAN

http://www.rpo.org/UserFiles/File/PDF/intermediate%2009-10/Copland_09.pdf

GRANADA ADV. STRINGS
1.  G MAJOR SCALE
a.  Separate bows UH
2.  BELIEVE
a.  Review subdivided counting

INTRO. TO INSTRUMENT
1. AUDIENCE ETTIQUETTE AT DIFFERENT VENUES
2.  KEYBOARD RECITALS

GRANADA BEG. STRINGS
1.  OPEN STRING BOWING
a.  UH and LH of bow
2.  FINGER PATTERN: DO-RE-MI-FA
a.  Do-Re-Mi-Fa/Fa-Mi-Re-Do each string
b. UH bow
3.  OLD MACDONALD
a.  Everyone plays Part 1 then Part 2
b.  Class separated into Part 1 and 2 and plays the song by parts (then groups switch parts)

HILLVIEW ORCHESTRA
1. INTRODUCTION TO THE KEYBOARD
a.  White Keys
2.  MUSICAL ALPHABET
3.  HOW TO PLAY SONGS USING HAND FRAMES

FRIDAY, SEPTEMBER 27, 2013

QUOTE:
“The key to the mystery of a great artist is that for reasons unknown, he will give away his energies 

  and his life just to make sure that one note follows another... and leaves us with the feeling that 

  something is right in the world." 

AUTHOR: Leonard Bernstein

MEANING OF THE QUOTE:
“Artists devote their lives to the creation of beauty for the rest of us to enjoy.”

COMPOSER

VAUGHAN-WILLIAMS

Sinfonia Antartica

Vaughan Williams provided the music for the film Scott of the Antarctic in 1947, and was so inspired by the subject that he incorporated much of the music into a symphony he called Sinfonia Antartica ("Antarctic Symphony") his seventh Symphony.

http://en.wikipedia.org/wiki/Sinfonia_antartica

The score of each movement is prefaced by a quote:

Prelude: 

Andante maestoso 

To suffer woes which hope thinks infinite,
To forgive wrongs darker than death or night,
To defy power which seems omnipotent,
Neither to change, nor falter, nor repent:
This … is to be
Good, great and joyous, beautiful and free,
This is alone life, joy, empire and victory.

Shelley: Prometheus Unbound

Scherzo: 

Moderato 

There go the ships
and there is that Leviathan
whom thou hast made to take his pastime therein.

Psalm 104

Landscape: 

Lento 

Ye ice falls! Ye that from the mountain’s brow
Adown enormous ravines slope amain—
Torrents, methinks, that heard a mighty voice,
And stopped at once amid their maddest plunge!
Motionless torrents! Silent cataracts!

Coleridge: Hymn before Sunrise, in the Vale of Chamouni

Intermezzo: 

Andante sostenuto 

Love, all alike, no season knows, nor clime
Nor hours, days, months, which are the rags of time.

Donne: The Sun Rising

Epilogue: 

Alla marcia, moderato

 (nontroppo allegro) 

I do not regret this journey; we took risks, we
knew we took them, things have come out against
us, therefore we have no cause for complaint.

 Captain Scott’s last journal

TODAY WAS PARENT CONFERENCE DAY

AND NO STUDENTS WERE PRESENT

THURSDAY, SEPTEMBER 26, 2013

QUOTE:
“Our attitudes control our lives. Attitudes are a secret power working twenty-four hours a day, 

  for good or bad. It is of paramount importance that we know how to harness and control this 

  great force.” 

AUTHOR: Irving Berlin

MEANING OF THE QUOTE:
“What you feel inside will control your entire life on the outside.”

COMPOSER
VAUGHAN-WILLIAMS

TUBA CONCERTO I:
PLAYED BY GOURLAY 

TUBA CONCERTO II:

PLAYED BY AARON TINDALL

http://www.youtube.com/watch?v=qlJ89rtmf8U

TUBA CONCERTO III:

PLAYED BY DAVID MUNOZ

http://www.youtube.com/watch?v=Zexr5jRi9h8

GRANADA ADV. STRINGS

1. D MAJOR SCALE 

a.  Shifting on one string with the 1st finger

2.  RUDOLPH

INTRO. TO INSTRUMENT

1. KEYBOARD

a.  Preparation for recitals next week

GRANADA BEG. STRINGS
1. OPEN STRING BOWING
a. Using the lower half of the bow 4x on each string
1) Silent bow rocking at the frog to determine bow levels
2) Weight distribution discussed at different parts of the bow
1. OLD MAC DONALD (on two strings)
(Using DO-RE-MI and DO-RE-MI-FA patterns)

HILLVIEW ORCHESTRA
1.  CONCERT C MAJOR SCALE
a.  4x each note
2. SILENT NIGHT
3.  PACHELBEL CANON

WEDNESDAY, SEPTEMBER 25, 2013

QUOTE:
“Nothing is more intolerable than to have to admit to yourself your own errors.”

AUTHOR: Ludwig van Beethoven

MEANING OF THE QUOTE:
“A person will judge him/her self more critically than anyone else.”

COMPOSER

VAUGHAN-WILLIAMS

A London Symphony 
III. Scherzo

GRANADA ADV. STRINGS
1. D MAJOR SCALE IN A 3-PART ROUND
2.  FELIZ NAVIDAD

INTRO. TO INSTRUMENT
GRANADA
1. WARM-UP 
a. With echo technique played notes from B down to Low C
2. THE REAPER SONG
a.  Song using B/A and Low D and E
1)  Reviewed note reading and rhythm

HILLVIEW

1. WARM-UP 
a. With echo technique played notes from B down to Low C
2. STARBURST (notes B, A)
a.  Note Reading without numbers and letters
b.  Ear training
1) Moving hands to the high and low sounds of the two pitches in the song
2.  SONG OF THE SEA (notes: B, A, G)
a.  Ear training moving to high, middle, and low sounds

GRANADA BEG. STRINGS
1. LITTLE BITTY (OPEN STRING SONG)
a.  Note reading/singing the note names while playing
b.  Reviewed lifted down bows found in the music
2. FINGERING DO-RE-MI-FA
a.  0 1 23 (fingers 2 and 3 touch called a half step)
b.  Played on each string forward and backwards 4x
1) Guitar position/using eyes/right pizzicato
2) Guitar position/not using eyes/right pizzicato
3) Regular position/not using eyes/right pizzicato
4) Regular position/not using eyes/bowing UH
3.  ONE OCTAVE MAJOR SCALE
a.  Uses fingering pattern DO-RE-MI-FA on two neighboring strings
b.  Played the G, D, and A Major scale

HILLVIEW ORCHESTRA
1.  INTRODUCTION TO THE KEYBOARD
2. JINGLE BELL ROCK

TUESDAY, SEPTEMBER 24, 2013

QUOTE:
“What comprises good performance? It is the ability through singing or playing to make the ear
  conscious of the true content and effect of a composition.”

AUTHOR: Carl Philipp Emanuel Bach

MEANING OF THE QUOTE:
“A good performance gets the audience to feel something deep inside.”

COMPOSER

VAUGHAN-WILLIAMS

Fantasia on a Theme of Thomas Tallis

Thomas Tallis (c1505-1565)

GRANADA ADV. STRINGS
1. SILENT NIGHT

INTRO. TO INSTRUMENT
1. THEORY: SHARPS and FLATS
a. Explanation of what sharps and flats are
1) Sharp (#) raises a pitch
(the black key next to the right of the white key)
2) Flat (b) lowers a pitch 
(the black key next to the left of the white key)
b. Worked on pages 1-4

GRANADA BEG. STRINGS
1. WARM-UP OPEN STRINGS
a.  Separate bows 4x each string UH
b.  Lifted up bows at the tip 4x each string then 8x each string
2. OPEN STRING WALTZ
a.  Singing the note names and playing
b.  Bowing using a leader so the bows move in the same direction
3.  LITTLE BITTY
a.  Open string song
b.  Sing and play UH

HILLVIEW ORCHESTRA
1. RUDOLPH

MONDAY, SEPTEMBER 23, 2013

QUOTE:
“Too many pieces of music finish too long after the end.”

AUTHOR: Igor Stravinsky

MEANING OF THE QUOTE:
“The secret to writing a good piece of music is not to make it too 

  short or too long. Timing is everything.”

COMPOSER

VAUGHAN-WILLIAMS

English Folk Song Suite

GRANADA ADV. STRINGS
1.  JINGLE BELL ROCK
2.  BELIEVE
a.  Sight Reading

INTRO. TO INSTRUMENT
1.  KEYBOARD
a.  Practice for recital /teacher observation and help
1)  America
2) Yankee Doodle

GRANADA BEG. STRINGS
1.  OPEN STRING BOWING WARM-UP
a.  Separate bows 4x each string UH
b.  Fast vs Slow Bows: Rhythm "my sis-ter Mar-cy"
1) Can press the bow down harder the faster the bow moves and reverse when the bow moves slow
2.  "MARY" (DO-RE-MI SONG)
a.  Review solfege/fingering while singing
b.  Play song on all 4 strings
1) Guitar position/using eyes/right pizzicato
2) Guitar position/not using eyes/right pizzicato
3) Regular position/not using eyes/right pizzicato
4) Regular position/not using eyes/bowing UH
c.  Play song using recorded accompaniment for each string

HILLVIEW ORCHESTRA
1.  CONCERT D MAJOR SCALE
a.  Slurs in groups of 4
2. FELIZ NAVIDAD
a.  Played through for continuity
b.  Worked on first section

FRIDAY, SEPTEMBER 20, 2013

QUOTE:
“The problem of freedom in America is that of maintaining a competition of ideas, and you do not
achieve that by silencing one brand of idea.”

AUTHOR: Max Lerner

MEANING OF THE QUOTE:
“An artist must be open to all ideas and styles of music to achieve career
  success in a country where people have the freedom to choose any
  music they like.”

COMPOSER

VAUGHAN-WILLIAMS

Linden Lea

GRANADA ADV. STRINGS
1. PACHELBEL/JOLLY
a.  Played for intonation unaccompanied

INTRO. TO INSTRUMENT
1. KEYBOARD
a. AMERICA
b. YANKEE DOODLE
c.  DISCUSSED A CLASS RECITAL
2. THEORY TO WORK ON FOR THOSE WHO NEED IT

GRANADA BEG. STRINGS
1.  OPEN STRING WARM-UP
a. Rhythm: "My Sis-ter Mar-cy" 2x each string UH
1) Bow speed fast and slow
2. OPEN STRING SONG: BLAST OFF
a.  Review tremelo technique
b.  Practiced how to release the bow to make a note ring for good tone
3.  OPEN STRING SONG: OPEN STRING WALTZ
a.  Dotted rhythms (dotted half notes)

HILLVIEW ORCHESTRA
1.  JINGLE BELL ROCK
2.  FIRE DRILL

THURSDAY, SEPTEMBER 19, 2013

QUOTE:
“Nothing is more odious than music without hidden meaning.”

AUTHOR: Frederick Chopin

MEANING OF THE QUOTE:
“Chopin believes that music is not just entertainment, it must have some 

  inner message to convey.”

COMPOSER
VAUGHAN-WILLIAMS

The Wasps (1909)

Ralph Vaughan Williams wrote the music for a satirical production of the Aristophanes comedy The Wasps. 

He was invited to compose it by the Cambridge Greek Play Committee.

Aristophanes

The Chorus in The Wasps comprises elderly jurors who briefly resemble wasps in their behavior 

(Painting: 'The Jury' by John Morgan 1861, Bucks County Museum, England).

http://en.wikipedia.org/wiki/The_Wasps

GRANADA ADV. STRINGS
1.  RUDOLPH

INTRO. TO INSTRUMENT
GRANADA
1.  RECORDER
a.  WHACKY MARCH
b. WHOLE WORLD IN HIS HANDS
c. THE REAPER

HILLVIEW
1.  KEYBOARD
a. AMERICA
b. YANKEE DOODLE
2.  THEORY TO BE FINISHED FOR STUDENTS WHO NEED IT

GRANADA BEG. STRINGS
1.  OPEN STRING BOWING
a.  "My sis-ter Mar-cy"
1)  Played 2x on each string
2) Fast and slow bows UH
2.  HOT CROSS BUNS (DO-RE-MI SONG)
sing and play
a.  Played on all 4 strings
1) Guitar position/using eyes/right pizzicato
2) Guitar position/not using eyes/right pizzicato
3) Regular position/not using eyes/right pizzicato
4) Regular position/not using eyes/bowing UH
3. MARY (DO-RE-MI SONG)
sing and play
a.  Played on all 4 strings
1) Guitar position/using eyes/right pizzicato
2) Guitar position/not using eyes/right pizzicato
3) Regular position/not using eyes/right pizzicato
4) Regular position/not using eyes/bowing UH

HILLVIEW ORCHESTRA
1.  CONCERT C MAJOR SCALE
2.  SILENT NIGHT
3.  JINGLE BELL ROCK PART 2

WEDNESDAY, SEPTEMBER 18, 2013

QUOTE:
“People compose for many reasons: to become immortal; because the pianoforte happens to be open;
  because they want to become a millionaire; because of the praise of friends; because they have
  looked into a pair of beautiful eyes; for no reason whatsoever.”

AUTHOR: Robert Schumann

MEANING OF THE QUOTE:
“People create art for varied reasons. For everyone the reason 

  is different.”

COMPOSER

VAUGHAN-WILLIAMS

The Lark Ascending

Van Gogh: Wheat Fields and Lark

Played by Janine Jansen

http://hillshepherd.blogspot.com/2011/01/lark-ascending-ralph-vaughan-williams.html

THE LARK ASCENDING by George Meredith  George Meredith (1828–1909) He rises and begins to round, He drops the silver chain of sound Of many links without a break, In chirrup, whistle, slur and shake, All intervolv’d and spreading wide, Like water-dimples down a tide Where ripple ripple overcurls And eddy into eddy whirls; A press of hurried notes that run So fleet they scarce are more than one, Yet changingly the trills repeat And linger ringing while they fleet, Sweet to the quick o’ the ear, and dear To her beyond the handmaid ear, Who sits beside our inner springs, Too often dry for this he brings, Which seems the very jet of earth At sight of sun, her music’s mirth, As up he wings the spiral stair, A song of light, and pierces air With fountain ardor, fountain play, To reach the shining tops of day, And drink in everything discern’d An ecstasy to music turn’d, Impell’d by what his happy bill Disperses; drinking, showering still, Unthinking save that he may give His voice the outlet, there to live Renew’d in endless notes of glee, So thirsty of his voice is he, For all to hear and all to know That he is joy, awake, aglow, The tumult of the heart to hear Through pureness filter’d crystal-clear, And know the pleasure sprinkled bright By simple singing of delight, Shrill, irreflective, unrestrain’d, Rapt, ringing, on the jet sustain’d Without a break, without a fall, Sweet-silvery, sheer lyrical, Perennial, quavering up the chord Like myriad dews of sunny sward That trembling into fulness shine, And sparkle dropping argentine; Such wooing as the ear receives From zephyr caught in choric leaves Of aspens when their chattering net Is flush’d to white with shivers wet; And such the water-spirit’s chime On mountain heights in morning’s prime, Too freshly sweet to seem excess, Too animate to need a stress; But wider over many heads The starry voice ascending spreads, Awakening, as it waxes thin, The best in us to him akin; And every face to watch him rais’d, Puts on the light of children prais’d, So rich our human pleasure ripes When sweetness on sincereness pipes, Though nought be promis’d from the seas, But only a soft-ruffling breeze Sweep glittering on a still content, Serenity in ravishment. For singing till his heaven fills, ’T is love of earth that he instils, And ever winging up and up, Our valley is his golden cup, And he the wine which overflows To lift us with him as he goes: The woods and brooks, the sheep and kine He is, the hills, the human line, The meadows green, the fallows brown, The dreams of labor in the town; He sings the sap, the quicken’d veins; The wedding song of sun and rains He is, the dance of children, thanks Of sowers, shout of primrose-banks, And eye of violets while they breathe; All these the circling song will wreathe, And you shall hear the herb and tree, The better heart of men shall see, Shall feel celestially, as long As you crave nothing save the song. Was never voice of ours could say Our inmost in the sweetest way, Like yonder voice aloft, and link All hearers in the song they drink: Our wisdom speaks from failing blood, Our passion is too full in flood, We want the key of his wild note Of truthful in a tuneful throat, The song seraphically free Of taint of personality, So pure that it salutes the suns The voice of one for millions, In whom the millions rejoice For giving their one spirit voice. Yet men have we, whom we revere, Now names, and men still housing here, Whose lives, by many a battle-dint Defaced, and grinding wheels on flint, Yield substance, though they sing not, sweet For song our highest heaven to greet: Whom heavenly singing gives us new, Enspheres them brilliant in our blue, From firmest base to farthest leap, Because their love of Earth is deep, And they are warriors in accord With life to serve and pass reward, So touching purest and so heard In the brain’s reflex of yon bird; Wherefore their soul in me, or mine, Through self-forgetfulness divine, In them, that song aloft maintains, To fill the sky and thrill the plains With showerings drawn from human stores, As he to silence nearer soars, Extends the world at wings and dome, More spacious making more our home, Till lost on his aërial rings In light, and then the fancy sings. http://allpoetry.com/poem/8475727-The-Lark-Ascending-by-George_Meredith http://www.bartleby.com/246/680.html

GRANADA ADV. STRINGS
1. SILENT NIGHT
a.  Intonation and articulation

INTRO. TO INSTRUMENT
GRANADA
1. RECORDER
a.  NAME THAT TUNE BAG SONG
1) Note reading procedures in treble clef
b.  WHACKY NUTCRACKER SONG

HILLVIEW
1. RECORDER (Note Reading Without Numbers or Letters)
a. HOT CROSS BUNS WITH HARMONY PART
1) Explanation of the term "harmony"
2) Reviewed note low "D"
b.  ALL ALONE (using the note "B")
1) Song with half notes
c.  STARBURST (using notes "B" and "A"
1) Song with quarters and eighths
2) To be continued next time

GRANADA BEG. STRINGS
1.  LEFT HAND FINGERS
a.  Do-Re-Mi/Mi-Re-Do (sing and play)
1) Guitar position/using eyes/right pizzicato
2) Guitar position/not using eyes/right pizzicato
3) Regular position/not using eyes/right pizzicato
4) Regular position/not using eyes/bowing UH
b.  HOT CROSS BUNS (DO-RE-MI SONG) (sing and play)
1) Guitar position/using eyes/right pizzicato
2) Guitar position/not using eyes/right pizzicato
3) Regular position/not using eyes/right pizzicato
4) Regular position/not using eyes/bowing UH
b.  Music passed out for songs by finger numbers:
HOT CROSS BUNS/MARY/TWINKLE

HILLVIEW ORCHESTRA
1.  D MAJOR CONCERT SCALE IN 3-PART ROUND
2. RUDOLPH
a. Speed and continuity

TUESDAY, SEPTEMBER 17, 2013

QUOTE:
“I’m not interested in having an orchestra sound like itself. I want it to sound like the composer.”

AUTHOR: Leonard Bernstein

MEANING OF THE QUOTE:
“Music should sound as each individual composer meant it to 

  be played. The same orchestra can play music by different 

  composers and the music will sound different each time.”

COMPOSER

VAUGHAN-WILLIAMS

Fantasia on Greensleeves

‘My Sweet Rose’  by Waterhouse

http://panflute.net/shop/songbook/songbook_songs/greensleeves/index.html

Alas, my love, you do me wrong,
To cast me off discourteously.
For I have loved you well and long,
Delighting in your company. 

Chorus:
Greensleeves was all my joy
Greensleeves was my delight,
Greensleeves was my heart of gold,
And who but my lady greensleeves. 

Your vows you've broken, like my heart,
Oh, why did you so enrapture me?
Now I remain in a world apart
But my heart remains in captivity.

I have been ready at your hand,
To grant whatever you would crave,
I have both wagered life and land,
Your love and good-will for to have.

If you intend thus to disdain,
It does the more enrapture me,
And even so, I still remain
A lover in captivity. 

My men were clothed all in green,
And they did ever wait on thee;
All this was gallant to be seen,
And yet thou wouldst not love me.

I bought thee petticoats of the best,
The cloth so fine as it might be;
I gave thee jewels for thy chest,
And all this cost I spent on thee.

Thou couldst desire no earthly thing,
but still thou hadst it readily.
Thy music still to play and sing;
And yet thou wouldst not love me.

Well, I will pray to God on high,
that thou my constancy mayst see,
And that yet once before I die,
Thou wilt vouchsafe to love me.

Ah, Greensleeves, now farewell, adieu,
To God I pray to prosper thee,
For I am still thy lover true,
Come once again and love me.

http://www.luminarium.org/renlit/greensleeves.htm

http://elizabethsparlor.blogspot.com/2013/07/a-look-at-greensleeves.html

http://www.ibiblio.org/jimmy/folkden-wp/?p=7066

GRANADA ADV. STRINGS
1.  C MAJOR SCALE
a.  Advanced violins play in 2nd or 3rd position
2. SILENT NIGHT

INTRO. TO INSTRUMENT
1. THEORY
a.  Keyboard note identification packet 
1) Finish in class and turn in for grading

GRANADA BEG. STRINGS
1.  LEFT HAND FINGERING
a. Do- Re-Mi on each string
1) Guitar position
2) Right hand pizzicato

HILLVIEW ORCHESTRA
1.  D Concert Major Scale
a.  Strings shift
2.  RUDOLPH