Teacher s Edition ook Terry Shade eremy Woolstenhulme With Wendy arden String asics TM Stes to Success or String Orchestra Welcome to String asics ook, a Comrehensive Method or String Orchestra! We are excited that you are back with us! String asics ook continues with a strong and sound edagogy that reares students or grade erormance literature and beyond Like with String asics ooks and, ste-by-ste sequences o instruction are rovided and instructional strategies have been included throughout this edition The strategies have been divided into two rimary categories: Perormance and Musical Understanding Through those strategies, guidelines and guideosts assist to hel students acquire a comrehensive exerience in orchestra String asics oers learning oortunities beyond the rinted books The Neil Kos Music Comany is leased to rovide an Interactive Practice Studio and Interactive Teacher Studio In them, students and teachers will discover un and educational inormation and activities utilizing hotos, aintings, mas, and lags ownloadable worksheets hel deeen students understanding o music, terms, world cultures, and history ive video lessons designed or students and teachers oer visual and aural suort or several landmark concets introduced throughout the book The Interactive Practice Studio, accessible on any Windows or Mac comuter (wwwkoscom/is), also hosts comlete recorded accomaniments called Practice Tracks or each line o music, along with ull erormances o the orchestra arrangements Students using the Practice Tracks will have the caability o recording their erormance along with the accomaniment or layback oortunities est wishes as your ourney continues through String asics! Neil Kos Music Comany REVIEW ECERPT String asics is available in SmartMusic To subscribe, go to wwwsmartmusiccom Instrumentation Violin Piano ccomaniment Viola String ass Teacher s Edition ISN-0: 0-897-9- ISN-: 978-0-897-9-6 0 Kos Music Press, Neil Kos Music Comany, istributor, 8 utland rive, San iego, Caliornia, 97 International coyright secured ll rights reserved Printed in US This coyrighted material is the roerty o Kos Music Press eyond ersonal use, it is not to be distributed, rerinted, or reroduced in any orm without the written consent o the ublisher It is exclusively available or uroses o teaching and lanning by directors until the inal version o the String asics, ook Teacher s Edition () is released and are trademarks o Kos Music Press
The uthors Terry Shade is a nationally recognized middle school and unior high school orchestra secialist She has made numerous aearances throughout the United States and abroad as honor orchestra conductor and clinician, including serving as a technician or the 009 Midwest Clinic Orchestra Rehearsal Labs In 0 she erormed at the Washington Music Educators ssociation State Conerence and was named WME - merican String Teacher s ssociation s Outstanding Orchestra Teacher o the Year Ms Shade earned her bachelor s degree in Music Education rom Loyola University, New Orleans She taught middle school strings in tlanta, Georgia (Gwinnett County), or 0 years, and her award-winning orchestras were selected to erorm at the Southern ivision MENC, the Midwest Clinic, and the tlanta International and and Orchestra Conerence Uon relocating to Las Vegas, Nevada, Ms Shade became a string educator in the Clark County School istrict, and worked or six years as a roect acilitator, mentoring a sta o over 80 orchestra teachers and erorming suervisory duties or the Secondary ine rts eartment Under Shade s suervision, the Clark County orchestra rogram received national recognition and exerienced signiicant growth, romting the state o Nevada to honor her with the restigious Steve Maytan Contribution to Education ward Ms Shade currently resides with her amily in Issaquah, Washington, where she teaches orchestra at Paciic Cascade Middle School and conducts the Issaquah School istrict Honor Orchestra eremy Woolstenhulme received his achelor o Music Education degree rom righam Young University in 000, and a Master o rts degree in cello erormance rom the University o Nevada, Las Vegas in 00 Mr Woolstenhulme currently serves as the orchestra director at Hyde Park Middle School in the Clark County School istrict o Las Vegas, Nevada, where he teaches around 00 students daily His orchestra was selected to lay at the 008 Midwest Clinic, and in 00 0, at the National ST Conerence He has traveled with his orchestras to London, Washington, C, oston, San iego, and New York, and in 0, he was guest conductor or the Queensland Honor Orchestra at Griith University in risbane, ustralia lso in 0, Woolstenhulme received a Teacher o the Game award resented by University o Nevada, Las Vegas, MGM Resorts, Channel 8 News, and the Clark County School istrict In 0, he made a return tri to ustralia where he served as clinician and conductor at the Maryborough Music Conerence and additional worksho venues throughout ustralia Mr Woolstenhulme is a contract member o the Las Vegas Philharmonic He is also the cellist or the Seasons String Quartet, and he erorms as a reelance musician at many entertainment venues in Las Vegas He is a commissioned and ublished comoser with a growing number o original works or string orchestra to his credit, many o which have been erormed across the United States and abroad eremy Woolstenhulme and his wie, Taryn, live in Las Vegas with their three children, Cadence elle, Coda lake, and Canon Thomas Wendy arden recently retired rom IS 79 - Osseo rea Schools (Minnesota) where she served irst as a music educator, and then K- Music Coordinator, during her 6-year tenure Her teaching exerience sans elementary through college levels in instrumental and general music classrooms Under her leadershi, Osseo rea Schools was recognized as one o the est Communities or Music Education ive consecutive years She was named a Yamaha National Mentor Teacher, MENC Nationally Registered and Certiied Music Educator, and MME Educator o the Year In 0, r arden was honored as a Yale istinguished Music Educator r arden s extensive work in the classroom has rovided the basis or several groundbreaking ublications or strings, band, choir, and general music, all ublished by the Neil Kos Music Comany including her oular multi-book series, Maximizing Student Perormance She is the co-author o rtistry in Strings, Recorder rentice, and Recorder Excellence She is also a contributing author o the Standard o Excellence eginning and Series and author o the Standard o Excellence Music Theory and History Workbooks Teacher s Editions arden is an active clinician and has resented workshos or music educators in states and Canada She is also the lead consultant or Segue Consulting Partners, a service roviding assistance with music curriculum develoment, ield study workshos, roessional develoment in music, and more Wendy arden holds S and M degrees in music education rom the University o Minnesota Her Ph, also rom the University o Minnesota, is in music with emhasis in music education and musicology She has ursued additional study in assessment, arts integration, and creativity r arden has actively served on the board o directors o Chamber Music Minnesota, and as resident o both the Minnesota and irectors ssociation and Minnesota Music Educators ssociation
cknowledgements The authors thank Scott, an, and Molly Shade or their constant and loving suort Taryn, Cadence, Coda, and Canon Woolstenhulme or their encouragement and insiration ick, Kevin, and Scott arden or their ongoing suort Mark and Tim Kos, and the entire sta at Neil Kos Music Comany the Kos Music editorial, grahic arts, and reelance team o iana Elledge, Chuck Elledge, Ryan eard, llison oles, ndy Robinson, Monica Michel, P ovee, Rogelio iaz, Tony Lizarraga, Tara Tierney, Nicole Elledge, Mary Elledge, and avid Norgren We couldn t have done this without you Chris Calliari and the rint roduction team at Kos or their invaluable roduction assistance udio engineer an bernathy or his engineering exertise and creative stylings Photograher Marcos Rivera or his tremendous work Chuck Cushinery, Chuck oley, and the Wooly Recording Orchestra or their contributions to the orchestra arrangement recordings the talented Hyde Park Middle School orchestra students or modeling an exemlary erormance in the hotograhs San iego students Heidi Taylor leishbein and Kevin Shim or their outstanding erormances in the video lessons, along with their arents who suorted them throughout the roect errari Productions or video roduction ill Manning and Lightseed Imaging or utting the inal touches on the V Py Kolb, Cayleen Kolb, and ustin Merrell at Pyware or their exertise with IPS/ITS the musicians who erormed on the Practice Tracks: an bernathy, Ryan eard, Cathy lickensta, llison oles, P ovee, Chuck Elledge, iana Elledge, Natalka Kytasty, Sean Laerruque, ndy Robinson Perry Norton or her voiceover talents Nicole Elledge and Richard Morrison or their count o voice talents Taryn Woolstenhulme or her tireless eorts throughout the roect develoment San iego County string educators Lazlo Menzo, Ulli Reiner, and Phili Tyler or their assistance and suort ean ngeles and the string education deartment at Loyola University in New Orleans, Louisiana r Marvin Rabin, the grandather o string education heterogeneous orchestra technicians around the country whose time-tested and ioneering classroom techniques are highlighted throughout String asics We could not have written this without you!
Table o Contents Teacher s Edition Student ook Secial eatures in String asics Interactive Practice Studio 6 Interactive Teacher Studio 7 Instructional Strategies or Students Perormance 8 Musical Understanding 0 Keys to Teaching Maturity o Sound Tuning Your Violin: Small dustments Tuning Your Violin: Large dustments Tuning Your Viola: Small dustments 6 Tuning Your Viola: Large dustments 7 Tuning Your : Small dustments 8 Tuning Your : Large dustments 9 Tuning Your ass 0 Tuning Your ass: Tuning With Harmonics Review: G Maor, Minor Review: owing Exercises String Crossings 8 Review: inger Patterns 6 Review: Low st inger 9 7 Review: High rd inger (Violin, Viola)/orward Extension () 6 8 Louré owing/review: on C String (Viola, ) 9 Maor/ String: G (Violin, Viola, )/G String: G (ass) 8 0 Maor/E String Note: G (Violin, ass) 66 Review: Sixteenth Notes/Sixteenth Eighth Note Combinations 7 Temo: ndantino 8 otted Eighth Sixteenth Note Combinations 9 6 Chromatic Scale 0 7 Shiting to rd Position (Violin, Viola, )/Review: Shiting to G (ass) 8 rd Position (Violin, Viola, )/ th Position ()/Shiting to High (ass) 8 9 Same inger Shiting (scending and escending) 0 Extended rd Position ()/Shiting Higher (ass) Playing in Positions: Intervals String Crossings Natural Harmonics/Glissando to Harmonics rd Position E String Notes (Violin) 6 Shae Shiter Program Notes/Rehearsal Ideas/Musical Understanding 7 Shae Shiter or String Orchestra 7 6 7 Eighth Note Trilets/ow Retrieval 8 8 Slow 8 6 Time (Counting in 6) 88 9 ast 8 6 Time (Counting in ) 9 0 Gigue Program Notes/Musical Understanding
Gigue or String Orchestra 9 8 8 Time rd Position: Minor (Violin, Viola, )/High E Natural (ass) 0 rd Position: Mixed inger Patterns (Violin) 6 nd Position (Violin, Viola, ) 6 7 Eb Maor/ nd Position b ()/½ Position b on G String (ass) 8 8 Eb Maor/ rd Position (Violin, Viola)/Extended th Position () 7 9 E Maor/½ Position 6 0 Natural, Melodic Harmonic Minor 80 Grace Notes/dvanced Siccato 9 Stes to Successul Vibrato 07 6 7 Glossary (Violin) 6 8 Meet the Students eatured in String asics ook 7 IC ulicable Materials Contents Listing 8 ulicable ingering Charts 9 ulicable Worksheets, orms, Rubrics, Record Charts Index 9
6 Secial eatures in String asics: Interactive Practice Studio The Interactive Practice Studio is a downloadable resource designed or students eaturing Practice Tracks, video lessons, ersonal audio recording oortunities, tuner and metronome tools, a simle notation sotware rogram, and Connections! a secial curriculum where extended learning oortunities take lace Practice Tracks are recorded accomaniments that aid in the develoment o students sense o ulse, tonality, and meter; imrove intonation, tone quality, hrasing, ensemble skills, and understanding o various musical styles Each line in the student book (excet or theory exercises and orchestra arrangements) is erormed by a roessional violinist or cellist with an accomaniment seciically comosed or that iece Vibrato is used at times to enhance musical and tonal quality Tracks include two mixes The irst mix includes the student art with the accomaniment and the second mix eatures the accomaniment only The accomaniments have been recorded at a comortable ractice temo; not too ast, not too slow The metronome marking matching these temos is shown in brackets above the irst measure o the score music To make ractice as eective as ossible, the IPS allows students to select two slower temos Video Lessons teach and reinorce several landmark skills and concets introduced throughout ook Lesson Secial owing Techniques Louré ow Retrieval dvanced Siccato Lesson Violin and Viola Only: Introducing rd Position Lesson Only: Introducing rd and th Position Lesson Harmonics Lesson Vibrato The Personal Studio allows students to record their own erormances, and share them with teachers, amily members, and riends via email The Tuner/Metronome rovides students with instant assess to these ractice tools rom their irst day o laying The chromatic tuner has automatic itch detection and roduction that allows students to visually and aurally develo their intonation skills The Media ownloader is a reository o all Recorded ccomaniment and Video Lesson iles that students can download Once downloaded, iles may be burned to custom Cs or Vs or uloaded to ortable media devices Music Writer Touch, an innovative, easy-to-use music notation rogram, allows students to comlete written exercises and notate their own music within the IPS environment It does not relace lessons in handwritten notation, but simly enhances oortunities or students to learn about theory and comosition My iles is a holding bin or students to save recordings o their own erormances Connections! IPS is an excellent lace or students to visit to ind an abundance o historical enrichments, comoser acts, mas, lags, artwork, un trivia, and much more Connections! IPS is available to students and Connections!, located in the Teacher s Edition, rovides even more inormation to suort your lesson or the day e on the lookout or Connections! IPS and Connections! because you ll never know where they will o u! eyond the Interactive Practice Studio, Kos Music suggests: SmartMusic, a roduct o MakeMusic, Inc It is an interactive assessment music sotware rogram allowing students to receive instant eedback about their erormance This subscrition-based ractice tool motivates and enhances home ractice sessions Visit wwwsmartmusiccom Visit wwwkoscom to learn more about the many ublications available or beginning string classes Listen to string orchestra literature by some o the world s leading string education comosers
Secial eatures in String asics: Interactive Teacher Studio 7 The Interactive Teacher Studio (ITS) rovides a virtual version o this Teacher s Edition comatible with Mac OS oerating system* sotware and Windows oerating system** It oers eatures to aid in your teaching and is ideal or ersonal and classroom use with traditional video roection or interactive whiteboard technology To access the ITS, visit wwwkoscom/its and download the aroriate sotware Your Teacher s Edition contains an Interactive Teacher Studio User License that rovides the code you need to log on to your ITS You will ind your ITS User License Code on the Inside ack Cover In the area below the disc holder, careully tear along the erorated lines to remove the User License You will ind your ersonal 6-digit code on the hidden ortion o the User License Card ter registering and logging in, you will have access to all the eatures and media in the students Interactive Practice Studio In addition, all the orms and worksheets ound in the rear ortion o the Teacher s Edition are also rovided in the ITS with excetion o the ITS-Only onus Material Section Hyerlinks throughout the Teacher s Edition rovide links to rintable worksheets and orms ITS-Only onus Material: Comosition with Percussion Inormation Reerence Sheet Comosition with Percussion Worksheets World Ma Suer Sleuth Violin Suer Sleuth Viola Suer Sleuth Suer Sleuth ass Suer Sleuth nswer Key Scavenger Clue Hunt (with nswer Key) Certiicate o Comletion (or color dulication) Certiicate o Comletion (or black dulication) lank Sta Paer or technical suort, you may access Hel by clicking on the red question mark in the lower right hand corner o the Page Viewer in the ITS, or you may contact interactivestudio@koscom with questions UPLICTION (PHOTOCOPYING) INORMTION This Teacher s Edition () and the Interactive Teacher Studio includes ages eaturing orms, worksheets, and other secial materials where dulication/hotocoying is authorized or use in your classroom and by your students ulication/ hotocoying is granted or only those ages where the ollowing notice is rinted: 0 Kos Music Press This age authorized or dulication Please adhere to these coyright guidelines It s the law and was originally designed to rotect the work o comosers, authors, and coyright owners The Neil Kos Music Comany is available to answer your questions and concerns or more inormation, visit wwwkoscom and click Licensing located on the home age *Mac OS is a trademark o le Inc, registered in the US and other countries **Windows is either a registered trademark or trademark o Microsot Cororation in the United States and/or other countries
8 Instructional Strategies or Students Strategies or Success Perormance Rhythm and Pulse Grou ulse is the oundation o ensemble laying, and has been a maor rincile o String asics rom the very beginning o ook Grou ulse remains vital to the success o orchestra classrooms at more advanced levels o learning s students settle in with ook, engage students in a grou count o to hel them internalize the ulse beore laying Count one rearatory measure aloud as a class beore laying the irst note Use this grou count o as a normal art o your routine and esecially when new rhythms and time signatures are introduced In String asics ook, the ollowing rhythms and meters are introduced: otted eighth sixteenth note combinations (student bk ) Eighth note trilets (student bk 8) Slow 8 6 time: counting in 6 (student bk 9) ast 8 6 time: counting in (student bk 0) 9 8 time (student bk ) 8 time (student bk ) eore laying an exercise, consider using some or all o these stes to ocus on the new rhythm Students will: Count the rhythm aloud using a counting system or syllables Count and lay the rhythm izzicato on an oen string dd the let hand and izzicato the exercise beore using the bow Count aloud and vertically air bow the exercise inger Patterns String asics ook reviews reviously taught inger atterns and introduces new atterns and ositions or all instruments, including the resentation o natural harmonics Shiting is integrated into the introduction o osition work Here is what s new: Violins and Violas rd Position with -, -, and - inger atterns nd Position with -, - inger atterns Natural Harmonics with th inger Low - inger attern ½ Position s rd Position Extended rd Position th Position Extended th Position Low th Position Natural Harmonics with rd inger nd Position Low nd Position ½ Position asses Shiting to High Shiting to High E Natural Harmonics with rd inger ½ Position When introducing a new inger attern/osition or amiliar attern/osition on a dierent string, begin with call and resonse rote exeriences This allows students to concentrate on achieving accurate inger lacement with good hand shae Once students have reasonable control o the hysical skill, they are ready to move to its alication in the rinted music dditionally, have students reer to relevant hotos and ingerboard diagrams shown at tos o ages and watch Video Lessons and or guidance
Ear Training sense o relative itch is undamental to good intonation, both or instrument tuning and in music erormance y now, students should have a good sense o the erect ith, esecially to, rom music and training received in ooks and Continue to hel students develo their sense o relative itch by using the duets where the Part harmony is created through rominent use o the tonic and dominant itches This unique and consistent strategy hels students to continue develoing a sense o tonality and itch reerence You may aly this strategy to many exercises and warm us by having one or more sections lay the exercise and the other sections sustain a tonic/dominant itch Use o the ow Seciic attention to various bowing concets is highlighted throughout the book Students will: Continue to work on undamental thumb to ti bow strokes, creating a rich sound Play legato and slurs, achieving a smooth and connected sound through ull bow strokes Play hooked and louré bowing, achieving contrasting styles through ull bow strokes Reine their ability to contrast dynamics with aroriate bow weight, bow lacement, and bow seed Play various rhythms with roer bow division and distribution, including laying near the bridge with less bow or sixteenth/eighth note combinations Use bow retrieval Continue to work on siccato at a more advanced level Rote Exeriences Call and Resonse Call and resonse activities will continue to serve excetionally well at this more advanced level o laying Continue to introduce new notes/inger atterns/ositions, rhythms, and bowings through call and resonse exeriences (students echo what the teacher has layed) This allows students to concentrate on achieving each skill without the added comlication o reading notes on the sta Once students have reasonable control o the hysical skill, they are ready to move to its alication in rinted music Ensemble Playing n ensemble laying exerience a round, duet, trio, quartet, or orchestra arrangement is art o almost every lesson There are six orchestra ieces or arrangements in which each instrument has its own art Rehearse arts searately beore combining These comositions eectively reinorce the skills and concets students are learning and can also be eective erormance ieces or concerts 8 Theme rom William Tell Overture Rossini 6 La Cumarsita Rodríguez Shae Shiter Woolstenhulme Gigue rom Orchestral Suite No ach/arr Woolstenhulme 6 March Slav Tchaikovsky/arr Woolstenhulme Chorale in E Minor ach/arr Woolstenhulme Nurturing the Indeendent Musician s students move into String asics ook, they are develoing skills that will serve them well as soloists and orchestral musicians in your classroom and beyond Continue to guide students throughout the year since the next steing stones in their develoment are otentially big ones They should become comortable laying and erorming in dierent settings and should know how to ollow a conductor with baton Students need to know how reare or class, rehearsals, and concerts They should have more advanced skills regarding their individual racticing and they should be able to relect on their ractice what imroved and what requires more work next time 9
0 Strategies or Success Musical Understanding Musical understanding is the artner to erormance skills String asics rovides the ramework and instructional resources or a comrehensive music exerience that is aligned with the standards o many states and rovinces o North merica Considered universal in scoe, the voluntary National Standards or Music Education o the United States (99) are: Singing, alone and with others, a varied reertoire o music Perorming on instruments, alone and with others, a varied reertoire o music Imrovising melodies, variations, and accomaniments Comosing and arranging music within seciied guidelines Reading and notating music 6 Listening to, analyzing, and describing music 7 Evaluating music and music erormances 8 Understanding relationshis between music, the other arts, and discilines outside the arts 9 Understanding music in relation to history and culture Many standards-based activities are uroseully woven together in the String asics curriculum to suort a comrehensive musical exerience Some o the activities are described in this Teacher s Edition along with a articular exercise or song, and other activities are included as a dulicable or downloadable age rom the Interactive Teacher Studio Make time to include as many activities as ossible because the more students understand about the music, the better they will be able to erorm it and ultimately, the more they will enoy it samling o activities is given below Read and notate Identiy key signatures Count rhythms, identiy bar line lacement Identiy intervals Sight reading nalyze and describe Identiy same, similar, and dierent measures in music Comare stewise motion versus skis Comare/contrast two dierent lines o music Listen and describe (using Practice Tracks accomaniments and other resources available commercially and/or online) escribe dierent music styles Identiy instruments Exlain how the accomaniment changes on the reeat o a music line Comose Maniulate notes and/or rhythms to demonstrate musical concets Ear Training Engage in interval training through listening exercises Practice and ssessment Relect on ersonal achievement and skill develoment through Sel-Evaluation orms Note rogress with Practice Relection ournals Receive eedback on erormance assessments with Test Line Rubrics and the Memorization Rubric Common Core State Standards or English Language rts Literacy in History/Social Studies, Science, and Technical Subects Three activities are also included that address the (United States) 00 Common Core State Standards: Students work indeendently to read the given short biograhy, then research online to conirm, exand, or contradict inormation resented (see ) Students work in artners or indeendently to analyze the terms and symbols in a given iece (see 7) Students work indeendently to research the comoser and/or iece to write rogram notes or an ucoming concert (see 08)
Connections!, art o the Interactive Practice Studio (IPS), are highlighted throughout String asics Connections! include a variety o inormation: Mas lags Comoser biograhies rt History olk Song backgrounds lyrics Grammar Interdiscilinary un acts with hotos videos elow is the Connection linked to 6 Old oe Clark, eaturing lags, a ma, and acts
Keys to Teaching Maturity o Sound by Terry Shade Teaching students to erorm with more maturity, beauty o sound, and to lay with an overall higher level o musicianshi are tremendous goals and deinitely worthy o achieving Guiding your students as solo and ensemble musicians requires various strategies that can be imlemented and reinorced on an ongoing basis as they continue to advance on their instruments When students achieve more advanced levels o musicality, they become even more motivated to continue their musical ourney and be the best musicians they can ossibly be o you like your tone Writing this simle sentence in large letters on the board can be very thought rovoking or your students It will oen u discussions regarding the basic quality o sound individuals are roducing and how each student can evaluate their own articular tone Is the sound rich or thin Is their overall osture heling or imeding the ability to roduce a beautiul tone Is the bow slightly crooked (making the sound unleasant) or is it being ulled straight re students using controlled bow changes, or are the bow changes too rough When laying lyrical assages, are they using enough bow Encourage each student to ractice slow scales using long, ull and even bow strokes as a regular art o their home ractice routine I good tone quality is regularly racticed and discussed in class, they are likely to ay more attention to it when racticing at home It s all about the bow! t this more advanced level o instruction, we sometimes all into a tra o aying too much attention to the let hand (vibrato, shiting, etc) and not enough time is dedicated to imroving bowing skills irst o all, lease make sure that your students are rog layers, and that they aren t constantly gravitating toward the uer hal o the bow (this is mostly a tendency or uer string layers) big sound comes rom laying at the rog lain and simle Secondly, daily emhasis on the big three concets o bowing should be a art o each lesson: ) ow seed, ) bow lacement, and ) bow weight (the intense bow stroke) s oten as ossible, remind the class, the section, or the individual about the correct seed, lacement, and weight they should be executing at any given moment Soon, they will be more mindul o their own bowing and the results will be amazing! Lastly, when teaching a new bowing technique such as bow retrieval, use lenty o rote teaching on an oen string, and lenty o reetition or roiciency When introducing a new iece o reertoire that contains diicult rhythms and bowings, have the class initially learn the rhythms and bowings on an oen string taking the let hand out o the mix Let your students hear exemlary demonstrations o what you are describing In class, simly stating to your students what articular sound you would like them to achieve, such as a dynamic contrast, or a certain hrase, or how you would like that whole note to ade away or examle, is not enough There is no better way to get your musical oint across than demonstrating the examle on your instrument so they can hear what you are describing to them There are many wonderul orchestra teachers who are not roessional string layers I this is the case, consider the ollowing otions: Have your most advanced layer demonstrate to the class Have all o your irst chair layers demonstrate to the class Play a roessional recording Play a video o a roessional string layer Pick u an instrument and give it a shot (even i you are a tuba layer) Your students will love the eort you are making!
ynamics and hrasing These musical concets are best learned ater the notes and rhythms are already in lace Isolate the dynamic assage/hrase and have the students ractice and reeat these areas several times beore utting them back into the iece you are working on In addition, a demonstration o how it should sound would be most beneicial Intonation mature sound and a well-trained ear go hand in hand It is our resonsibility to teach students how to adust the out o tune itch by using ongoing and eective teaching ractices Continue to address undamentals such as correct let hand shae, inger atterns, and singing or ear training uroses uring class, be sure to sto the entire grou when out o tune laying is going on Work quickly and eiciently to address the itch roblem t this level, holding out a sour note or chord while having students make the small inger adustments works extremely well I necessary, hear individuals lay to ind out which students are laying in tune, and which are not With literature/- art music, chord building also hels, starting with the root, adding the th, adding the rd, and so on 6 Vibrato Teaching students the rocess o develoing a controlled vibrato is an imortant ste toward laying exressively with a beautiul tone quality Students must understand that develoing vibrato is a rocess beautiul vibrato doesn t instantly occur! Vibrato begins with inger slide exercises while evaluating the hysical asects o the let hand, arm, shoulder ll must be relaxed in order or a healthy and beautiul vibrato to unold See Vibrato Video Vibrato or more inormation 7 Listen across the orchestra Work consistently to teach your students how to listen to other sections while laying their own art elow are some samle questions you may consider, which could hel develo the listening skills o your young orchestra: Which section has the melody right now What should you do i you don t have the melody Which section or sections have some orm o accomaniment id you hear a certain section rushing the temo Why did I sto the grou and what do we need to ix Violins, are you listening to the lower strings at all times to hel you stay together Which two sections are laying in octaves right now Which sections are laying the same rhythms at the beginning o the iece What role do the lower strings have in this section
Student ook (Violin) age
Student ook (Violin) age
6 Student ook (Viola) age
Student ook (Viola) age 7
8 Student ook () age
Student ook () age 9
0 Student ook (ass) age
Student ook (ass) age
Review: G Maor, Minor Student ook age Stes to Success: Establish grou ulse Play with good intonation and tone Strategies or Success Perormance Posture and Position Review Model roer osture and roer osition or each instrument at the beginning o the year Observe and rovide eedback on roer osture and osition or the irst ew weeks o instruction and oer ongoing review and reinorcement throughout the year Rhythm and Pulse Grou ulse is the oundation o ensemble laying Have all students count quarter and eighth notes aloud (in to hel them internalize the ulse beore laying the exercises on their instruments time) several times Use o ow One o the obectives o this irst age is or all students to have uniorm bowing throughout eore laying each exercise, discuss with students where to lace their bows either the rog or the balance oint lso remind them o correct bow amounts and aroriate bow distribution as they erorm each exercise inger Patterns This age reviews our dierent key signatures, Maor, G Maor, minor, and minor s a recursor to laying each exercise, have students lay a simle one octave scale in the same key, being cognizant o mixed inger atterns Indeendent Musician Encourage students to bring a encil to class each day to be able to mark their music as needed or examle, marking natural signs or lat signs above certain notes at the beginning o the year will kee mistakes to a minimum Strategies or Success Musical Understanding Musical understanding is the artner to erormance skills The String asics ook curriculum suorts a comrehensive music exerience with many standards-based activities Reer to Teacher s Edition ages 0 - or more inormation This chart identiies seciic activities or each music line on student book age Instructions or romts or each activity are rovided under the music line titles Student ook Page Maor G Maor Minor Minor CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Reeat and reinorce exercises until all students are able to erorm them accurately and with grou ulse
Maor Read and notate Exercises on ages -7 o String asics review rhythm combinations o quarter and eighth notes s you work through these ages, solidiy students understanding o the rhythms alone by assigning Unit in Rhythm asics: String asics Sulement egin with Rhythm asics ages 8-9 (lines 7-8) See ages TE-TE and TE in Rhythm asics Teacher s Edition or inormation on the various rhythm activities s students comlete the rhythm activities, take time to review their work and rovide eedback, as needed nalyze and describe In artners, have students study this exercise or atterns in itches Where are there reeated atterns Where are there slight changes in the atterns iscuss how these observations can imact their erormance o this exercise Temo eatured in Practice Tracks (recorded accomaniments)
Maor (continued)
G Maor nalyze and describe In artners, have students study this exercise or atterns in both rhythm and itch Where are there reeated atterns Where are there slight changes in the atterns iscuss how these observations can imact their erormance o this exercise
6 Minor Listen and describe In artners, have students listen to the Practice Track, and beore doing so, review the temos and deinitions they have learned so ar (ndante, Moderato, llegro) s they listen, ask them to consider which temo marking would be most itting or this song and why
7 Minor nalyze and describe In artners, have students study this exercise in -measure hrases iscuss how these observations can imact their erormance o this exercise
8 Review: owing Exercises String Crossings Student ook age Stes to Success: Hold bow correctly Play using three dierent bow arm levels Strategies or Success Perormance Use o ow: Slurs, String Crossings and rm Levels The emhasis in this lesson is to concentrate on bowing, without the burden o diicult let hand notes or tricky inger atterns lthough students have been slurring and crossing strings or some time, this review lesson is a good oortunity to reassess their bowing skills and to begin to inesse the bow arm to a more advanced level or these exercises, make sure that students are doing the ollowing: Perorming with a correct bow hand shae and loose ingers owing smoothly with a nice tone quality ow arm and bow hand should be loose at all times Playing string crossings with a lexible wrist and right elbow that is moving luidly Using three dierent bow arm levels as they slur across the three strings Rote Exeriences Model string crossings (searate bows and slurs) on oen,, and G strings only Play simle one or two measure atterns in call and resonse style using searate bows, two-note slurs and three-note slurs Have students reeat each attern you lay until bowing is luent Indeendent Musician Encourage students to ractice bowing exercises in ront o a mirror so they can check that their arm is maintaining dierent levels during string crossings
9 Strategies or Success Musical Understanding Student ook Page Oen String Slurs 6 Searate Crossings 7 Careul owings 8 Three String Slur 9 The Swit U ow 0 ll bout the ow CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Reeat and reinorce exercises until all students are able to erorm them accurately and with grou ulse Have students relect on their own develoing skills by comleting the Sel-Evaluation ages - Collect their aers and address any diiculties they identiy beore moving ahead Summarize learning with students by discussing the obectives and hotos at the to o the age Oen String Slurs Read and notate ssign selected activities in Rhythm asics rom ages 0- (lines 9-8) See age TE in Rhythm asics Teacher s Edition or inormation, including suggested dictation examles Take time to review students work and rovide eedback, as needed
0 6 Searate Crossings [ = 80] c c c ass c ccom c c G 6 mi/g 7 /G G 6 7 Careul owings Listen and describe eore students look at the music or this song, lay the Practice Track (without the student art) and ask them to determine the bowing style they will need to lay to best match the accomaniment (ie smooth legato strokes, bold staccato, etc) 7 Careul owings [ = 76] 0 c ass c c c 0 0 ccom c c G / w () Emi 7 7 G / w Emi 7 7 G st x nd x
8 Three String Slur ass [Swing eighths = 80] ccom G 9 The Swit U ow / C add G/ Emi 7 NC mi 7 / Listen and describe Have students listen to the Mariachi-style Practice Track (without the student art) sk them to determine what instruments enter ater the reeat [two trumets] Connections! IPS Thesaurus Time: Swit G [ = 88] ass ccom G 7 G C 7 G > >
0 ll bout the ow Connections! IPS acts about bow hair ssess ulicate and distribute Sel-Evaluation ages - (Interactive Teacher Studio) Have students comlete the sel-evaluation or individual relection Collect their aers, and comare your observations to student resonses ddress any student concerns beore moving ahead ass [ = 88] ccom G 7 /G G 7 G 7 /G ass U rit U rit U rit U rit ccom G 7 G 7 /G G U rit U
Review: inger Patterns Student ook age 6 Stes to Success: Violin/Viola Play Maor - inger attern Violin/Viola Play minor - inger attern Violin/Viola Play G minor - inger attern Play Maor - inger attern Play minor - inger attern Play G minor - inger attern ass Play maor - inger attern ass Play minor - inger attern ass Play G minor with low st inger on b Strategies or Success Perormance inger Patterns Students need to be aware o the various key signatures on this age discussion should take lace rior to laying each exercise so students recognize the aroriate inger atterns on each string Ear Training To develo the students sense o tonality and itch center, add the tonic itch to create a duet or exercises and ivide the class into two grous and have one grou lay hal notes on (tonic itch) while the other grou lays the written exercise Switch arts Rote Exeriences egin each exercise with a rote exerience that reinorces the inger atterns and key signature used Play simle call and resonse exercises based on the -note atterns in the melodies ound on age 6 ass ½ Position Chances are the basses have not layed in ½ osition or quite some time Review ½ osition with bass layers rior to laying Pat--Pan Initially, they will be more successul i these exercises are layed at a slower temo They may need reinorcement to regain luency in ½ osition
Strategies or Success Musical Understanding Student ook Page 6 to in Maor Musette to in Minor Minuet Pat--Pan CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Ongoing eedback to the class, small grous, and individual students is essential or skill develoment Reeat and reinorce exercises until all students are able to demonstrate skills consistently Use one o the Test Line Rubrics (,, or C) to rovide ormal written eedback as students lay Minuet Summarize learning with students by discussing the hotos at the to o the age to in Maor Read and notate ssign Rhythm asics age (lines 8-90) Take time to review students work and rovide eedback, as needed [ = 7] ass ccom 7 n G b Gmi
Musette Read and notate You might aroach Musette as a sight reading line eore laying, have students study the music and consider the ollowing: Study the itches What inger attern do you use Study the rhythm Silently ractice any measures that could be tricky Study the other markings Connections! IPS einition o Musette ass ccom llegro [ = 96] c c c c c c w w NC ohann Sebastian ach (68 70) German Comoser to in Minor nalyze and describe In artners, have students comare to in Minor to to in Maor The exercises are the same excet or one itch What is the itch that makes one exercise sound maor and the other exercise sound minor b b [ = 7] 7 b ass b ccom b b mi mi(m7) mi 7 mi 6 n { b M 7 / 7 sus mi
6 Minuet Test Line Connections! IPS ormal ashion during ach s lietime ssess ew days beore the ormal assessment o this line, introduce the Test Line Rubric (Interactive Teacher Studio) you will use to rovide individual eedback to students on their erormance Test Line Rubric,, or C eending on the Rubric you choose, either review the given criteria or lead the class to agree on the three most imortant skills required o the exercise and the criteria or a satisactory erormance Provide an exemlary model o each skill On test day, use the Rubric to rovide eedback to each student s needed, encourage students to use your eedback, continue racticing, and relay the exercise at a later date ass ccom b b b b b b Moderato [ = 9] mi /C mi 7 sus 7 n ohann Sebastian ach (68 70) German Comoser mi b b b ass b 7 mi E ø 7 7 mi ccom b b n
7 Pat--Pan Listen and describe Have students listen to the Practice Track and identiy i Pat--Pan sounds maor or minor Together, discuss how they determined their answer Connections! IPS rance ma and lag urgundy region and the town o utun ass ccom Pos llegro [ = 6] NC Gmi > > 7 Gmi > 7 > rench Carol Gmi ass ccom 0 7 Gmi 7 > Gmi > > 7 Gmi >
8 Pat--Pan (continued) ass ccom 7 Gmi 7 > Gmi Cmi 7 > > w w w w Gmi 7 > Gmi > > > >
Review: Low st inger 9 Student ook age 7 Stes to Success: Violin/Viola Play oen inger attern Violin/Viola Play low - inger attern Play oen inger attern with low st inger Play - inger attern ass Play ½ osition Identiy hal stes and whole stes Understand and lay a temo Identiy maor and minor key signatures New! Terms Symbols: a temo Strategies or Success Perormance Oen inger Pattern Violin and Viola iscuss the hoto and ingerboard diagram in the student book at the to o the age On the string, Eb G are all whole stes and the ingers should be evenly saced between each note With this new inger attern: Students hold u the let hand and sread ingers so all ingers are saced aart It is imerative that the let elbow is tucked nicely under the instrument or roer let hand shae and to allow inky to extend roerly Oen inger attern is a articularly challenging stretch o the let hand (esecially or violists laying large instruments) irst attemts may be out o tune, however, slowly reeating these whole stes over and over will hel the let hand become stronger Low - inger Pattern Violin and Viola In 8 and 9, violins and violas lay the low --inger attern on the string Review the attern beore laying these exercises Students oten overcomensate when laying low, and the inky ushes their rd inger back too ar The result is oor intonation Let Hand iscuss the hoto and ingerboard diagram at the to o age 7 This is the irst let hand backward extension the cellos have exerienced in ook Take time or students to silently inger the low extension Eb G on the string beore laying Note that exercise 8 has the otential to be layed out o tune s students reare or Eb while laying oen, have them roll the thumb and oint the st inger towards the location or Eb When descending to the C, have them roll the thumack so that they are back into a solid st osition osture Rote Exeriences Introduce the low irst inger atterns by rote beore reading the rinted age o this lesson Play atterns beginning with low (½ osition bass) on the string Kee call and resonse atterns simle using notes Eb,, G and
0 Strategies or Success Musical Understanding Student ook Page 7 6 Oen Pattern 7 Challenger ee 8 b to Eb in b Maor 9 The Rakes o Mallow 0 Stes to Learning Theory CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Reeat and reinorce exercises until all students are able to erorm them accurately and with grou ulse Take time to check students understanding o the concets and symbols that aear on this age, including hal stes, whole stes, and a temo 6 Oen Pattern Read and notate ring Rhythm asics Unit to conclusion with age Together, discuss Comosition asics: The End beore students comlete Comosition Time 6 Oen Pattern [ = 7] b b b b b b b b b ass b 0 b b ccom mi ø7 / b mi
7 Challenger ee Listen and describe This song eatures two Practice track accomaniments in dierent styles Have students listen to both o they have a reerence or one more than another Why ter students learn about Challenger ee and The Mariana Trench, does one accomaniment seem to create the erect mood or a scientiic exedition down dee into the ocean s water How so Connections! IPS The Mariana Trench 7 Challenger ee Moderato [ = 8] ass ccom (Version ) Rock allad ½ Pos b b b b Cmi(add) with edal G 7 / n b b sus b b b b 9 b M 7 b G 7 n ccom (Version ) Sci-i Cmi b G 7b9 /C b b b Cmi b7 Cmi b b G 7b 9 b b
7 Challenger ee (continued) b b b b b b b b b b b b ass b b b b ccom (Version ) G 9 n E b Cmi E b mi Cmi 7 b Gmi ø7 Gmi ccom (Version ) mi 7 mi Cmi G 7 Cmi 7 b b mi 7b 9 7 b b Gmi 7 Gmi
8 b to Eb in b Maor b ndante [ = 8] c c c ass c ccom c c b 7 sus b E b add E b / b 7 sus b 7 sus b >
9 The Rakes o Mallow Read and notate ulicate and distribute Rhythm asics Teacher s Edition ages TE7, TE8, and/or TE9 to assess students understanding o quarter and eighth note rhythms See ages TE and TE6 or inormation on these assessments Listen and describe Together, view or listen to a erormance o The Rakes o Mallow, and have students ocus on the mood or eeling communicated in the erormance What else do they hear that might be alied to their own erormance o the theme Give students time to talk about their observations with a artner beore sharing with the class Connections! IPS Ireland ma and lag The town o Mallow Irish olk Song llegro [ = ] ass c c c c ccom b c c 7 ass U, rit U, rit U, rit U, rit a temo a temo a temo a temo ccom b b7 E b U b rit U 7 a temo E b 7 b llison
8 b to Eb in b Maor allow 9 9 The The Rakes ndante o o Mallow Irish olk Song 0 Stes c Irish olk Song llegro to Learning Theory c c Name the maor key or each key signature below a temo U a temo, U a, U a temo, c rit rit bb rit rit a temo g Theory 0 0 Stes to to to Learning Theory or each key signature Name the maor key or each key signature below below U, bb bb Read and notate ulicate and distribute Key Signatures I worksheet (Interactive Teacher Studio) Have students write each 9 key The signature Rakes and o corresonding Mallow maor and minor scales Irish olk Song llegro rit 0 Stes to Learning Theory Irish olk Song Printed /8/ at :9 M Printed Printed /8/ // at 0: at :9 0: M M 7VN 7V b b 7VN 7V Printed // at :08 PM 7CO
6 Review: High rd inger (Violin, Viola)/orward Extension () Student ook age 8 Stes to Success: Violin/Viola Play - inger attern on the G string Play orward extension on the G string ass Shit to C and on the G string Play staccato Strategies or Success Perormance inger Patterns Students need to be aware o the various key signatures on this age iscuss the key signature rior to laying each exercise so students reare or the aroriate inger atterns on each string Rote Exeriences egin the lesson with a rote exerience that reinorces the inger atterns and key signatures you are working on Use atterns similar to the lines o music ound on age 8 Rhythm and Pulse It would be beneicial to have students count aloud the rhythms on Theme rom Serenade or Strings beore laying This tune contains eighth notes, sixteenth notes, and a combination o the two ter counting, consider laying the tune izzicato beore arco, to urther solidiy the rhythm and style o this iece Use o ow Line resents the staccato bow stroke or the irst time in ook Have the class lay the irst line on an oen string to re-amiliarize themselves with the short and searate bow stroke needed (be sure to leave out any slurs when laying rhythms on the oen string) Indeendent Musician Have students mark any shars, extensions (x), or bowings they may need with their encils Student ook Page 8 The C Stretch uet Now is the Month o Maying Theme rom Serenade or Strings Coventry Carol CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Reeat and reinorce exercises until all students are able to erorm them accurately and with grou ulse Summarize learning with students by discussing the obectives and hoto at the to o the age
7 The C Stretch uet Read and notate Exercises on ages 8-0 continue to review,, and meters, including ick-u notes ocus on rhythm alone by assigning Unit in Rhythm asics egin with Rhythm asics ages 6-7 (lines 9-0) See ages TE and TE0 in Rhythm asics Teacher s Edition or inormation on the various rhythm activities, including suggested dictation examles s students comlete the rhythm activities, take time to review their work and rovide eedback, as needed [ = 8] 0 0 x x ass ccom G/ G/ Ó 7 / G/ G/ 7 st x nd x
8 Now Is the Month o Maying Listen and describe Together, view or listen to a erormance o Now is the Month o Maying by Thomas Morley What do students hear that might be alied to their own erormance o this melody nd, how is the erormance dierent rom the music rinted in their books Give students time to talk about their observations with a artner beore sharing with the class Connections! IPS Thomas Morley and lyrics Thomas Morley (9 60) English Comoser llegro [ = 8] ass x ccom G G Emi ass n n n n ccom w mi G G Gsus G
9 Theme rom Serenade or Strings nalyze and describe In artners, have students study this exercise in -measure hrases Where are the hrases the same Where are there slight changes iscuss how these observations can imact their erormance o this exercise Connections! IPS Tchaikovsky and his Serenade ass llegro [ = 8] x Peter Ilyich Tchaikovsky (80 89) Russian Comoser ccom / /E mi/ /C /E mi/ /C U U U ass U ccom G/ Emi 7 G G/ Emi 7 /G /E Emi 7 /G U U
0 Coventry Carol Read and notate You might aroach Coventry Carol as a sight reading line eore laying, have students study the music and consider the ollowing: Study the itches What inger atterns do you use Study the meter and rhythm What atterns do you see Study the bow markings and silently lan your bow distribution Listen and describe Have students listen to the Practice Track and identiy i Coventry Carol sounds maor or minor Together, discuss how they determined their answer Connections! IPS ew acts rom the 6th century English Carol ndante [ = 9] ass b b b b ccom ass ccom b b b b b b b b mi with edal mi 7 mi 7 /C C 6 ø 7 n mi 7 b 9 { P P P P P
Coventry Carol (continued) b b b ass b ccom b b Gmi 7 C mi C Gmi 7 7 ass ccom b b b b b b b M 7 C
Louré owing/review: on C String (Viola, ) Video Lesson Student ook age 9 Stes to Success: Identiy and lay Louré bowing Understand dagio New! Terms Symbols: Louré dagio Strategies or Success Perormance Video Lesson Secial owing Techniques [Length - :0] In this video, Ms Shade teaches three bowing techniques: Louré, bow retrieval, and advanced siccato The irst ortion o the lesson (0:00-:06) is devoted to Louré, the execution o long hooked notes Key elements include: When laying Louré, there is a slight searation between notes when layed on a series o down bows and u bows nother word or Louré is Portato, and in String asics, the term Louré is used The notation is written with a dash laced under or over each note Start trying Louré on an oen in time, using a hal note ollowed by a quarter note In the demonstration, notice the slight searation within the legato sound Comare the dierence between hooked bowing and Louré Listen to a ortion o Louré - Quartet (Part ) or a samling o Louré Use o ow In this lesson, Louré bowing style is indicated by dashes over or under the notes Have students look or these indicators throughout age 9 iscuss together the dierence between searating the bowings in a legato style versus searating the bowings in a staccato style (indicated with dots) or the Louré technique, a slight searation between notes is ar more challenging or students than a ull stoing o the bow (hooked bow) egin work on an oen string, using lenty o reetition and reinorcement Rote Exeriences: Louré Technique Start the lesson with call and resonse atterns on an oen string in time Progress to atterns using a tetrachord, or including notes ound in the lines o music throughout age 9 Ensemble Playing Student book age 9 includes a quartet or best success, introduce each line o the quartet beore dividing the class into arts Indeendent Musician Encourage violas and cellos to mark shar signs over or under the s on the C string, as needed
Strategies or Success Musical Understanding Student ook Page 9 Louré 6 Las Mañanitas 7 anny oy CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Ongoing eedback to the class, small grous, and individual students is essential or skill develoment Reeat and reinorce exercises until all students are able to demonstrate skills consistently Gather eedback rom individual students on the new skill louré bowing by having them comlete an Exit Sli (,, or C) Connections! [7 anny oy] Usually set to the melody, Londonderry ir, this Irish olk tune has been a beloved song or generations Lyrics were written or Londonderry ir by rederick Weatherly and ublished in 9 rederick Weatherly (88-99) was an English lawyer, author, and lyricist He was quite oular during his lietime, having written lyrics to many, many oular songs In 90, he wrote lyrics or a song called anny oy, but it did not receive much attention as it seemed that the melody wasn t strong enough He searched or another melody without luck and ultimately moved on to other song roects Meanwhile, his sister-in-law Margaret Weatherly emigrated rom England to the United States She and her husband settled in Colorado and in 9 haened uon a beautiul song being layed by a grou o Irish immigrants She asked what the song was and they said it was a song rom their homeland o Ireland Margaret wrote it down, sent it to rederick, and with minor alterations, his original anny oy lyrics it the melody rom Londonderry ir erectly The song became quite oular and was instantly ublished in England in 9 Since that time, many maor artists have erormed and recorded anny oy Here is a small list o artists and grous who have given this song a secial voice: udy Garland Carly Simon Harry elaonte Harry Connick, r ing Crosby The Irish Tenors Elvis Presley Mormon Tabernacle Choir Sarah Vaughan Celtic Thunder Lyrics or Verses and : Oh, anny boy, the ies, the ies are calling rom glen to glen, and down the mountain side The summer s gone, and all the low rs are dying Tis you, tis you must go and I must bide ut come ye back when summer s in the meadow Or when the valley s hushed and white with snow Tis I ll be here in sunshine or in shadow Oh, anny boy, oh, anny boy, I love you so
Louré Quartet Read and notate ssign Rhythm asics ages 8-9 (lines 0-0) See age TE0 in Rhythm asics Teacher s Edition or suggested dictation examles Take time to review students work and rovide eedback, as needed Listen and describe This song eatures two Practice Track accomaniments Have students listen to both o they have a reerence or one more than another Why C C C ass C ccom (Version ) Country ndante [ = 88] - - - - P P - - - - P P - - - - P x P - - - - P P [Swing eighths] P - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Emi 7 7 n ccom (Version ) unk R P Emi 7
Louré (continued) ssess ulicate and distribute one o the Exit Slis (Interactive Teacher Studio) to get eedback rom individual students on how they are eeling about louré bowing Exit Sli,, or C In addition to your own observations, this inormation will hel you lan next stes or instruction and ractice ass C C C C - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ccom (Version ) Emi 7 / 7 ccom (Version ) Emi 7 /
6 6 Las Mañanitas Connections! IPS Las Mañanitas Soundbytes in Sanish Mexican olk Song ass llegro [ = 88] 0 - - - - - - 0 - - - - - - - - - - ccom 7 G - - - - - - ass - - ccom 7 / G/ 7 > ale
7 7 anny oy Listen and describe Together, view or listen to a erormance o anny oy, and have students ocus on the mood or eeling communicated in the erormance What else do they hear that might be alied to their own erormance o the theme Give students time to talk about their observations with a artner beore sharing with the class Connections! anny oy and lyricist rederick Weatherly (Return to age in this Teacher s Edition) ass dagio [ = 66] - - - - - - - - - - - - - - - - Irish olk Song ccom with edal Emi 7 NC Emi 7 ass ccom - - - - 7 n - - - - Emi 7 E ø 7 b - - - - / - rit - rit - rit - rit rit Gmi U U U U U b U llison
8 Maor/ String: G (Violin, Viola, )/G String: G (ass) Student ook age 0 Stes to Success: Violin/Viola Place high rd on G Place extended th inger on G ass Place st inger on G Understand Maor key signature Play Maor scale New Note: New! Term Symbol: Maor Strategies or Success Perormance Maor Page 0 introduces Maor Students need to be aware o the new key signature, and they should also be able to identiy the three shars in the correct order (, C, G ) iscuss the hotos and ingerboard diagram at the to o age Even though students are learning G, the inger atterns and hand ositions are quite amiliar and easy to transer rom revious learning Ear Training s you can see, an E hal note reerence itch is rovided in the orm o a duet or 8 Going or G - uet This useul ear training stategy will hel create a itch center in the classroom dditionally or this age, use tonic itch along with 0 Maor Scale to reinorce good intonation ivide the class into two grous and have one grou lay hal notes on while the other grou lays the Maor Scale Switch arts Rote Exeriences: Maor/G Incororate call and resonse atterns in Maor eature G in the atterns and use ascending and descending tetrachords so that solid intonation is achieved in this new key
Strategies or Success Musical Understanding 9 Student ook Page 0 8 Going or G 9 Let s Take Turns 0 Maor Scale Sicilian Hymn ella imba CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Reeat and reinorce exercises until all students are able to erorm them accurately and with grou ulse Use the Memorization Line Rubric to rovide ormal written eedback as students lay 0 Maor Scale Summarize learning with students by discussing the hoto at the to o the age This is the Interactive Practice Studio Connection or ella imba
60 8 Going or G uet Read and notate ssign Rhythm asics age 0 (lines -8) Take time to review students work and rovide eedback, as needed 8 Going or G - uet [ = 8] x ass Pos ccom E /E E /E /E /E E
6 9 Let s Take Turns Listen and describe Have students listen to the Practice Track (without student art) iscuss imagery and how music can hel motivate the imagination What comes to mind when hearing this music ndante [ = 88] Everyone /ass Viola Violin x ass ccom mi E 7 E 7 E 7 E 7 E 7 E 7 E 7
6 0 Maor Scale Memorization Line ssess This is a memorization line to hel students develo roiciency with the inger atterns o the Maor scale ulicate and distribute the Memorization Line Rubric (Interactive Teacher Studio) iscuss each element o the Rubric and model an exemlary erormance On erormance day, use the Rubric to rovide written eedback to students [Swing eighths = 0] c c c ass c 0 ccom c c 7 G 7 n - n n - 7 G 7 n n n - 7 7 n [ n - E 7 - [ U U U ass U ccom 7 E 7 n - - 7 7 n n - 7 7 n n - E 7 7 U [ - n U
6 Sicilian Hymn Connections! IPS Sicily and Mt Etna Traditional ass Moderato [ = 96] - - - - - - - - - - - - - - - - ccom w /E w /E,,, ass, ccom E/G mi 7 E mi E/ 7 E P
6 Sicilian Hymn (continued) ass P P P P 0 - - - - - - - 0 - - - - - - - - - - - - - - - - - ccom E 7 /E E 7 /E /E /E E/ ass - - - - - - - - - - - - - - - - ccom /C /E mi 7 mi 7 /E E 7
6 ella imba Read and notate ulicate and distribute instrument-seciic Hal Stes Whole Stes I worksheets (Interactive Teacher Studio) Have students label each interval as a hal or whole ste Read and notate ulicate and distribute Rhythm asics Teacher s Edition ages TE, TE, and/or TE to assess students understanding o,, and meters, including ick-u notes See ages TE and TE or inormation on these assessments Connections! IPS Pasta ass llegro [ = 08] Italian olk Song ccom E 7 E 7 E 7 E 7 >
66 Maor/E String: G (Violin, ass) Student ook age Stes to Success: Violin Play high nd inger on G Violin Play uer octave Maor scale ass Play th inger on G New Note: Strategies or Success Perormance inger Patterns Violin and ass iscuss the hotos and ingerboard diagrams or violin and bass at the to o age To lay this new note G, students will be able to transer revious learning quite easily ingering and hand osition are amiliar Strategies or Success Musical Understanding Student ook Page G on E String Uer Octave Scale Chester 6 Gentle Mother 7 Minuet CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Ongoing eedback to the class, small grous, and individual students is essential or skill develoment Reeat and reinorce exercises until all students are able to lay luently in the key o Maor Use one o the Test Line Rubrics (,, or C) to rovide ormal written eedback as students lay Chester
67 G on E String New Ste or Violin and ass [ = 9] ass ccom sus/e /E E w /E E mi/e E ass ccom sus/e w w /E w E w mi/e E
68 Uer Octave Maor Scale New Ste or Violin [Swing eighths = 9] ass ccom mi 7 E 7 mi 7 / C mi/e E 7 ass ccom mi E M 7 C mi/e E 7 /G E 7 E 7 sus 6
69 Chester Test Line Listen and describe Together, view or listen to a erormance o Chester by William illings What do students hear that might be alied to their own erormance o this melody nd, how is the erormance dierent rom the music rinted in their books Give students time to talk about their observations with a artner beore sharing with the class Connections! IPS William illings William illings (76 800) merican Comoser ndantino [ = 00] ass w w w w ccom G o E 7 C mi ass ccom P P P P C o 7 P nw b n mi 7 w w E 7 w
70 Chester (continued) ssess ew days beore the ormal assessment o this line, introduce the Test Line Rubric (Interactive Teacher Studio) you will use to rovide individual eedback to students on their erormance Test Line Rubric,, or C eending on the Rubric you choose, either review the given criteria or lead the class to agree on the three most imortant skills required o the exercise and the criteria or a satisactory erormance Provide an exemlary model o each skill On test day, use the Rubric to rovide eedback to each student s needed, encourage students to use your eedback, continue racticing, and relay the exercise at a later date ass ccom M 7 mi E 7 w /C mi E 7 w w w w n w n n n ass ccom mi [ [ E 7 M 7 E 7 w w w w
7 6 Gentle Mother Connections! IPS School in aan aanese olk Song ass ndantino [ = 7] Str ccom with edal C C - - - - ass x - - - - ccom C C
7 7 Minuet nalyze and describe s a class, discuss the intervals in measures and 6 Play each interval slowly to ocus on intonation, then lay the Minuet again Connections! IPS lexander Reinagle ass ndante [ = 96] lexander Reinagle (76 809) merican Comoser ccom /C E 7 ass /C E 7 ccom
Review: Sixteenth Notes/Sixteenth Eighth Note Combinations 7 Student ook age - Stes to Success: Play sixteenth notes Play eighth sixteenth note combinations Play using less bow and near the bridge Strategies or Success Perormance Rhythm and Pulse When you are ready to lay exercises and tunes on ages -, use a three-ste aroach to hel students read and successully lay the various sixteenth note rhythm combinations with a steady ulse: Count the rhythm aloud using reviously learned syllables Play the rhythm o the exercise or tune on an oen string (ignoring let hand) ivide the class into two grous and have grou one izzicato the steady ulse as grou two lays the rhythm o the line arco Switch arts Play arco as written Use o ow When laying the exercises u to temo, sixteenth note rhythm combinations are generally layed around the middle o the bow using small amounts o bow Constantly check bow lacements, making sure bowing stays near the bridge and does not sli towards the ingerboard The bow hand should remain loose and the arm should stay relaxed I students are laying the sixteenth notes successully, the uer arm should be stationary and only the lower arm (orearm) should be used inger Patterns Students need to be aware o the various key signatures on these ages iscuss aroriate inger atterns that need to be layed based on the dierent key signatures Ensemble Playing 8 Sixteenth and Eighth Notes Reunion is a trio or best success, introduce each line searately beore dividing the class into arts
7 Strategies or Success Musical Understanding Student ook Pages - 8 Sixteenth and Eighth Notes Reunion 9 Rhythmic Scale in G Maor 0 Sourwood Mountain Crile Creek b Maor Scale in 9 Notes! Tirra Lirra Loo Maor roken Thirds and reggio When I Was a Lad rom HMS Pinaore 6 Stes to Learning Theory CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Reeat and reinorce exercises until all students are able to erorm the sixteenth note combinations accurately and with grou ulse Have students comlete the Sel-Evaluation ages - Collect their aers and address any diiculties they identiy beore moving ahead
7 8 Sixteenth and Eighth Notes Reunion Trio Read and notate Exercises on ages - o String asics review eighth and sixteenth note combinations ocus on rhythm alone by assigning Unit 6 in Rhythm asics egin with Rhythm asics ages 6-7 (lines 6-77) See ages TE-TE and TE8 in Rhythm asics Teacher s Edition or inormation on the various rhythm activities s students comlete the rhythm activities, take time to review their work and rovide eedback, as needed [ = 7] C C C ass C Use less bow and lay close to the bridge ccom G 7
76 9 Rhythmic Scale in G Maor Stes to Learning Theory [ = 7],,, ass, Write in the counts beore laying ccom G mi 7 n G/ C/E n G/ mi/c G,,, ass, ccom mi 7 C G mi G mi 7 G st x n nd x
77 0 Sourwood Mountain nalyze and describe Have students comare measures - with -8, and describe how the measures are the same or dierent iscuss how their observations can imact their erormance o this olk song Connections! IPS Mountain eaks and their names merican olk Song ass Moderato [ = 76],,,, ccom G Emi 7 C 7 G Emi 7 G/ 7 G ass,,,, ccom Emi 7 C mi 7 mi 7 C mi 7 mi 7 7 G st x nd x
78 Crile Creek Read and notate ulicate and distribute Counting Eighth and Sixteenth Combinations worksheet (Interactive Teacher Studio) Have students write in the counting, count and cla, then lay the lines on an oen string Listen and describe Have students listen to the Practice Track and identiy i Crile Creek sounds maor or minor Together, discuss how they determined their answer ass llegro [ = 7] merican olk Song ccom G G 7 o7 / ass ccom G E ø7 /G b G
79 Crile Creek (continued) ass ccom o 7 o 7 Emi ass ccom G 7 G G
80 b Maor Scale in 9 Notes! nalyze and describe In artners, have students study this exercise or atterns in the rhythm iscuss how these observations can imact their erormance o this exercise b Maor Scale in 9 Notes! [ = 76] ass ccom ½ Pos b Cmi 7 Ó b Cmi 7 Ó b Cmi 7 Ó 7 b Ó ass ccom Gmi 7 Ó Gmi 7 Ó Cmi 7 Ó Gmi Cmi 7 / b llison Print ate Gary // Chuck
Tirra Lirra Loo Read and notate You might aroach Tirra Lirra Loo as a sight reading line eore laying, have students study the music and consider the ollowing: Study the key signature and itches Where are the stes and skis What inger atterns do you use Study the rhythm Silently ractice any measures that could be tricky Study the other markings Where will you go when you reach C al ine nalyze and describe In artners, have students look at the -measure hrases that make u this theme, then use and to reresent the attern o the hrases () Encourage students to lay the dynamics as marked as one way to distinguish between and hrase Canadian olk Song 8 ass ccom Moderato [ = 7] b E b b E b b 7 ine b ine ass C al ine ccom b E b b C al ine E b 7
8 Maor roken Thirds and reggio ass ccom Maor roken Thirds and reggio [ = 7] w mi 7 / n mi 7 / w E 7 7 n,,, E 7 7 n, U U U ass U ccom w w 7 w n n U U llison Print ate Gary // Chuck
8 When I Was a Lad rom HMS Pinaore Listen and describe Together, view or listen to a erormance o When I Was a Lad rom HMS Pinaore by Sir rthur Sullivan (and lyrics by WS Gilbert) This comic oera is light-hearted and silly at times Is humor evident in the erormance you view or listen to I so, in what ways does it show What do students hear that might be alied to their own erormance o this melody Give students time to talk about their observations with a artner beore sharing with the class Connections! IPS Comic oera, Gilbert and Sullivan Sir rthur Sullivan (8 900) English Comoser llegro [ = 80] ass x ccom E 7 o 7 E 7 / mi n > ass x x ccom 7 E E 7 l l
8 6 Stes to Learning Theory ssess ulicate and distribute Sel-Evaluation ages - (Interactive Teacher Studio) Have students comlete the selevaluation or individual relection Collect their aers, and comare your observations to student resonses ddress any student concerns beore moving ahead Comlete each measure using these notes: qttt qtr qrt Check the time signature Write in the counting and erorm your new rhythm line on oen
Temo: ndantino 8 Student ook age Stes to Success: Understand ndantino New! Terms Symbols: ndantino Simile Strategies or Success Perormance Use o ow eore laying the orchestra arrangement, be sure to oint out various bow lits, hooked bowings and staccato articulations Ensemble Playing 8 Theme rom William Tell Overture is an orchestra arrangement It includes rhythms recently introduced In general, this arrangement should be layed in the lower hal o the bow, and lit bows need to be executed quickly Each instrument art is indeendent Rehearse arts searately beore combining Strategies or Success Musical Understanding Student ook Page 7 ance 8 Theme rom William Tell Overture CTIVITIES Read and notate nalyze and describe Listen and describe Connections! ssess Practice and ssessment Have students relect on their own rogress and develoing luency by comleting a Practice-Relection ournal (,, or C)
86 7 ance uet nalyze and describe In artners, have students study this melody in -measure hrases Where are the hrases the same Where are there slight changes iscuss how these observations can imact their erormance o this exercise Connections! IPS Türk ass ndantino [ = 69] aniel Gottlob Türk (70 8) German Comoser ccom G / Emi 7 7 G / G 7 G
87 7 ance uet (continued) P P P P P P rit rit rit rit rit rit ass P P rit rit ccom 7 G C mi 7 7 G / P G 7 G rit
88 8 Theme rom William Tell Overture Orchestra rrangement nalyze and describe In artners, have students talk about how they will lay this iece rom beginning to end, given the S al ine Check their understanding as a ull class Listen and describe Together, view or listen to a erormance o the inale o William Tell Overture What do students hear that might be alied to their own erormance o this melody Give students time to talk about their observations with a artner beore sharing with the class ssess ulicate and distribute one o the Practice-Relection ournals (Interactive Teacher Studio) to hel students relect on their work in rehearsals and individual ractice Practice-Relection ournal,, or C Connections! IPS The story o William Tell rom Interactive Practice Studio: