Burton s Sonatina for Flute & Piano: A Practice Guide
|
|
- Justina Strickland
- 5 years ago
- Views:
Transcription
1 Burton s Sonatina for Flute & Piano: A Practice Guide by Molly York Sonatina for flute and piano may be Burton s one hit wonder, but it has stood the test of time, making it a standard in flute literature and well loved worldwide. Eldin Burton was an American pianist who had ambitions of being a composer. Burton took Sonatina, which was a piano piece at the time, to a composition class at Julliard and the professor told him that it sounded like more than just a piano part and suggested that Burton rewrite the piece to include Samuel Baron, a fellow class-mate, on the flute. (Still Interview) Sonatina for Flute and Piano won the first and last New York Flute Club Composition Contest in The first performance was given by Samuel Baron, who later became a revered American flute teacher as a professor of music at Stony Brook, chair of the Woodwind Department at Julliard, and the founder of the New York Woodwind Quintet. The prize for winning the contest was a publication offer from G. Schirmer Inc., assuring it s survival in the flute repertoire. Samuel Baron ( ) After his success, Burton took a job with Schirmer, but did not find affluence in composing seeing that his only other composition, a flute concerto, was never published. I - Allegretto grazioso This movement is marked as a quarter note equals 96, but go a little faster, a quarter note equals 112, to make the movement move little more. Although the beginning of this movement is not technically difficult, the phrasing can be problematic. I suggest that the player aim for the
2 Subphrase As and emphasize the peak of each subphrase. This way the phrasing moves and avoids sounding stagnant. The example (ex.1) below illustrates my suggestion. Phrase _ g g peak of each subphrase = metric accent ex.1 Vibrato needs to be prominent throughout this fist section, especially when the fist theme jumps the octave at measure at measure 10. At this point, the theme has been stated two times in both octaves then at measure 22 the pitches of the melody change. Burton changes the tonality by going from major to minor at measure 22 to create a more mysterious feeling and acknowledging the difference adds to the players musicality. Take a more enigmatic approach than the previous statements of the theme and change your tone color to signify the tonality shift from the beginning. Furthermore, it is important to notice that at the end of every phrase up to measure 30, the accompaniment has a crescendo, so it is important for the player to support the last note of the phrase and not crescendo or let the sound diminish (ex.2). m. 16 m. 29 ex.2 At the Più mosso and anywhere in the movement where there is a dotted eighth and triplet passage, it is important that the player distinguish between the triplet and the sixteenth note and retain the rhythmic integrity of the triple verses duple subdivision. For instance, do not lengthen
3 < the sixteenths or shorten the triplets; play a true dotted eight-sixteenth and a true triplet. Practice shifting from a triple subdivision to a duple subdivision. At measure 33 and 34 using the double thumb B b will help easier facilitate the sextuplets. However, the player will need to quickly slide the thumb back over to the B key for the F I s. Measure 31 to 70 contains many scalar passages and in order easier facilitate, it is important understand what scale is being used. Here are some examples (ex.3): m. 41 ] ex.3 ] G hamonic minor A b Major The Tempo Primo begins the transition back to the beginning theme with an interruption of the middle section at the a tempo and Più mosso. During the ritard at measure 87, adding length to the marcato triplets creates a more dramatic ritard into the Più mosso (Animato). A fast vibrato is a must in this section, especially in this register. The syncopated rhythms starting in measure 91 should sound relaxed, not agitated. It is best to think of the syncopations as light and jazzy otherwise the repetition of the syncopated rhythms will some mundane and out of place. I suggest the following breaths to help with phrasing (ex.4). < < ex.4
4 At this point in the piece it is easy to tense up and rush because of the register, syncopation, and E Major scale runs, but the ending needs to feel relaxed and amiable, otherwise, the unwinding aftermath of the end of this movement, leading into the slow movement, will not be effective. II - Andantino Sognando The meaning of Sognando is to dream and Burton, along with composers in the past, such as Debussy, use the flute to portray a dream-like ambiance. This movement is wonderful because Burton utilizes all of the beautiful aspects of the flute - color, range, and technique. Making use Ternary Form A B A m.1 m.19 m.31 of ternary form, this movement is divided up into three sections, an A section, a B section, and the repeat of the A section (ABA). The beginning of the movement is marked mezzo forte and remains that way until the crescendo poco a poco at measure 13. It leaves ample opportunity to the performer to add musicality and phrasing. I suggest starting the beginning at a mezzo piano followed a crescendo to a mezzo forte on the succeeding half note. Furthermore, lifting the B quarter note and then placing the half note can be effective (ex.5). This technique also includes pickups to measure 9 and measure 40. _. The mood of the movement changes at measure 12 into a few lighthearted measures and is followed by the first high moment of the movement at measure 14, a measure later ending the section in a feeling of melancholy. Measure 21 begins the B section, which takes on an anxious quality with forte and fortissimo ex.5
5 32nd scalar passages. It is essential while playing the 32nd note passages that the player groups the notes to facilitate the technique. I suggest the following groupings (ex.6): ex g gg g E Major E Major The beginning theme, or the A section, returns at measure 31 at a mezzo forte until measure 38, which is marked Quieto. Quieto is defined as calm, still, or peaceful and should be reflected as so until the end of the movement. The last measure of this movement is difficult because the player is diminishing on a B harmonic. This can be more comfortably played if the player fingers a middle E and over blowing to the B harmonic. Also, taking a breath right before the last note should ensure a confident ending. Lastly, utilizing non vibrato while diminishing the sound allows the sound to evaporate. III - Allegro giocoso quasi fandango Fandango is defined as an animated Spanish or Spanish-American dance in triple time. Burton uses triplets on the strong beats in 6/8 time throughout the whole movement. Beginning at a slow tempo will help accurately put the triplets within the correct beat. The opening should be
6 played with integrity and assurance and all of the accents should be well articulated and placed directly on the beat. Because the triplets are I m. 4 m m. 76 m m. 4 m m. 64 m. 76 m ex.7 hard to facilitate with regular flute fingerings, in the opening section m. 5 m.65 m. 77 and throughout the movement, using trill fingerings (ex.7) will allow for more comfortable and smooth triplet sixteenths. It is important to remember that just because trill fingerings are being used, they are not considered just a wiggle of the finger, but accurate triplet sixteenths within the eight note. At measure 23 and 24, overblown B n and C I harmonics m. 13 m. 85 m. 13 m. 85 m. 14 m. 86 m. 64 m. 65 C I trill trill keys covered keys using the C I trill key can be used for easier facilitation along with a strong and continuous stream of air which will keep the pitch from going flat. Also, because of the repetition of measures 23 I and 24, adding a crescendo creates a driving effect to heighten the forte at measure 25. The F b at measure 25 should be accented and placed directly on the beat. B lever is the best way to facilitate the A I s and the triplets from G I to A I in measures 27 and 30. Furthermore, B b lever can
7 remain employed while playing between the G I to A I, generating less finger movement (ex.8). lever } ex.8 The brilliante double tongued sixteenth notes at measure 35 should be evenly spaced and I played with a crisp articulation, as illustrated by the staccato marking on every note. The F s at measure 49 should be fingered using the middle finger in the right hand because the right ring finger needs to be used for the B n. On the other hand, in measure 43 regular F I fingering needs to I be used because right index finger is needed for the A. The last of the sixteenth note passages at measure is technically very challenging, but can be easier facilitated by grouping it as follows (ex.9): ex.9 Burton plays around the primary theme from the beginning of the movement at measure 54 until the end of the secondary section at the Tempo 1. Again, trill fingerings can be used for the triplets at measures 65 and 66. The two bars of rests before the Tempo 1 adds a witty ending to the middle section. In a performance, the best way to play on this pause is to remain still until the piano starts up again; any movement might result in an awkward moment for the player and their
8 audience. At the end of the movement, measure 97, the piano should be prominent, so I suggest I backing off on the F trill. Let the piano take over until the pickups to the last sixteenth note passage, which should be fortissimo until the sforzando high D at the end of the movement. Burton s Sonatina for Flute and Piano is one of America s greatest masterworks and is an essential addition to any flutists repertoire. Portraying all the wonderful facets of the flute, Sonatina holds a merit of style and beauty in flute literature worldwide. Bibliography Burton, Eldin. Sonatina for Flute and Piano. Carl Fischer: New York, NY. Smeets, Jos. Classical Composer s Database: Eldin Burton. Classical Composer s Database. 23 October < Still, Alexa. Personal Interview. 23 September 2008.
ATSSB Bb clarinet (revised February 2016) Artistic Studies Book I from the French School David Hite/Southern Music
ATSSB Bb clarinet (revised February 2016) Artistic Studies Book I from the French School David Hite/Southern Music Year A Page 26, No. 24 A minor Quarter note = 54 60 Play from the beginning through measure
More informationPoway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12
Poway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12 The mission of the Poway Unified School District Instrumental Music Program is to provide a quality music education
More informationTMEA ALL-STATE AUDITION SELECTIONS
TMEA ALL-STATE AUDITION SELECTIONS 2014-2015 Hello, my name is Amy Anderson, Oboe Professor at Texas Tech University. I have recorded the 2014-2015 All-State Audition music for oboe including Masterclasses
More informationWSMTA Music Literacy Program Curriculum Guide modified for STRINGS
WSMTA Music Literacy Program Curriculum Guide modified for STRINGS Level One - Clap or tap a rhythm pattern, counting aloud, with a metronome tempo of 72 for the quarter beat - The student may use any
More information2. ARTICULATION The pupil must be able to able to articulate evenly and clearly at a variety of slow to medium tempos and demonstrate a good posture
Brass Foundation Level 1 The pupil must be able to hold a level tone and be able to pitch low C and G on the 2nd line treble clef (Bb and F bass clef). The pupil should be able to play simple melodies
More informationGRATTON, Hector CHANSON ECOSSAISE. Instrumentation: Violin, piano. Duration: 2'30" Publisher: Berandol Music. Level: Difficult
GRATTON, Hector CHANSON ECOSSAISE Instrumentation: Violin, piano Duration: 2'30" Publisher: Berandol Music Level: Difficult Musical Characteristics: This piece features a lyrical melodic line. The feeling
More informationOLCHS Rhythm Guide. Time and Meter. Time Signature. Measures and barlines
OLCHS Rhythm Guide Notated music tells the musician which note to play (pitch), when to play it (rhythm), and how to play it (dynamics and articulation). This section will explain how rhythm is interpreted
More informationInformation Sheets for Proficiency Levels One through Five NAME: Information Sheets for Written Proficiency Levels One through Five
NAME: Information Sheets for Written Proficiency You will find the answers to any questions asked in the Proficiency Levels I- V included somewhere in these pages. Should you need further help, see your
More informationFlute and Piccolo. Selection 1. Selection 2. Page(s): 48. Edition EA Book - Editor Title Publisher
Flute and Piccolo Book - Editor Title Publisher Mary Karen Clardy Flute Etudes Book European American Music Corp. or Schott Edition EA 764 0-913574-96-1 Selection 1 Page(s): 18-19 Key: D Major Etude Title:
More informationContent Area Course: Band Grade Level: Eighth Instrumental Music - Band
Content Area Course: Band Grade Level: Eighth Instrumental Music - Band R14 The Seven Cs of Learning Collaboration Character Communication Citizenship Critical Thinking Creativity Curiosity Unit Titles
More informationYou Want Me to Do What in 3 minutes?
You Want Me to Do What in 3 minutes? The Concert Band Sight Reading Experience Presented by Ms. Kelly Dorsey, Union County High School Mr. Ivan Wansley, Clinician/Conductor/Adjudicator January 14, 2016
More informationBAND REPORTING SCALES AND CURRICULUM GUIDE 2/9/2016
BAND REPORTING SCALES AND CURRICULUM GUIDE 2/9/2016 Performing Arts Curriculum, Instruction, and Assessment 2100 Fleur Drive Des Moines, Iowa 50321 P: 515-242-7609 performingarts.dmschools.org TABLE OF
More informationArkansas High School All-Region Study Guide CLARINET
2018-2019 Arkansas High School All-Region Study Guide CLARINET Klose (Klose- Prescott) Page 126 (42), D minor thirds Page 128 (44), lines 2-4: Broken Chords of the Tonic Page 132 (48), #8: Exercise on
More informationLESSON PLAN GUIDELINE Customization Statement
Hegarty Piano Studio 2011-2012 School Year LESSON PLAN GUIDELINE Customization Statement Every student is different. And every student s commitment to piano lessons is different. Therefore, the attached
More informationADVANCED STUDY GUIDE
Be Able to Hear and Sing DO RE DO MI DO FA DO SOL DO LA DO TI DO DO RE DO MI DO FA DO SOL DO LA DO TI DO DO DO MI FA MI SOL DO TI, DO LA, DO SOL, FA MI SOL MI TI, DO LA, DO SOL, DO Pitch SOLFEGE: do re
More informationGrade: 3. Music: General Music Standard: 1. Sings a varied repertoire of music
Grade: 3 1. Sings a varied repertoire of music Sings on pitch and in rhythm Maintains a steady tempo Sings with appropriate phrasing Sings a variety of ostinati Matches and responds to the cues (starts
More informationTHE ANGLO-AMERICAN SCHOOL OF MOSCOW. K-12 Music
THE ANGLO-AMERICAN SCHOOL OF MOSCOW K-12 Music The music education program at the Anglo-American School of Moscow enables all students to artistically express themselves in a variety of ways. Children
More informationIsabella Warmack. Professor Pecherek. 24 October 2016 MUS
Isabella Warmack Professor Pecherek 24 October 2016 MUS 1000-03 The DuPage Symphony Orchestra, directed by Barbara Schubert, plays an Out-of-This- World themed concert on October 23 rd in spirit of Halloween.
More informationMISD Bands - Level 1
Terms Rhythm Music Theory/Historical Styles Specific Percussion Objectives TEKS 6.1, 6.2, 6.3 TEKS 6.1, 6.2, 6.3 TEKS 6.1, 6.2, 6.3 TEKS 6.1, 6.2, 6.3 TEKS 6.1, 6.2, 6.3, 6.5 TEKS 6.1, 6.2, 6.3, 6.5 5-note
More informationBRAY, KENNETH and PAUL GREEN (arrangers) UN CANADIEN ERRANT Musical Features of the Repertoire Technical Challenges of the Clarinet Part
UN CANADIEN ERRANT Musical Source: A French Canadian folk song, associated with rebellions of Upper and Lower Canada, 1837 (See McGee, Timothy J. The Music of Canada. New York: W.W. Norton & Co., 1985.
More informationBosk- Editsr ÿhtre PubHisher Editioÿ Mary Karen Clardy Flute Etudes Book European American Music Corp. or Schott EA 764 0=9:[
Flute arid PiccoHo Bosk- Editsr ÿhtre PubHisher Editioÿ Mary Karen Clardy Flute Etudes Book European American Music Corp. or Schott EA 764 0=9:[3574-96-1 5@ ectioh Page(s): 17 Key: D Major Etude Title:
More informationMusic Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
More informationPlainfield Music Department Middle School Instrumental Band Curriculum
Plainfield Music Department Middle School Instrumental Band Curriculum Course Description First Year Band This is a beginning performance-based group that includes all first year instrumentalists. This
More informationINTERMEDIATE STUDY GUIDE
Be Able to Hear and Sing DO RE DO MI DO FA DO SOL DO LA DO TI DO DO RE DO MI DO FA DO SOL DO LA DO TI DO DO DO MI FA MI SOL DO TI, DO SOL, FA MI SOL MI TI, DO SOL, DO Pitch SOLFEGE: do re mi fa sol la
More informationTMEA ALL-STATE OBOE MASTERCLASSES Before we begin with the selections, following are general suggestionsfor preparation:
TMEA ALL-STATE OBOE MASTERCLASSES 2011-2012 Hello, my name is Amy Anderson, Oboe Professor at Texas Tech University. For the 2011-2012 All- State Tryout Music, we have recorded performances, practice tempos,
More informationChoir Scope and Sequence Grade 6-12
The Scope and Sequence document represents an articulation of what students should know and be able to do. The document supports teachers in knowing how to help students achieve the goals of the standards
More informationMUSIC PROGRESSIONS. Curriculum Guide
MUSIC PROGRESSIONS A Comprehensive Musicianship Program Curriculum Guide Fifth edition 2006 2009 Corrections Kansas Music Teachers Association Kansas Music Teachers Association s MUSIC PROGRESSIONS A Comprehensive
More informationMusic theory B-examination 1
Music theory B-examination 1 1. Metre, rhythm 1.1. Accents in the bar 1.2. Syncopation 1.3. Triplet 1.4. Swing 2. Pitch (scales) 2.1. Building/recognizing a major scale on a different tonic (starting note)
More informationPRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2)
PRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2) Music is a channel for creative expression in two ways. One is the manner in which sounds are communicated by the music-maker. The other is the emotional
More informationFink Advanced Musical Etudes, 112 Studies based on Blazhevitch's Etudes Accura No. 154
Tenor Trombone Book - Editor Title Pÿ.,ÿblisher Idition Fink Advanced Musical Etudes, 112 Studies based on Blazhevitch's Etudes Accura No. 154 Selection ]o Page(s): 44 Key: Etude Title: No. 64 Tempo: Eighth
More informationMarion BANDS STUDENT RESOURCE BOOK
Marion BANDS STUDENT RESOURCE BOOK TABLE OF CONTENTS Staff and Clef Pg. 1 Note Placement on the Staff Pg. 2 Note Relationships Pg. 3 Time Signatures Pg. 3 Ties and Slurs Pg. 4 Dotted Notes Pg. 5 Counting
More informationBefore I proceed with the specifics of each etude, I would like to give you some general suggestions to help prepare you for your audition.
TMEA ALL-STATE TRYOUT MUSIC BE SURE TO BRING THE FOLLOWING: 1. Copies of music with numbered measures 2. Copy of written out master class 1. Hello, My name is Dr. David Shea, professor of clarinet at Texas
More informationSTRAND I Sing alone and with others
STRAND I Sing alone and with others Preschool (Three and Four Year-Olds) Music is a channel for creative expression in two ways. One is the manner in which sounds are communicated by the music-maker. The
More informationMusic Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
More informationFront of Card. Back of Card. Name the notes on the lines of the treble clef. EGBDF
Note Cards Name the notes on the lines of the treble clef. EGBDF Name the notes on the spaces of the treble clef. FACE Name the notes on the lines of the bass clef. GBDFA Name the notes on the spaces of
More informationGreeley-Evans School District 6 High School (Year 3 & 4) Symphony Orchestra Curriculum Guide Unit: Intonation, balance, blend
Unit: Intonation, balance, blend Enduring Concept: Expression of Music Grade Level Expectations (GLE): Perform music accurately and expressively Why is it important to hear balance between other parts
More informationOak Bay Band MUSIC THEORY LEARNING GUIDE LEVEL IA
Oak Bay Band MUSIC THEORY LEARNING GUIDE LEVEL IA Oak Bay Band MUSIC THEORY PROGRAM - LEVEL IA The Level IA Program is intended for students in Band 9. The program focuses on very simple skills of reading,
More informationBefore I proceed with the specifics of each etude, I would like to give you some general suggestions to help prepare you for your audition.
TMEA ALL-STATE TRYOUT MUSIC BE SURE TO BRING THE FOLLOWING: 1. Copies of music with numbered measures 2. Copy of written out master class 1. Hello, My name is Dr. David Shea, professor of clarinet at Texas
More informationDEPARTMENT/GRADE LEVEL: Band (7 th and 8 th Grade) COURSE/SUBJECT TITLE: Instrumental Music #0440 TIME FRAME (WEEKS): 36 weeks
DEPARTMENT/GRADE LEVEL: Band (7 th and 8 th Grade) COURSE/SUBJECT TITLE: Instrumental Music #0440 TIME FRAME (WEEKS): 36 weeks OVERALL STUDENT OBJECTIVES FOR THE UNIT: Students taking Instrumental Music
More informationSelection 3. Page(s): 52. Etude Title: 32 Etudes, 3. Key: G Major Etude Title: 32 Etudes, 6
Low Clarinets Book - Editor Title Publisher David Hite Artistic Studies, Book 1 - From the French School Southern Music Company Selection 1 Page(s): 62 Key: D Major Etude Title: 32 Etudes, 17 Tempo: Quarter
More informationBefore I proceed with the specifics of each etude, I would like to give you some general suggestions to help prepare you for your audition.
TMEA ALL-STATE TRYOUT MUSIC BE SURE TO BRING THE FOLLOWING: 1. Copies of music with numbered measures 2. Copy of written out master class 1. Hello, My name is Dr. David Shea, professor of clarinet at Texas
More informationElementary Strings Grade 5
The following Instrumental Music performance objectives are integrated throughout the entire course: INSTRUMENTAL MUSIC SKILLS Strand 1: Create Concept 1: Singing, alone and with others, music from various
More informationGreenwich Public Schools Orchestra Curriculum PK-12
Greenwich Public Schools Orchestra Curriculum PK-12 Overview Orchestra is an elective music course that is offered to Greenwich Public School students beginning in Prekindergarten and continuing through
More informationST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music. Ephesians 5:19-20
ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music [Speak] to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord, always giving thanks to
More informationLesson 9: Scales. 1. How will reading and notating music aid in the learning of a piece? 2. Why is it important to learn how to read music?
Plans for Terrance Green for the week of 8/23/2010 (Page 1) 3: Melody Standard M8GM.3, M8GM.4, M8GM.5, M8GM.6 a. Apply standard notation symbols for pitch, rhythm, dynamics, tempo, articulation, and expression.
More informationFairfield Public Schools Music Department Curriculum Choral Skill Levels
Fairfield Public Schools Music Department Curriculum Choral Skill Levels BOE APPROVED 5/22/2018 Blend and Balance Students will demonstrate the ability to listen to others while singing by adjusting volume
More informationPreparatory Orchestra Performance Groups INSTRUMENTAL MUSIC SKILLS
Course #: MU 23 Grade Level: 7-9 Course Name: Preparatory Orchestra Level of Difficulty: Average Prerequisites: Teacher recommendation/audition # of Credits: 2 Sem. 1 Credit MU 23 is an orchestra class
More information1 of 96 5/6/2014 8:18 AM Units: Teacher: MusicGrade6, CORE Course: MusicGrade6 Year: 2012-13 Form Unit is ongoing throughout the school year. Does all music sound the same? What does it mean to be organized?
More informationPIANO SAFARI FOR THE OLDER STUDENT REPERTOIRE & TECHNIQUE BOOK 1
PIANO SAFARI FOR THE OLDER STUDENT REPERTOIRE & TECHNIQUE BOOK 1 TEACHER GUIDE by Dr. Julie Knerr TITLE TYPE BOOK PAGE NUMBER TEACHER GUIDE PAGE NUMBER Unit 1 Table of Contents 9 Goals and Objectives 10
More informationMUSIC THEORY LEARNING GUIDE
MUSIC THEORY LEARNING GUIDE Level IB Edited by Elizabeth Riegert 2017 1 Music Theory Program Level IB The Level IB program is intended for students in Intermediate Concert Band, Junior Orchestra and new
More informationWESTFIELD PUBLIC SCHOOLS Westfield, New Jersey
WESTFIELD PUBLIC SCHOOLS Westfield, New Jersey Office of Instruction Course of Study 8th GRADE STRING ORCHESTRA School... Intermediate School Department... Visual and Performing Arts Length of Course...
More informationRehearsal Techniques Log
Anne McTighe Prof. Farris Instrumental II May 29, 2012 Divide each stand; have one player do the sixteenth note subdivision, while the other plays the part. Then switch. Sight-reading rhythms in a new
More informationFlute Studio University of Idaho GUIDELINES for ADMISSION TO MusA 115
Revised by Leonard Garrison, November 16, 2011 Flute Studio University of Idaho GUIDELINES for ADMISSION TO MusA 115 FUNDAMENTALS OF TONE PRODUCTION Sound should be generally in tune, with centered pitches,
More informationGreeley-Evans School District 6 Year One Beginning Choir Curriculum Guide Unit: Vocal Health
Year One Beginning Choir Curriculum Guide Unit: Vocal Health Enduring Concept: Expression of Music Timeline: Trimester One Student will demonstrate proper care of voice Why is it important to take care
More informationEssential Learning & Skills
END OF 5 th GRADE: Use self-reflection and peer feedback to refine individual and ensemble performances of a varied repertoire of music (MU:Pr5.3.E.5a). IS.1: Demonstrate proper care and maintenance of
More informationBefore I proceed with the specifics of each etude, I would like to give you some general suggestions to help prepare you for your audition.
TMEA ALL-STATE TRYOUT MUSIC BE SURE TO BRING THE FOLLOWING: 1. Copies of music with numbered measures 2. Copy of written out master class 1. Hello, My name is Dr. David Shea, professor of clarinet at Texas
More informationœ Æ œ. œ - œ > œ^ ? b b2 4 œ œ œ œ Section 1.9 D Y N A M I C S, A R T I C U L A T I O N S, S L U R S, T E M P O M A R K I N G S
24 LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals Section 1.9 D Y N A M I C S, A R T I C U L A T I O N S, S L U R S, T E M P O M A R K I N G S Dynamics Dynamics are used
More informationPiano Safari Repertoire Book 2
Piano Safari Repertoire Book 2 Teacher Guide: Unit 1 Title Composer Type Teacher Guide Page Number Level F Introduction to Sight Reading & Rhythm Cards Reading 13 Safari Friends Knerr & Fisher Rote 14
More informationMusic Approved: June 2008 Fillmore Central Revision: Updated:
A Curriculum Guide for Fillmore Central Public Schools Grades K-12 Music Approved: June 2008 Fillmore Central Revision: 2007 2008 Updated: Curriculum Committee: Kate Zrust Todd Cook Amy Fraser Ben Kaye-Skinner
More informationHartt School Community Division Flute Audition Teacher Resource Packet
Hartt School Community Division Flute Audition Teacher Resource Packet The following listings are meant as guides to help teachers who have students auditioning for a Hartt Community Division ensemble.
More informationCOMPARISON AND ANALYSIS OF THE VIVALDI BASSOON CONCERTO IN C MAJOR, RV 477, AND THE WEBER CONCERTO IN F MAJOR, OP. 75 A CREATIVE PROJECT
COMPARISON AND ANALYSIS OF THE VIVALDI BASSOON CONCERTO IN C MAJOR, RV 477, AND THE WEBER CONCERTO IN F MAJOR, OP. 75 A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
More information17. Beethoven. Septet in E flat, Op. 20: movement I
17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied
More informationAnalysis of the First Movement of Bela Bartok Viola Concerto
Bilkent University Analysis of the First Movement of Bela Bartok Viola Concerto Deniz Çağlarcan 21002861 History of 20th Century Music MSC 373 Onur Türkmen Outline Introduction: The order of content and
More information8/5/17. Good Morning/Afternoon! AUGUST 21, 2017
WELCOME BACK!!!! AUGUST 18, 2017 On a sheet of paper, tell me three things: What did you do this summer? How was music a part of your life? Did you sing in public this summer? AUGUST 21, 2017 1. Where
More informationStandard 1 PERFORMING MUSIC: Singing alone and with others
KINDERGARTEN Standard 1 PERFORMING MUSIC: Singing alone and with others Students sing melodic patterns and songs with an appropriate tone quality, matching pitch and maintaining a steady tempo. K.1.1 K.1.2
More informationCURRICULUM Georgia Auditions Theory Exams LEVEL A (Grades 4-6) Examples may be given on the treble staff, bass staff, or Grand Staff.
LEVEL A (Grades 4-6) Examples may be given on the treble staff, bass staff, or Grand Staff. Key Signatures ID: Major up to 3 sharps & flats (C, G, D, A, F, Bf, Ef) Notes: Ωç e q h hd w Rests: quarter,
More informationTyler Lundy Literature Project 2015 Name of group: High School Symphonic Band
Name of group: High School Symphonic Band Student year level: 9-12 th grade Instrumentation: Flutes, Oboe, Clarinets (1st, 2nd, 3 rd ), Bass Clarinet, Alto Saxes (1st, 2nd), Tenor Sax, Baritone Sax, Bassoon,
More informationCurriculum Map for Intermediate Orchestra Grades 8.1
Curriculum Map for Intermediate Orchestra Grades 81 Month: August -Review a brief history of bowed instruments -Review the parts of the instrument & bow -Review body, instrument, and bowhold -Review group
More informationHartt School Community Division Oboe Audition Teacher Resource Packet
Hartt School Community Division Oboe Audition Teacher Resource Packet The following listings are meant as guides to help teachers who have students auditioning for a Hartt Community Division ensemble.
More informationGreenwich Music Objectives Grade 4 General Music
All students are required to take general music one hour per week. All students may elect to take band, orchestra or chorus.. The annotations (e.g. *6c, *1d) in the curriculum are based on the National/Connecticut
More informationGreenwich Music Objectives Grade 3 General Music
All students are required to take general music one hour per week. All students may elect to take orchestra. The annotations (e.g. *6c, *1d) in the curriculum are based on the National/Connecticut Standards.
More informationShort Bounce Rolls doubles, triples, fours
Short Bounce Rolls doubles, triples, fours A series of two, three, or more bounces per arm stroke that are of equal intensity and distance (spacing). The character of multiple bounce rolls should be seamless
More informationASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing:
! ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing: Ascending DO-RE DO-MI DO-SOL MI-SOL DO-FA DO-LA RE - FA DO-TI DO-DO LA, - DO SOL. - DO Descending RE-DO MI-DO
More informationContent Area Course: Chorus Grade Level: 9-12 Music
Content Area Course: Chorus Grade Level: 9-12 Music R14 The Seven Cs of Learning Collaboration Character Communication Citizenship Critical Thinking Creativity Curiosity Unit Titles Vocal Development Ongoing
More informationPIANO SAFARI REPERTOIRE BOOK 2
PIANO SAFARI REPERTOIRE BOOK 2 TEACHER GUIDE By Dr. Julie Knerr & Katherine Fisher TITLE TYPE BOOK PAGE NUMBER TEACHER GUIDE PAGE NUMBER Goals and 71 Sight Reading Cards Level I Reading 72 Intervals: 2nds,
More informationUIL Class III Bb Clarinet Solos. Key Pedagogy Issues Appealing Elements Piano/Ensemble. Publisher. Amani, M. Ancient Menuet.
Amani, M David Hite, ed. Ancient Menuet Southern Music The solo follows a traditional minuet approach. Although the rhythm is not difficult, the solo does contain a variety of rhythm values such as eighth,
More informationWASD PA Core Music Curriculum
Course Name: Unit: Expression Key Learning(s): Unit Essential Questions: Grade 4 Number of Days: 45 tempo, dynamics and mood What is tempo? What are dynamics? What is mood in music? Competency: Concepts
More information7th Grade Beginning Band Music
Scope And Sequence Timeframe Unit Instructional Topics Course Description Seventh Grade Beginning Band is the first full year in a six-year program designed to develop a student's ability in instrumental
More informationUNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM)
UNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM) 1. SOUND, NOISE AND SILENCE Essentially, music is sound. SOUND is produced when an object vibrates and it is what can be perceived by a living organism through
More informationKeyboard Foundation Level 1
Keyboard Foundation Level 1 Set a voice, style and tempo from instructions given. Read a range of notes over a fifth (C to G) without accidentals using semibreves, dotted minims, minims and crotchets.
More informationHaydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper
More informationPiano Safari Repertoire Book 2
Piano Safari Repertoire Book 2 Teacher Guide: Unit 4 Title Composer Type Teacher Guide Page Number Level I Introduction to Sight Reading & Rhythm Cards Reading 62 Intervals: 2nds, 3rds, & 5ths Musicianship
More informationIntermediate Concert Band
Grade Level: 10-12 Course #: 4168 Length: Full Year Credits: Two Diploma: Core 40, Academic Honors Prerequisite: Beginning Concert Band COURSE DESCRIPTION: Intermediate Concert Band This is an intermediate
More informationGrade Level 5-12 Subject Area: Vocal and Instrumental Music
1 Grade Level 5-12 Subject Area: Vocal and Instrumental Music Standard 1 - Sings alone and with others, a varied repertoire of music The student will be able to. 1. Sings ostinatos (repetition of a short
More informationChapter 2: Beat, Meter and Rhythm: Simple Meters
Chapter 2: Beat, Meter and Rhythm: Simple Meters MULTIPLE CHOICE 1. Which note value is shown below? a. whole note b. half note c. quarter note d. eighth note REF: Musician s Guide, p. 25 2. Which note
More informationLong Term Plan: High School Band
Long Term Plan: High School Band COURSE OVERVIEW & TIMING This section is designed to help you see the flow of your units/topics across the entire school year. Unit Unit Length Unit 0: Investment and Culture
More informationCourse Outcome Summary
Course Information: Music 5 Description: Instruction Level: Grade 5 Course Students in this course perform varied repertoire using proper singing, recorder and accompanying technique, and understanding
More informationA ROLLING THREE YEAR CURRICULUM Exploring melody, rhythm, artistry and culture
CURRICULUM Mission Statement The purposes for which The Chamber Music Society of Lincoln Center is created are to stimulate and support the appreciation, performance and composition of chamber music: By
More informationMontana Instructional Alignment HPS Critical Competencies Music Grade 3
Content Standards Content Standard 1 Students create, perform/exhibit, and respond in the Arts. Content Standard 2 Students apply and describe the concepts, structures, and processes in the Arts Content
More informationMUSIC IN TIME. Simple Meters
MUSIC IN TIME Simple Meters DIVIDING MUSICAL TIME Beat is the sense of primary pulse how you would tap your toe Beat division is simply how that primary beat is divided in 2 s (Pine Apple Rag) or 3 (Greensleeves)
More informationTEACHER S GUIDE to Lesson Book 2 REVISED EDITION
Alfred s Basic Piano Library TEACHER S GUIDE to Lesson Book 2 REVISED EDITION PURPOSE To suggest an order of lesson activities that will result in a systematic and logical presentation of the material
More informationMusic Theory 4 Rhythm Counting Second Chances Music Program
Counting Eighth Note Triplets and Rests What is a Triplet? Music Theory 4 Rhythm Counting Second Chances Music Program The term triplet refers to a series of three notes that are played in the space of
More informationSample Teaching Inventory Database:
Sample Teaching Inventory Database: What to Teach TONE TIMING TUNING DYNAMICS Proper embouchure information for each instrument Resonance and ring Support air in motion Good equipment, including mouthpieces
More informationIntroduction to Instrumental and Vocal Music
Introduction to Instrumental and Vocal Music Music is one of humanity's deepest rivers of continuity. It connects each new generation to those who have gone before. Students need music to make these connections
More informationL van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born
More informationHartt School Community Division Clarinet Audition Teacher Resource Packet
Hartt School Community Division Clarinet Audition Teacher Resource Packet The following listings are meant as guides to help teachers who have students auditioning for a Hartt Community Division ensemble.
More informationROCHELLE PARK TOWNSHP SCHOOL DISTRICT Instrumental Music Curriculum Guide
Board Approved: 3/12/15 Table of Contents DTSD Mission Statement 3 Department Vision 3 Affirmative Action Compliance Statement 3 Curriculum and Planning Guides 4-60 Grades 4/5 4-25 Grades 5/6 26-40 Grades
More informationDanville Public Schools Music Curriculum Preschool & Kindergarten
Danville Public Schools Music Curriculum Preschool & Kindergarten Rhythm: Melody: Harmony: Timbre: Form: Expression: Comprehend and demonstrate a steady beat Identify sound and silence Identify and perform
More informationEDWARDELGAR - ENIGMA VARIATIONS
EDWARDELGAR - ENIGMA VARIATIONS Edward Elgar s Enigma Variations is one of the most beloved pieces in the symphonic repertoire. These variations, which depict his friends, are both creative as well as
More informationInstrumental Performance Band 7. Fine Arts Curriculum Framework
Instrumental Performance Band 7 Fine Arts Curriculum Framework Content Standard 1: Skills and Techniques Students shall demonstrate and apply the essential skills and techniques to produce music. M.1.7.1
More information