REVIEW EXCERPTkjos.vo.llnwd.net/o28/pdf/117F_Excerpt.pdf · 3 117F Acknowledgements The authors...

Welcome to String Basics Book 3, a Comprehensive Method for String Orchestra!

We are excited that you are back with us! String Basics Book 3 continues with a strong and sound pedagogy that prepares students for grade 3 performance literature and beyond. Like with String Basics Books 1 and 2, step-by-step sequences of instruction are provided and instructional strategies have been included throughout this edition. The strategies have been divided into two primary categories: Performance and Musical Understanding. Through those strategies, guidelines and guideposts assist to help students acquire a comprehensive experience in orchestra.

String Basics offers learning opportunities beyond the printed books. The Neil A. Kjos Music Company is pleased to provide an Interactive Practice Studio and Interactive Teacher Studio. In them, students and teachers will discover fun and educational information and activities utilizing photos, paintings, maps, and flags. Downloadable worksheets help deepen students’ understanding of music, terms, world cultures, and history. Five video lessons designed for students and teachers offer visual and aural support for several landmark concepts introduced throughout the book. The Interactive Practice Studio, accessible on any Windows or Mac computer (www.kjos.com/ips), also hosts complete recorded accompaniments called “Practice Tracks” for each line of music, along with full performances of the orchestra arrangements. Students using the Practice Tracks will have the capability of recording their performance along with the accompaniment for playback opportunities.

Best wishes as your journey continues through String Basics!

Neil A. Kjos Music Company

Instrumentation •Violin •Cello •Piano Accompaniment •Viola •String Bass •Teacher’s Edition

ISBN-10: 0-8497-3519-X • ISBN-13: 978-0-8497-3519-6

©2013 Kjos Music Press, Neil A. Kjos Music Company, Distributor, 4382 Jutland Drive, San Diego, California, 92117. International copyright secured. All rights reserved. Printed in U.S.A.

and are trademarks of Kjos Music Press.

Teacher’s Edition • Book 3

Terry Shade & Jeremy Woolstenhulme With Wendy Barden

Steps to Success for String Orchestra

String Basics TM

String Basics is available in SmartMusic. To subscribe, go to www.smartmusic.com.

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REVIEW EXCERPT

This copyrighted material is the property of Kjos Music Press. Beyond personal use, it is not to be distributed, reprinted, or reproduced in any form without the written consent of the publisher. It is exclusively available for purposes of teaching and planning by directors until the final version of the String Basics, Book 3—Teacher’s Edition (117F) is released.

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The AuthorsTerry Shade is a nationally recognized middle school and junior high school orchestra specialist. She has made numerous appearances throughout the United States and abroad as honor orchestra conductor and clinician, including serving as a technician for the 2009 Midwest Clinic Orchestra Rehearsal Labs. In 2012 she performed at the Washington Music Educators Association State Conference and was named WMEA - American String Teacher’s Association’s “Outstanding Orchestra Teacher of the Year.”

Ms. Shade earned her bachelor’s degree in Music Education from Loyola University, New Orleans. She taught middle school strings in Atlanta, Georgia (Gwinnett County), for 10 years, and her award-winning orchestras were selected to perform at the Southern Division MENC, the Midwest Clinic, and the Atlanta International Band and Orchestra Conference. Upon relocating to Las Vegas, Nevada, Ms. Shade became a string educator in the Clark County School District, and worked for six years as a project facilitator, mentoring a staff of over 80 orchestra teachers and performing supervisory duties for the Secondary Fine Arts Department. Under Shade’s supervi-sion, the Clark County orchestra program received national recognition and experienced signifi-

cant growth, prompting the state of Nevada to honor her with the prestigious Steve Maytan Contribution to Education Award.

Ms. Shade currently resides with her family in Issaquah, Washington, where she teaches orchestra at Pacific Cascade Middle School and conducts the Issaquah School District Honor Orchestra.

Jeremy Woolstenhulme received his Bachelor of Music Education degree from Brigham Young University in 2000, and a Master of Arts degree in cello performance from the University of Nevada, Las Vegas in 2005.

Mr. Woolstenhulme currently serves as the orchestra director at Hyde Park Middle School in the Clark County School District of Las Vegas, Nevada, where he teaches around 400 students daily. His orchestra was selected to play at the 2008 Midwest Clinic, and in 2010 & 2011, at the National ASTA Conference. He has traveled with his orchestras to London, Washington, D.C., Boston, San Diego, and New York, and in 2011, he was guest conductor for the Queensland Honor Orchestra at Griffith University in Brisbane, Australia. Also in 2011, Woolstenhulme received a “Teacher of the Game” award presented by University of Nevada, Las Vegas, MGM Resorts, Channel 8 News, and the Clark County School District. In 2013, he made a return trip to Australia where he served as clinician and conductor at the Maryborough Music Conference and additional workshop venues throughout Australia.

Mr. Woolstenhulme is a contract member of the Las Vegas Philharmonic. He is also the cellist for the Seasons String Quartet, and he performs as a freelance musician at many entertainment venues in Las Vegas. He is a commissioned and published composer with a growing number of original works for string orchestra to his credit, many of which have been performed across the United States and abroad.

Jeremy Woolstenhulme and his wife, Taryn, live in Las Vegas with their three children, Cadence Belle, Coda Blake, and Canon Thomas.

Wendy Barden recently retired from ISD 279 - Osseo Area Schools (Minnesota) where she served first as a music educator, and then K-12 Music Coordinator, during her 36-year tenure. Her teaching experience spans elementary through college levels in instrumental and general music classrooms. Under her leadership, Osseo Area Schools was recognized as one of the Best Communities for Music Education five consecutive years. She was named a Yamaha National Mentor Teacher, MENC Nationally Registered and Certified Music Educator, and MMEA Educator of the Year. In 2013, Dr. Barden was honored as a Yale Distinguished Music Educator.

Dr. Barden’s extensive work in the classroom has provided the basis for several ground-breaking publications for strings, band, choir, and general music, all published by the Neil A. Kjos Music Company including her popular multi-book series, Maximizing Student Performance. She is the co-author of Artistry in Strings, Recorder Apprentice, and Recorder Excellence. She is also a contributing author of the Standard of Excellence Beginning Band Series and author of the Standard of Excellence Music Theory and History Workbooks

Teacher’s Editions. Barden is an active clinician and has presented workshops for music educators in 33 states and Canada. She is also the lead consultant for Segue Consulting Partners, a service providing assistance with music curriculum development, field study workshops, professional development in music, and more.

Wendy Barden holds B.S. and M.A. degrees in music education from the University of Minnesota. Her Ph.D., also from the University of Minnesota, is in music with emphasis in music education and musicology. She has pursued additional study in assess-ment, arts integration, and creativity. Dr. Barden has actively served on the board of directors of Chamber Music Minnesota, and as president of both the Minnesota Band Directors Association and Minnesota Music Educators Association.

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AcknowledgementsThe authors thank…• Scott, Dan, and Molly Shade for their constant and loving support

• Taryn, Cadence, Coda, and Canon Woolstenhulme for their encouragement and inspiration

• Dick, Kevin, and Scott Barden for their ongoing support

• Mark and Tim Kjos, and the entire staff at Neil A. Kjos Music Company

• the Kjos Music editorial, graphic arts, and freelance team of Diana Elledge, Chuck Elledge, Ryan Beard, Allison Boles, Andy Robinson, Monica Michel, PJ Bovee, Rogelio Diaz, Tony Lizarraga, Tara Tierney, Nicole Elledge, Mary Elledge, and David Norgren. We couldn’t have done this without you.

• Chris Callipari and the print production team at Kjos for their invaluable production assistance

• Audio engineer Dan Abernathy for his engineering expertise and creative stylings

• Photographer Marcos Rivera for his tremendous work

• Chuck Cushinery, Chuck Foley, and the Wooly Recording Orchestra for their contributions to the orchestra arrangement recordings

• the talented Hyde Park Middle School orchestra students for modeling an exemplary performance in the photographs

• San Diego students Heidi Taylor Fleishbein and Kevin Shim for their outstanding performances in the video lessons, along with their parents who supported them throughout the project

• Ferrari Productions for video production

• Bill Manning and Lightspeed Imaging for putting the final touches on the DVD

• Py Kolb, Cayleen Kolb, and Dustin Merrell at Pyware for their expertise with “IPS/ITS”

• the musicians who performed on the Practice Tracks: Dan Abernathy, Ryan Beard, Cathy Blickenstaff, Allison Boles, PJ Bovee, Chuck Elledge, Diana Elledge, Natalka Kytasty, Sean Laperruque, Andy Robinson

• Perry Norton for her voiceover talents

• Nicole Elledge and Richard Morrison for their count off voice talents

• Taryn Woolstenhulme for her tireless efforts throughout the project development

• San Diego County string educators Lazlo Menzo, Ulli Reiner, and Philip Tyler for their assistance and support

• Dean Angeles and the string education department at Loyola University in New Orleans, Louisiana

• Dr. Marvin Rabin, the “grandfather” of string education

• heterogeneous orchestra technicians around the country whose time-tested and pioneering classroom techniques are highlighted throughout String Basics. We could not have written this without you!

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Table of Contents Teacher’s Edition Student Book

Special Features in String Basics Interactive Practice Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Interactive Teacher Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Instructional Strategies for Students Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Understanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Keys to Teaching Maturity of Sound . . . . . . . . . . . . . . . . . . . . . . . . . 12Tuning Your Violin: Small Adjustments . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . 2Tuning Your Violin: Large Adjustments . . . . . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . 3Tuning Your Viola: Small Adjustments . . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . 2Tuning Your Viola: Large Adjustments. . . . . . . . . . . . . . . . . . . . . . . . 17 . . . . . . . . . 3Tuning Your Cello: Small Adjustments . . . . . . . . . . . . . . . . . . . . . . . . 18 . . . . . . . . . 2Tuning Your Cello: Large Adjustments . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . 3Tuning Your Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . 2Tuning Your Bass: Tuning With Harmonics . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . .3Review: D & G Major, A & D Minor . . . . . . . . . . . . . . . . . . . . . . . . 22 . . . . . . . . . 4Review: Bowing Exercises – String Crossings . . . . . . . . . . . . . . . . . . 28 . . . . . . . . . 5Review: Finger Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 . . . . . . . . . 6Review: Low 1st Finger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 . . . . . . . . . 7 Review: High 3rd Finger (Violin, Viola)/Forward Extension (Cello) . . . . 46 . . . . . . . . . 8Louré Bowing/Review: F # on C String (Viola, Cello) . . . . . . . . . . . . . . 52 . . . . . . . . . 9A Major/D String: G # (Violin, Viola, Cello)/G String: G # (Bass) . . . . . 58 . . . . . . . . 10A Major/E String Note: G # (Violin, Bass) . . . . . . . . . . . . . . . . . . . . . 66 . . . . . . . . 11Review: Sixteenth Notes/Sixteenth & Eighth Note Combinations . . . . . 73 . . . . . .12–13Tempo: Andantino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . 14Dotted Eighth & Sixteenth Note Combinations . . . . . . . . . . . . . . . . . 93 . . . . . .15–16Chromatic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 . . . . . . . . 17Shifting to 3rd Position (Violin, Viola, Cello)/Review: Shifting to G (Bass) . . 112 . . . . . . . . 183rd Position (Violin, Viola, Cello)/4th Position (Cello)/Shifting to High D (Bass) . 118 . . . . . . . . 19Same Finger Shifting (Ascending and Descending) . . . . . . . . . . . . . 125 . . . . . . . . 20Extended 3rd Position (Cello)/Shifting Higher (Bass) . . . . . . . . . . . . 134 . . . . . . . . 21Playing in Positions: Intervals & String Crossings . . . . . . . . . . . . . . . 141 . . . . . .22–23Natural Harmonics/Glissando to Harmonics . . . . . . . . . . . . . . . . . 155 . . . . . . . . 243rd Position E String Notes (Violin) . . . . . . . . . . . . . . . . . . . . . . . . . 164 . . . . . . . . 25Shape Shifter Program Notes/Rehearsal Ideas/Musical Understanding . 172Shape Shifter for String Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 173 . . . . . .26–27Eighth Note Triplets/Bow Retrieval . . . . . . . . . . . . . . . . . . . . . . . . 181 . . . . . . . . 28Slow 6

8 Time (Counting in 6) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 . . . . . . . . 29Fast 6

8 Time (Counting in 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 . . . . . .30–31Gigue Program Notes/Musical Understanding

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Gigue for String Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

8 & 12

8 Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 . . . . . . . . 333rd Position: D Minor (Violin, Viola, Cello)/High E & F Natural (Bass) . 220 . . . . . . . . 343rd Position: Mixed Finger Patterns (Violin) . . . . . . . . . . . . . . . . . . . 226 . . . . . . . . 352nd Position (Violin, Viola, Cello) . . . . . . . . . . . . . . . . . . . . . . . . . . 231 . . . . . 36–37

Eb Major/2nd Position Ab (Cello)/½ Position Ab on G String (Bass) . . 248 . . . . . . . . 48Eb Major/3rd Position (Violin, Viola)/Extended 4th Position (Cello) . . . 257 . . . . . . . . 39E Major/½ Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 . . . . . .40–41

Natural, Melodic & Harmonic Minor . . . . . . . . . . . . . . . . . . . . . . . 280 . . . . . .42–43Grace Notes/Advanced Spiccato . . . . . . . . . . . . . . . . . . . . . . . . . 295 . . . . . .44–45Steps to Successful Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 . . . . . 46–47Glossary (Violin) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 . . . . . . . . 48Meet the Students Featured in String Basics Book 3 . . . . . . . . . . . . . 317 . . . . . . . . IFCDuplicable Materials Contents Listing . . . . . . . . . . . . . . . . . . . . . . . 318Duplicable Fingering Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319Duplicable Worksheets, Forms, Rubrics, Record Charts . . . . . . . . . . 322Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

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Special Features in String Basics: Interactive Practice Studio

The Interactive Practice Studio is a downloadable resource designed for students featuring Practice Tracks, video lessons, personal audio recording opportunities, tuner and metronome tools, a simple notation software program, and “Connections!” a special curriculum where extended learning opportunities take place.

Practice Tracks are recorded accompaniments that aid in the development of students’ sense of pulse, tonality, and meter; improve intonation, tone quality, phrasing, ensemble skills, and understanding of various musical styles.

Each line in the student book (except for theory exercises and orchestra arrangements) is performed by a professional violinist or cellist with an accompaniment specifically composed for that piece. Vibrato is used at times to enhance musical and tonal quality. Tracks include two mixes. The first mix includes the student part with the accompaniment and the second mix features the accompaniment only. The accompaniments have been recorded at a comfortable practice tempo; not too fast, not too slow. The metronome marking matching these tempos is shown in brackets above the first measure of the score music. To make practice as effective as possible, the IPS allows students to select two slower tempos.

Video Lessons teach and reinforce several landmark skills and concepts introduced throughout Book 3. Lesson 1 – Special Bowing Techniques

• Louré• Bow Retrieval• Advanced Spiccato

Lesson 2 – Violin and Viola Only: Introducing 3rd Position Lesson 3 – Cello Only: Introducing 3rd and 4th Position Lesson 4 – Harmonics Lesson 5 – Vibrato

The Personal Studio allows students to record their own performances, and share them with teachers, family members, and friends via email.

The Tuner/Metronome provides students with instant assess to these practice tools from their first day of playing. The chromatic tuner has automatic pitch detection and production that allows students to visually and aurally develop their intonation skills.

The Media Downloader is a repository of all Recorded Accompaniment and Video Lesson files that students can down-load. Once downloaded, files may be burned to custom CDs or DVDs or uploaded to portable media devices.

Music Writer Touch, an innovative, easy-to-use music notation program, allows students to complete written exercises and notate their own music within the IPS environment. It does not replace lessons in handwritten notation, but simply enhances opportunities for students to learn about theory and composition.

My Files is a holding bin for students to save recordings of their own performances.

Connections! IPS. is an excellent place for students to visit to find an abundance of historical enrichments, composer facts, maps, flags, artwork, fun trivia, and much more. Connections! IPS. is available to students and Connections!, located in the Teacher’s Edition, provides even more information to support your lesson for the day. Be on the lookout for ___Connections! IPS. and Connections! because you’ll never know where they will pop up!

Beyond the Interactive Practice Studio, Kjos Music suggests:

SmartMusic, a product of MakeMusic, Inc. It is an interactive assessment music software program allowing students to receive instant feedback about their performance. This subscription-based practice tool motivates and enhances home practice sessions. Visit www.smartmusic.com.

Visit www.kjos.com to learn more about the many publications available for beginning string classes. Listen to string orchestra literature by some of the world’s leading string education composers.

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Special Features in String Basics: Interactive Teacher Studio

The Interactive Teacher Studio (ITS) provides a “virtual” version of this Teacher’s Edition compatible with Mac OS operating system* software and Windows operating system* *. It offers features to aid in your teaching and is ideal for personal and classroom use with traditional video projection or interactive whiteboard technology.

To access the ITS, visit www.kjos.com/its and download the appropriate software. Your Teacher’s Edition contains an Interactive Teacher Studio User License that provides the code you need to log on to your ITS. You will find your ITS User License Code on the Inside Back Cover. In the area below the disc holder, carefully tear along the perforated lines to remove the User License. You will find your personal 16-digit code on the hidden portion of the User License Card. After registering and logging in, you will have access to all the features and media in the students’ Interactive Practice Studio. In addition, all the forms and worksheets found in the rear portion of the Teacher’s Edition are also provided in the ITS with exception of the ITS-Only Bonus Material Section. Hyperlinks throughout the Teacher’s Edition provide links to printable worksheets and forms.

ITS-Only Bonus Material:• Composition with Percussion Information & Reference Sheet• Composition with Percussion Worksheets• World Map• Super Sleuth – Violin• Super Sleuth – Viola• Super Sleuth – Cello• Super Sleuth – Bass• Super Sleuth – Answer Key• Scavenger Clue Hunt (with Answer Key)• Certificate of Completion (for color duplication)• Certificate of Completion (for black duplication)• Blank Staff Paper

For technical support, you may access Help by clicking on the red question mark in the lower right hand corner of the Page Viewer in the ITS, or you may contact [email protected] with questions.

DUPLICATION (PHOTOCOPYING) INFORMATION

This Teacher’s Edition (117F) and the Interactive Teacher Studio includes pages featuring forms, worksheets, and other special materials where duplication/photocopying is authorized for use in your classroom and by your students. Duplication/photocopying is granted for only those pages where the following notice is printed: ©2013 Kjos Music Press. This page authorized for duplication. Please adhere to these copyright guidelines. It’s the law and was originally designed to protect the work of composers, authors, and copyright owners. The Neil A. Kjos Music Company is available to answer your questions and concerns. For more information, visit www.kjos.com and click “Licensing” located on the home page.

*Mac OS is a trademark of Apple Inc., registered in the U.S. and other countries.**Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries.

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Instructional Strategies for Students

Strategies for Success – PerformanceRhythm and PulseGroup pulse is the foundation of ensemble playing, and has been a major principle of String Basics from the very beginning of Book 1. Group pulse remains vital to the success of orchestra classrooms at more advanced levels of learning.

As students settle in with Book 3, engage students in a group count off to help them internalize the pulse before playing. Count one preparatory measure aloud as a class before playing the first note. Use this group count off as a normal part of your routine and especially when new rhythms and time signatures are introduced.

In String Basics Book 3, the following rhythms and meters are introduced: • Dotted eighth & sixteenth note combinations (student bk. p. 15)• Eighth note triplets (student bk. p. 28)• Slow

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8 time: counting in 6 (student bk. p. 29)• Fast

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8 time: counting in 2 (student bk. p. 30)•

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8 time (student bk. p. 33)•

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8 time (student bk. p. 33)

Before playing an exercise, consider using some or all of these steps to focus on the new rhythm. Students will:• Count the rhythm aloud using a counting system or syllables.• Count and play the rhythm pizzicato on an open string.• Add the left hand and pizzicato the exercise before using the bow.• Count aloud and vertically air bow the exercise.

Finger PatternsString Basics Book 3 reviews previously taught finger patterns and introduces new patterns and positions for all instruments, including the presentation of natural harmonics. Shifting is integrated into the introduction of position work. Here is what’s new:

• Violins and Violas3rd Position with 3-4, 2-3, and 1-2 finger patterns2nd Position with 1-2, 3-4 finger patternsNatural Harmonics with 4th fingerLow 3-4 finger pattern½ Position

• Cellos3rd PositionExtended 3rd Position4th PositionExtended 4th PositionLow 4th Position Natural Harmonics with 3rd finger2nd PositionLow 2nd Position ½ Position

• BassesShifting to High DShifting to High ENatural Harmonics with 3rd Finger½ Position

When introducing a new finger pattern/position – or familiar pattern/position on a different string, begin with call and response rote experiences. This allows students to concentrate on achieving accurate finger placement with good hand shape. Once students have reasonable control of the physical skill, they are ready to move to its application in the printed music.

Additionally, have students refer to relevant photos and fingerboard diagrams shown at tops of pages and watch Video Lessons #2 and #3 for guidance.

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Ear TrainingA sense of relative pitch is fundamental to good intonation, both for instrument tuning and in music performance. By now, students should have a good sense of the perfect fifth, especially D to A, from music and training received in Books 1 and 2. Continue to help students develop their sense of relative pitch by using the duets where the Part B harmony is created through prominent use of the tonic and dominant pitches. This unique and consistent strategy helps students to continue developing a sense of tonality and pitch reference. You may apply this strategy to many exercises and warm ups by having one or more sections play the exercise and the other sections sustain a tonic/dominant pitch.

Use of the BowSpecific attention to various bowing concepts is highlighted throughout the book. Students will:

• Continue to work on fundamental thumb to tip bow strokes, creating a rich sound.• Play legato and slurs, achieving a smooth and connected sound through full bow strokes.• Play hooked and louré bowing, achieving contrasting styles through full bow strokes.• Refine their ability to contrast dynamics with appropriate bow weight, bow placement, and bow speed.• Play various rhythms with proper bow division and distribution, including playing near the bridge with less bow for

sixteenth/eighth note combinations.• Use bow retrieval.• Continue to work on spiccato at a more advanced level.

Rote Experiences – Call and ResponseCall and response activities will continue to serve exceptionally well at this more advanced level of playing. Continue to introduce new notes/finger patterns/positions, rhythms, and bowings through call and response experiences (students echo what the teacher has played). This allows students to concentrate on achieving each skill without the added complication of reading notes on the staff. Once students have reasonable control of the physical skill, they are ready to move to its application in printed music.

Ensemble PlayingAn ensemble playing experience – a round, duet, trio, quartet, or orchestra arrangement – is part of almost every lesson.

There are six orchestra pieces or arrangements in which each instrument has its own part. Rehearse parts separately before combining. These compositions effectively reinforce the skills and concepts students are learning and can also be effective perfor-mance pieces for concerts.

•48. Theme from “William Tell Overture” – Rossini •61. La Cumparsita – Rodríguez•Shape Shifter – Woolstenhulme•Gigue from Orchestral Suite No. 3 – Bach/arr. Woolstenhulme•165. March Slav – Tchaikovsky/arr. Woolstenhulme•Chorale in E Minor – Bach/arr. Woolstenhulme

Nurturing the Independent MusicianAs students move into String Basics Book 3, they are developing 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 stepping stones in their development are potentially big ones. They should become comfortable playing and performing in different settings and should know how to follow a conductor with baton. Students need to know how prepare for class, rehearsals, and concerts. They should have more advanced skills regarding their individual practicing and they should be able to reflect on their practice – what improved and what requires more work next time.

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Strategies for Success – Musical UnderstandingMusical understanding is the partner to performance skills. String Basics provides the framework and instructional resources for a comprehensive music experience that is aligned with the standards of many states and provinces of North America. Considered universal in scope, the voluntary National Standards for Music Education of the United States (1994) are:

1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

Many standards-based activities are purposefully woven together in the String Basics curriculum to support a comprehensive musical experience. Some of the activities are described in this Teacher’s Edition along with a particular exercise or song, and other activities are included as a duplicable or downloadable page from the Interactive Teacher Studio. Make time to include as many activities as possible because the more students understand about the music, the better they will be able to perform it and ultimately, the more they will enjoy it. A sampling of activities is given below.

Read and notate• Identify key signatures.• Count rhythms, identify bar line placement.• Identify intervals.• Sight reading.

Analyze and describe• Identify same, similar, and different measures in music.• Compare stepwise motion versus skips.• Compare/contrast two different lines of music.

Listen and describe (using Practice Tracks accompaniments and other resources available commercially and/or online)• Describe different music styles.• Identify instruments.• Explain how the accompaniment changes on the repeat of a music line.

Compose• Manipulate notes and/or rhythms to demonstrate musical concepts.

Ear Training• Engage in interval training through listening exercises.

Practice and Assessment• Reflect on personal achievement and skill development through Self-Evaluation Forms.• Note progress with Practice Reflection Journals.• Receive feedback on performance assessments with Test Line Rubrics and the Memorization Rubric.

Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects

Three activities are also included that address the (United States) 2010 Common Core State Standards:• Students work independently to read the given short biography, then research online to confirm, expand, or contradict

information presented (see p. 152).• Students work in partners or independently to analyze the terms and symbols in a given piece (see p. 172).• Students work independently to research the composer and/or piece to write program notes for an upcoming concert

(see p. 208).

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Connections!, part of the Interactive Practice Studio (IPS), are highlighted throughout String Basics. Connections! include a variety of information:

• Maps & Flags• Composer biographies • Art• History• Folk Song backgrounds & lyrics• Grammar• Interdisciplinary Fun Facts with photos & videos

Below is the Connection linked to 126. Old Joe Clark, featuring flags, a map, and facts.

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Keys to Teaching Maturity of Sound

Teaching students to perform with more maturity, beauty of sound, and to play with an overall higher level of musicianship are tremendous goals and definitely worthy of achieving. Guiding your students as solo and ensemble musicians requires various strategies that can be implemented and reinforced on an ongoing basis as they continue to advance on their instruments. When students achieve more advanced levels of musicality, they become even more motivated to continue their musical journey and be the best musicians they can possibly be.

1. “Do you like your tone?” Writing this simple sentence in large letters on the board can be very thought provoking for your students. It will open up discussions regarding the basic quality of sound

individuals are producing and how each student can evaluate their own particular tone. Is the sound rich or thin? Is their overall posture helping or impeding the ability to produce a beautiful tone? Is the bow slightly crooked (making the sound unpleasant) or is it being pulled straight? Are students using controlled bow changes, or are the bow changes too rough? When playing lyrical passages, are they using enough bow? Encourage each student to practice slow scales using long, full and even bow strokes as a regular part of their home practice routine. If good tone quality is regularly practiced and discussed in class, they are likely to pay more attention to it when practicing at home.

2. It’s all about the bow! At this more advanced level of instruction, we sometimes fall into a trap of paying too much attention to the left hand (vibrato, shifting, etc.) and not enough time is dedicated to improving bowing skills. First of all, please make sure that your students are “frog players,” and that they aren’t constantly gravitating toward the upper half of the bow (this is mostly a tendency for upper string players). A big sound comes from playing at the frog – plain and simple. Secondly, daily emphasis on the “big three” concepts of bowing should be a part of each lesson: 1) Bow speed, 2) bow placement, and 3) bow weight (the “intense” bow stroke). As often as possible, remind the class, the section, or the individual about the correct speed, placement, and weight they should be executing at any given moment. Soon, they will be more mindful of their own bowing and the results will be amazing! Lastly, when teaching a new bowing technique such as bow retrieval, use plenty of rote teaching on an open string, and plenty of repetition for proficiency. When introducing a new piece of repertoire that contains difficult rhythms and bowings, have the class initially learn the rhythms and bowings on an open string taking the left hand “out of the mix.”

3. Let your students hear exemplary demonstrations of what you are describing. In class, simply stating to your students what particular sound you would like them to achieve, such as a dynamic contrast, or a certain phrase, or how you would like that whole note to “fade away” for example, is not enough. There is no better way to get your musical point across than demonstrating the example on your instrument so they can hear what you are describing to them. There are many wonderful orchestra teachers who are not professional string players. If this is the case, consider the following options:

• Have your most advanced player demonstrate to the class.

• Have all of your first chair players demonstrate to the class.

• Play a professional recording.

• Play a video of a professional string player.

• Pick up an instrument and “give it a shot” (even if you are a tuba player). Your students will love the effort you are making!

by Terry Shade

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4. Dynamics and phrasing. These musical concepts are best learned after the notes and rhythms are already in place. Isolate the dynamic passage/phrase and have the students practice and repeat these areas several times before putting them back into the piece you are working on. In addition, a demonstration of how it should sound would be most beneficial.

5. Intonation. A mature sound and a well-trained ear go hand in hand. It is our responsibility to teach students how to adjust the out of tune pitch by using ongoing and effective teaching practices. Continue to address fundamentals such as correct left hand shape, finger patterns, and singing for ear training purposes. During class, be sure to stop the entire group when out of tune playing is going on. Work quickly and efficiently to address the pitch problem. At this level, holding out a “sour” note or chord while having students make the small finger adjustments works extremely well. If necessary, hear individuals play to find out which students are playing in tune, and which are not. With literature/3-4 part music, chord building also helps, starting with the root, adding the 5th, adding the 3rd, and so on.

6. Vibrato. Teaching students the process of developing a controlled vibrato is an important steptoward playing expressively with a beautiful tone quality. Students must understand that developing vibrato is a process. A beautiful vibrato doesn’t instantly occur! Vibrato begins with finger slide exercises while evaluating the physical aspects of the left hand, arm, shoulder. All must be relaxed in order for a healthy and beautiful vibrato to unfold. See Vibrato Video #5 – Vibrato for more information.

7. Listen “across the orchestra.” Work consistently to teach your students how to listen to other sections while playing their own part. Below are some sample questions you may consider, which could help develop the listening skills of your young orchestra:

• Which section has the melody right now?• What should you do if you don’t have the melody?• Which section or sections have some form of accompaniment?• Did you hear a certain section rushing the tempo?• Why did I stop the group and what do we need to fix?• Violins, are you listening to the lower strings at all times to help you stay together?• Which two sections are playing in octaves right now?• Which sections are playing the same rhythms at the beginning of the piece?• What “role” do the lower strings have in this section?

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Student Book (Violin) page 2

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Student Book (Violin) page 3

Student Book (Viola) page 216

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Student Book (Viola) page 317

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Student Book (Cello) page 218

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Student Book (Cello) page 319

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Student Book (Bass) page 220

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Student Book (Bass) page 321

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Steps to Success:❏ Establish group pulse❏ Play with good intonation and tone

Review: D & G Major, A & D Minor

Student Book page 4

Strategies for Success – PerformancePosture and Position ReviewModel proper posture and proper position for each instrument at the beginning of the year. Observe and provide feedback on proper posture and position for the first few weeks of instruction and offer ongoing review and reinforcement throughout the year.

Rhythm and PulseGroup pulse is the foundation of ensemble playing. Have all students count quarter and eighth notes aloud (in

4

4 time) several times to help them internalize the pulse before playing the exercises on their instruments.

Use of BowOne of the objectives of this first page is for all students to have uniform bowing throughout. Before playing each exercise, discuss with students where to place their bows—either the frog or the balance point. Also remind them of correct bow amounts and appropriate bow distribution as they perform each exercise.

Finger Patterns This page reviews four different key signatures, D Major, G Major, A minor, and D minor. As a precursor to playing each exer-cise, have students play a simple one octave scale in the same key, being cognizant of mixed finger patterns.

Independent MusicianEncourage students to bring a pencil to class each day to be able to mark their music as needed. For example, marking natural signs or flat signs above certain notes at the beginning of the year will keep mistakes to a minimum.

Strategies for Success – Musical UnderstandingMusical understanding is the partner to performance skills. The String Basics Book 3 curriculum supports a comprehensive music experience with many standards-based activities. Refer to Teacher’s Edition pages 10 -11 for more information. This chart identifies specific activities for each music line on student book page 4. Instructions or prompts for each activity are provided under the music line titles.

Practice and Assessment• Repeat and reinforce exercises until all students are able to perform them accurately and with group pulse.

Student Book – Page 41. D Major

2. G Major

3. A Minor

4. D Minor

X X

X

XX

Read and

notate

ACTIVITIE

S

Analyz

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describ

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Listen

and desc

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AssessCon

nectio

ns!

1. D MajorRead and notate. Exercises on pages 4-7 of String Basics review rhythm combinations of quarter and eighth notes. As you work through these pages, solidify students’ understanding of the rhythms alone by assigning Unit 3 in Rhythm Basics: A String Basics Supplement. Begin with Rhythm Basics pages 8-9 (lines 47-58). See pages TE2-TE4 and TE15 in Rhythm Basics Teacher’s Edition for information on the various rhythm activities. As students complete the rhythm activities, take time to review their work and provide feedback, as needed.Analyze and describe. In partners, have students study this exercise for patterns in pitches. Where are there repeated patterns? Where are there slight changes in the patterns? Discuss how these observations can impact their performance of this exercise.

→Tempo featured in Practice Tracks (recorded accompaniments)

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1. D Major (continued)

2. G MajorAnalyze and describe. In partners, have students study this exercise for patterns in both rhythm and pitch. Where are there repeated patterns? Where are there slight changes in the patterns? Discuss how these observations can impact their performance of this exercise.

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3. A MinorListen and describe. In partners, have students listen to the Practice Track, and before doing so, review the tempos and defini-tions they have learned so far (Andante, Moderato, Allegro). As they listen, ask them to consider which tempo marking would be most fitting for this song and why.

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4. D MinorAnalyze and describe. In partners, have students study this exercise in 2-measure phrases. Discuss how these observations can impact their performance of this exercise.

Review: Bowing Exercises — String Crossings28

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Student Book page 5

Steps to Success:❏ Hold bow correctly❏ Play using three different bow arm levels

Strategies for Success – Performance

Use of Bow: Slurs, String Crossings and Arm LevelsThe emphasis in this lesson is to concentrate on bowing, without the burden of difficult left hand notes or tricky finger patterns. Although students have been slurring and crossing strings for some time, this review lesson is a good opportunity to reassess their bowing skills and to begin to finesse the bow arm to a more advanced level.

For these exercises, make sure that students are doing the following:• Performing with a correct bow hand shape and loose fingers.• Bowing smoothly with a nice tone quality. Bow arm and bow hand should be loose at all times.• Playing string crossings with a flexible wrist and right elbow that is moving fluidly. • Using three different bow arm levels as they slur across the three strings.

Rote ExperiencesModel string crossings (separate bows and slurs) on open A, D, and G strings only. Play simple one – or two – measure patterns in call and response style using separate bows, two-note slurs and three-note slurs. Have students repeat each pattern you play until bowing is fluent.

Independent MusicianEncourage students to practice bowing exercises in front of a mirror so they can check that their arm is maintaining different levels during string crossings.

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Student Book – Page 55. Open String Slurs

6. Separate Crossings

7. Careful Bowings

8. Three String Slur

9. The Swift Up Bow

10. All About the Bow

X

X XX X

X

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

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Listen

and desc

ribe

AssessCon

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ns!

Practice and Assessment• Repeat and reinforce exercises until all students are able to perform them accurately and with group pulse.• Have students reflect on their own developing skills by completing the Self-Evaluation – pages 4-5. Collect their papers

and address any difficulties they identify before moving ahead.• Summarize learning with students by discussing the objectives and photos at the top of the page.

Strategies for Success – Musical Understanding

5. Open String SlursRead and notate. Assign selected activities in Rhythm Basics from pages 10-12 (lines 59-82). See page TE15 in Rhythm Basics Teacher’s Edition for information, including suggested dictation examples. Take time to review students’ work and provide feedback, as needed.

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Print Date5/31/13 117F

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6. Separate Crossings

7. Careful BowingsListen and describe. Before students look at the music for this song, play the Practice Track (without the student part) and ask them to determine the bowing style they will need to play to best match the accompaniment (ie. smooth legato strokes, bold staccato, etc).

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8. Three String Slur

9. The Swift Up BowListen and describe. Have students listen to the Mariachi-style Practice Track (without the student part). Ask them to determine what instruments enter after the repeat [two trumpets].Connections! IPS. Thesaurus Time: Swift.

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Review: Finger Patterns

Student Book page 6

Steps to Success:❏ Violin/Viola – Play D Major 2-3 finger pattern❏ Violin/Viola – Play D minor 1-2 finger pattern❏ Violin/Viola – Play G minor 1-2 finger pattern❏ Cello – Play D Major 1-3 finger pattern❏ Cello – Play D minor 1-2 finger pattern❏ Cello – Play G minor 1-2 finger pattern❏ Bass – Play D major 1-4 finger pattern❏ Bass – Play D minor 1-2 finger pattern❏ Bass – Play G minor with low 1st finger on B b


Finger PatternsStudents need to be aware of the various key signatures on this page. A discussion should take place prior to playing each exercise so students recognize the appropriate finger patterns on each string.

Ear TrainingTo develop the students’ sense of tonality and pitch center, add the tonic pitch to create a duet for exercises 11 and 13. Divide the class into two groups and have one group play half notes on D (tonic pitch) while the other group plays the written exercise. Switch parts.

Rote ExperiencesBegin each exercise with a rote experience that reinforces the finger patterns and key signature used. Play simple call and response exercises based on the 5-note patterns in the melodies found on page 6.

Bass ½ PositionChances are the basses have not played in ½ position for quite some time. Review ½ position with bass players prior to playing 15. Pat-A-Pan. Initially, they will be more successful if these exercises are played at a slower tempo. They may need reinforcement to regain fluency in ½ position.

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Student Book – Page 611. D to A in D Major

12. Musette

13. D to A in D Minor

14. Minuet

15. Pat-A-Pan

XX

X

X

X X

XX

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!


Practice and Assessment• Ongoing feedback—to the class, small groups, and individual students—is essential for skill development. Repeat and

reinforce exercises until all students are able to demonstrate skills consistently.• Use one of the Test Line Rubrics (A,B, or C) to provide formal written feedback as students play 14. Minuet.• Summarize learning with students by discussing the photos at the top of the page.

11. D to A in D MajorRead and notate. Assign Rhythm Basics page 13 (lines 83-90). Take time to review students’ work and provide feedback, as needed.

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˙ œ œ œ œ

www

œœœœ

4

4

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

N.C.

4

4

3

3

1.

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

1.

œ œ œ œ

œ œ œ œ

4

4

2.

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

2.

œ œœœ˙

œ œ ˙

A7 D

4

Johann Sebastian Bach (1685–1750) German Composer

4

1



&

B

?

?

&

?

b

b

b

b

b

b

44

44

44

44

44

44

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ≥œ œ œ œ œ œ œ




˙ ˙#

œœœœœœœœ

Dmi Dmi(MA7)

4

4

[Œ = 72]

135





˙“ ˙˙n

œœœœœœœœ

Dmi7 Dmi6





˙˙{

˙˙

œœœœœœœœ

BbMA7/D A7sus

245

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

œœœœœœœ

Dmi



35

117F

12. Musette Read and notate. You might approach Musette as a sight reading line. Before playing, have students study the music and consider the following:

1. Study the pitches. What finger pattern do you use?2. Study the rhythm. Silently practice any measures that could be tricky.3. Study the other markings.

Connections! IPS. Definition of Musette.

13. D to A in D Minor Analyze and describe. In partners, have students compare 13. D to A in D Minor to 11. D to A in D Major. The exercises are the same except for one pitch. What is the pitch that makes one exercise sound major and the other exercise sound minor?

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #

44

44

44

44

44

44

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ≥





...˙ œœœ

œœ

œœ

œœ

œœ

D

11. D to A in D Major4

11. D to A in D Major

4

125

[Œ = 72]





...˙n œœœ

œœ

œœ

œœ

œœ

D7

4

4

124





˙ ˙

œœ

œœ

œœ

œœ

G

4

4

135

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙b ˙

œœ

œœ

œœ

œ

Gmi D



test Linetest Line

&

B

?

?

&

?

b

b

b

b

b

b

43

43

43

43

43

43Accomp.

Vln.

Vla.

Cello

Bass

œ≥œ œ

œ≥ œ œ

œ≥ œ œ

œ≥ œ œ

˙ œœ

œ œ œ

Dmi

Moderato

F

F

F

F

[Œ = 92]

15

2 1

F

œ œ œ

œ œ œ

œ œ œ

œ œ œ

˙ œ

˙# œ

A/C# Dmi

4

4

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ ˙

œ œ# œn œ œ

A7sus A7

4

4

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ ˙

œ œ œ

Dmi

Johann Sebastian Bach (1685–1750) German Composer

1

&

B

?

?

&

?

b

b

b

b

b

bAccomp.

Vln.

Vla.

Cello

Bass

œ œ œ

œ œ œ

œ œ œ

œ œ œ

˙ œœ œ œ

1 2

2 3

œ œ œ

œ œ œ

œ œ œ

œ œ œ

˙ œ

˙# œ

A7 Dmi

4

4

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ# œn œ œœ œ œ œ œ

Eø7 A7

3

2 1

1 3

.˙

.˙

.˙

.˙

.˙

œ œ œ œ œ

Dmi



36

117F

14. MinuetConnections! IPS. Formal fashion during Bach’s lifetime.Assess. A few days before the formal assessment of this line, introduce the Test Line Rubric (Interactive Teacher Studio) you will use to provide individual feedback to students on their performance – Test Line Rubric A, B, or C. Depending on the Rubric you choose, either review the given criteria or lead the class to agree on the three most important skills required of the exercise and the criteria for a satisfactory performance. Provide an exemplary model of each skill. On test day, use the Rubric to provide feedback to each student. As needed, encourage students to use your feedback, continue practicing, and replay the exercise at a later date.

&

B

?

?

&

?

bb

bb

bb

bb

bb

bb

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ

≥

œ

œ≥

œ

œ≥

œ

œ≥

œ

œ œ œ œ

œ œ œ œ

N.C.

Allegro

F

F

F

[Œ = 116]

F

F Pos.

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ>œ œ œ œ

Gmi

4

4

5

4

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ# œ œ œ

œ>œ œ

œœ

D7

5

2 1

1

˙ ˙

˙ ˙

˙ ˙

˙ ˙

œ œ œ œ ˙

œ>œ œ œ œ

Gmi

4

4

˙ œ œ

˙ œ œ

˙ œ œ

˙ œ œ

Œ œ# œ ˙

œ>œ œ œ

œ

D7 Gmi

French Carol

2

4

1

&

B

?

?

&

?

bb

bb

bb

bb

bb

bbAccomp.

Vln.

Vla.

Cello

Bass

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

Œ œ œ œ œ

œ>œ œ œ

œ

D7 Gmi D75

40

˙ œ œ œ œ

˙ œ œ œ œ

˙ œ œ œ œ

˙ œ œ œ œ

œ œ œ œ œ ‰ Jœ

œ>œ œ œ œ

Gmi5

5

4

˙ œ œ œ œ

˙ œ œ œ œ

˙ œ œ œ œ

˙ œ œ œ œ

œ ‰ Jœ œ œ œ œ

œ>œ œ œ œ

4

f4

f

f

f

3

f

˙ œ œ

˙ œ œ

˙ œ œ

˙ œ œ

œ# œ Œ œ

œ>œ œ œ

œ

D7 Gmi2 2



37

117F

15. Pat-A-PanListen and describe. Have students listen to the Practice Track and identify if Pat-A-Pan sounds major or minor. Together, discuss how they determined their answer.Connections! IPS. France map and flag. Burgundy region and the town of Autun.

38

117F

&

B

?

?

&

?

bb

bb

bb

bb

bb

bbAccomp.

Vln.

Vla.

Cello

Bass

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ>

œ œ œœ

D7 GmiD73

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ Œ Œ œ# œ

œ>

œ œ œ œ

Gmi Cmi D74

˙ ˙

˙ ˙

˙ ˙

˙ ˙

œ œ œ œ œ œ œ#

œ>

œ œ œœ

4

4

3

w

w

w

w

œ œ œ œ œ œ œ# œ

œ>

œ œœ

œ

Gmi D71 1

˙

˙

˙

˙

œ>œ>

œ>

œ>

Gmi

p

p

p

p

p

117F_015 Pat-A-Pan - p.2

Print Date5/31/13117F


15. Pat-A-Pan (continued)

Review: Low 1st Finger 39

117F

Student Book page 7

Steps to Success:❏ Violin/Viola – Play open finger pattern❏ Violin/Viola – Play “low” 3-4 finger pattern❏ Cello – Play open finger pattern with low 1st finger❏ Cello – Play 1-2 finger pattern❏ Bass – Play ½ position❏ Identify half steps and whole steps❏ Understand and play a tempo❏ Identify major and minor key signatures


Open Finger Pattern – Violin and ViolaDiscuss the photo and fingerboard diagram in the student book at the top of the page. On the D string, Eb – F – G – A are all whole steps and the fingers should be evenly spaced between each note. With this new finger pattern:

• Students hold up the left hand and spread fingers so all fingers are spaced apart.• It is imperative that the left elbow is tucked nicely under the instrument for proper left hand shape and to allow pinky to

extend properly.Open finger pattern is a particularly challenging stretch of the left hand (especially for violists playing large instruments). First attempts may be out of tune, however, slowly repeating these whole steps over and over will help the left hand become stronger.

Low 3-4 Finger Pattern – Violin and ViolaIn 18 and 19, violins and violas play the low 3-4-finger pattern on the A string. Review the pattern before playing these exer-cises. Students often overcompensate when playing low 4, and the pinky pushes their 3rd finger back too far. The result is poor intonation.

Cello Left HandDiscuss the photo and fingerboard diagram at the top of page 7. This is the first left hand backward extension the cellos have experienced in Book 3. Take time for students to silently finger the low extension Eb – F – G on the D string before playing. Note that exercise 18 has the potential to be played out of tune. As students prepare for Eb while playing open D, have them roll the thumb and point the 1st finger towards the location for Eb . When descending to the C, have them roll the thumb back so that they are back into a solid 1st position posture.

Rote ExperiencesIntroduce the low first finger patterns by rote before reading the printed page of this lesson. Play patterns beginning with low1 (½ position bass) on the D string. Keep call and response patterns simple using notes Eb, F, G and A.

New! Terms & Symbols:• a tempo

40

117F


Student Book – Page 716. Open Pattern

17. Challenger Deep

18. Bb to Eb in Bb Major

19. The Rakes of Mallow

20. Steps to Learning Theory

X

XXX

X

X X

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

Practice and Assessment• Repeat and reinforce exercises until all students are able to perform them accurately and with group pulse.• Take time to check students’ understanding of the concepts and symbols that appear on this page, including half steps,

whole steps, and a tempo.

16. Open PatternRead and notate. Bring Rhythm Basics Unit 3 to conclusion with page 14. Together, discuss Composition Basics: “The End” before students complete Composition Time.

&

B

?

?

&

?

44

44

44

44

44

44

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œb œ œ œ œ œ œ

œ≥ œb œ œ œ œ œ œ



‰ œœœ œœœ ‰ jœœœ ‰ jœœœ ‰ jœœœ

jœ‰ jœ ‰ jœ

‰ jœ ‰

Dmi

16. Open Pattern4

16. Open Pattern

4

[Œ = 72]

241 0

œ œb œ œ œ œ œ œ




‰ œœœb œœœ‰ jœœœ

‰ jœœœ‰ jœœœ

jœ‰ jœ ‰ jœ

‰ jœ ‰

Aø7/D





‰ œœœ œœœ ‰ jœœœ ‰ jœœœ ‰ jœœœ

jœ‰ jœ ‰ jœ

‰ jœ ‰

Dmi

˙ ˙

˙ ˙

˙ ˙

˙ ˙

‰ œœœjœœœ

˙


125

2



41

117F

17. Challenger DeepListen and describe. This song features two Practice track accompaniments in different styles. Have students listen to both. Do they have a preference for one more than another? Why? After students learn about Challenger Deep and The Mariana Trench, does one accompaniment seem to create the perfect mood for a scientific expedition down deep into the ocean’s water? How so?Connections! IPS. The Mariana Trench.

&

B

?

?

&

?

&

?

bb

bb

43

43

43

43

43

43

43

43

Accomp.(Version 1)

Vln.

Vla.

Cello

Accomp.(Version 2)

Bass

œ≥

œb œ

œ≥ œb œ

œ≥ œb œ

œ≥ œb œ

‰ jœœ œœ œœ œœ

.˙

œœb . œœ. œœ# . œœ. œœ.

œ.œ. œ.

Cmi(add2)

Cmi

17. Challenger Deep

F

Moderato

F

F

F

with pedal

[Œ = 84]

23

1

F

24

2

F ½ Pos.

œœ œ

œœ œ

œœ œ

œœ œ


œn ˙b

œœb“ . œœ. œœ“ . œœ. œœ.

œ.œ. œ.

G7 #5/B Bbsus

G7 b9/C

34

24

2

œ œ œb œ œ

œ œ œb œ œ

œ œ œb œ œ

œ œ œb œ œ


œ ˙b

œ œb œb œ# œ

œb œ œ œb œ

F9 AbMA7

Cmi Ab7 Cmi

35

1 2

2 1

œ œ œ

œ œ œ

œ œ œ

œ œ œ


˙ œn

œ“ œb œ œ œ“

œ œ œ“ œb œ

G7

G7 b9

5



Rock Ballad

Sci-fi

42

117F

17. Challenger Deep (continued)

&

B

?

?

&

?

&

?

bb

bbAccomp.

(Version 1)

Vln.

Vla.

Cello

Accomp.(Version 2)

Bass

œ œb œ œ œ œ

œ œb œ œ œ œ

œ œb œ œ œ œ

œ œb œ œ œ œ

œ œn œ œ œ œ

˙ œ œ

œœ. œœ. œœ# . œœ. œœ.

œ. œ“ . œ.

G9

Dmi A7 #5 Dmi

4

4

3

1

35

5 2

œb œ œ œ œb œ

œb œ œ œ œb œ

œb œ œ œ œb œ

œb œ œ œ œb œ

œ œ œ œ œ œ

œ œ œ œ

œœb . œœ. œœ. œœ. œœ.

œ“ .œ. œb .

Eb Cmi Eb

Cmi G7 Cmi7

4

3

œ œb œ œ

œ œb œ œ

œ œb œ œ

œ œb œ œ

œ œ œ œ œ œœ#

œb œ œ# œ

œ œ œb œ# œœ

œ# œ œ#

Fmi Cmi D7

Fmi D7 b9 D7

4

4

3 4 3

2 1 2 4

2

.˙

.˙

.˙

.˙


œ œ œ œ“ œ

œœ“b. œœ

. œœ# . œœ. œœ

œ“ . œ. œ

Gmi Aø7 Gmi

Gmi D7 Gmi

35

25

12 3

1 2

14

117F_017 Challenger Deep - p.2



43

117F

18. B b to Eb in Bb Major

&

B

?

?

&

?

bb

bb

bb

bb

bb

bb

c

c

c

c

c

c

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ≥ œ œ œ œ œ


œ≥

œ œ œ œ œ

œ≥

œ œ œ œ œ

œœœ.œœœ.

œœœ.œœœ.

œ. œ. œ. œ œ

Bb F7sus

18. Bb to Eb in Bb MajorAndante [Œ = 84]

125

2

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœ.œœœ.

œœœ. œœœ.

œ. œ. œ. œ.

Bb Ebadd2 Eb/F235

4

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœ.œœœ.

œœœ.œœœ.

œ. œ. œ. œ œ

Bb F7sus

2 4

˙ ˙

˙ ˙

˙ ˙

˙ ˙

Œ œœœ.˙

œ. œ. œ. œ>

Bb F7sus Bb

5



44

117F

19. The Rakes of MallowRead and notate. Duplicate and distribute Rhythm Basics Teacher’s Edition pages TE17, TE18, and/or TE19 to assess students’ understanding of quarter and eighth note rhythms. See pages TE4 and TE16 for information on these assessments.Listen and describe. Together, view or listen to a performance of The Rakes of Mallow, and have students focus on the mood or feeling communicated in the performance. What else do they hear that might be applied to their own performance of the theme? Give students time to talk about their observations with a partner before sharing with the class.Connections! IPS. Ireland map and flag. The town of Mallow.

&

B

?

?

&

?

bb

bb

bb

bb

bb

bb

c

c

c

c

c

cAccomp.

Vln.

Vla.

Cello

Bass

œ≥ œ œ œ

œ≥ œ œ œ

œ≥

œ œ œ

œ≥

œ œ œ

Œ œœŒ œœ

œ Œ œ Œ

Bb

F

Allegro

F

F

24

2 5

[Œ = 124]

F

F

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

Œ œœ œœŒ œœ

œ Œ œ Œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

Œ œœŒ œœ

œ Œ œ Œ

F715

1

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

Œ œœ œœŒ œœ

œ Œ œ Œ

Irish Folk Song

&

B

?

?

&

?

bb

bb

bb

bb

bb

bbAccomp.

Vln.

Vla.

Cello

Bass

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

Œ œœŒ œœ œœ

œ Œ œ Œ

Bb

œ œ œUŒ

œ œ œUŒ

œ œ œU Œ

œ œ œU Œ

Œ œœb œœ

U Œ

œ œ œU

œ

Bb7 Eb

f

,

f

,

f

,

24

4 5 3

rit.

rit.

rit.

rit.

rit.

a tempo

a tempo

a tempo

a tempo

a tempo

f

,

f



œ≥


œ≥


Œ œœ“ œœŒ œœ

œ Œ œ Œ

F7

14

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œœ œœ ˙

œ œ ˙

Eb F7 Bb25

2



20. Steps to Learning TheoryRead and notate. Duplicate and distribute Key Signatures I worksheet (Interactive Teacher Studio). Have students write each key signature and corresponding major and minor scales.

45

117F

&44 ....œ≥œb œ œ œ œ œ œ

16. Open Pattern

4

œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ ˙ ˙

&43œ≥œb œ

17. Challenger Deep

F

Moderato

œœ œ œ œ œb œ œ œ œ œ œ œb

œ œ œ œ4

œb œ œ œ œb œ œ œb œ œ4

.˙

18. B to E in B Major

& bb c œ≥ œ œ œ


F

Allegro

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Irish Folk Song

& bb œ œ œ œ œ œ œUŒ

f

,

rit.

a tempoœ≥ œ œ œ œ œ œ œ œ œ ˙

20. Steps to Learning TheoryName the major key for each key signature below.

&##

________

&#

________

&________

& bb

________

117VN

7

Printed 1/28/13 at 11:39 AM

Half Steps/ Whole Stepsa tempo

b b b

& bb c ....œ≥ œ œ œ œ œAndante

œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

? 44 ....œ≥ œb œ œ œ œ œ œ

16. Open Pattern


? 43 œ≥ œb œ

17. Challenger Deep

F

Moderato

œœ œ œ œ œb œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œb œ œ œb œ œ .˙

? bb c ....œ≥

œ œ œ œ œ

18. Bb to Eb in Bb MajorAndante


? bb c œ≥

œ œ œ


F

Allegro


Irish Folk Song

? bb œ œ œ œ œ œ œU Œf

,

rit.

a tempo

œ≥

œ œ œ œ œ œ œ œ œ ˙

? # #


? # ? ? bb

117CO

7

Printed 4/25/13 at 3:08 PM


&44 ....œ≥œb œ œ œ œ œ œ

16. Open Pattern

4


&43œ

≥œb œ

17. Challenger Deep

F

Moderato


œ œ œ œ4


.˙




F

Allegro


Irish Folk Song


f

,

rit.



&##

________

&#

________

&________

& bb

________

117VN

7



b b b



B 44 ....œ≥ œb œ œ œ œ œ œ

16. Open Pattern4


B 43 œ≥ œb œ

17. Challenger Deep

F

Moderato

œœ œ œ œ œb œ œ œ œ œ œ œb œ œ œ œ

4œb œ œ œ œb œ œ œb œ œ4 .˙

B c ....œb ≥ œ œ œb œ œ


œb œ œ œb œ œ œb œ œ œb œ œ ˙b ˙

B bb cœ≥ œ œ œ


F

Allegroœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Irish Folk Song

B bb œ œ œ œ œ œ œUŒ

f

,

rit.


B # #


B # B B bb

117VA

7



&44 ....œ≥œb œ œ œ œ œ œ

16. Open Pattern

4


&43œ

≥œb œ

17. Challenger Deep

F

Moderato


œ œ œ œ4


.˙




F

Allegro


Irish Folk Song


f

,

rit.



&##

________

&#

________

&________

& bb

________

117VN

7



b b b



&44 ....œ≥œb œ œ œ œ œ œ

16. Open Pattern

4


&43œ

≥œb œ

17. Challenger Deep

F

Moderato


œ œ œ œ4


.˙




F

Allegro


Irish Folk Song


f

,

rit.



&##

________

&#

________

&________

& bb

________

117VN

7



b b b



&44 ....œ≥œb œ œ œ œ œ œ

16. Open Pattern

4


&43œ

≥œb œ

17. Challenger Deep

F

Moderato


œ œ œ œ4


.˙




F

Allegro


Irish Folk Song


f

,

rit.



&##

________

&#

________

&________

& bb

________

117VN

7



b b b



B 44 ....œ≥ œb œ œ œ œ œ œ16. Open Pattern

4


B 43 œ≥ œb œ

17. Challenger Deep

F

Moderato








F


Irish Folk Song


f

,

rit.


B # #


B # B B bb

117VA

7



B 44 ....œ≥ œb œ œ œ œ œ œ16. Open Pattern

4


B 43 œ≥ œb œ

17. Challenger Deep

F

Moderato








F


Irish Folk Song


f

,

rit.


B # #


B # B B bb

117VA

7



? 44 ....œ≥ œb œ œ œ œ œ œ

16. Open Pattern


? 43 œ≥ œb œ

17. Challenger Deep

F

Moderato


? bb c ....œ≥

œ œ œ œ œ



? bb c œ≥

œ œ œ


F

Allegro


Irish Folk Song


,

rit.

a tempo

œ≥


? # #


? # ? ? bb

117CO

7



? 44 ....œ≥ œb œ œ œ œ œ œ

16. Open Pattern


? 43 œ≥ œb œ

17. Challenger Deep

F

Moderato


? bb c ....œ≥

œ œ œ œ œ



? bb c œ≥

œ œ œ


F

Allegro


Irish Folk Song


,

rit.

a tempo

œ≥


? # #


? # ? ? bb

117CO

7



Review: High 3rd Finger (Violin, Viola)/Forward Extension (Cello)

Student Book page 8

Steps to Success:❏ Violin/Viola – Play 3-4 finger pattern on the G string❏ Cello – Play forward extension on the G string❏ Bass – Shift to C# and D on the G string❏ Play staccato


Finger PatternsStudents need to be aware of the various key signatures on this page. Discuss the key signature prior to playing each exercise so students prepare for the appropriate finger patterns on each string.

Rote ExperiencesBegin the lesson with a rote experience that reinforces the finger patterns and key signatures you are working on. Use patterns similar to the lines of music found on page 8.

Rhythm and PulseIt would be beneficial to have students count aloud the rhythms on 23. Theme from “Serenade for Strings” before playing. This tune contains eighth notes, sixteenth notes, and a combination of the two. After counting, consider playing the tune pizzicato before arco, to further solidify the rhythm and style of this piece.

Use of BowLine 23 presents the staccato bow stroke for the first time in Book 3. Have the class play the first line on an open string to re-famil-iarize themselves with the short and separate bow stroke needed (be sure to leave out any slurs when playing rhythms on the open string).

Independent MusicianHave students mark any sharps, extensions (x2), or bowings they may need with their pencils.

Student Book – Page 821. The C# Stretch – Duet

22. Now is the Month of Maying

23. Theme from “Serenade for Strings”

24. Coventry Carol

X

X X X

X X

X X

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

Practice and Assessment• Repeat and reinforce exercises until all students are able to perform them accurately and with group pulse.• Summarize learning with students by discussing the objectives and photo at the top of the page.

46

117F

47

117F

21. The C# Stretch – DuetRead and notate. Exercises on pages 8-10 continue to review

4

4, 2

4, and 3

4 meters, including pick-up notes. Focus on rhythm alone by assigning Unit 4 in Rhythm Basics. Begin with Rhythm Basics pages 16-17 (lines 91-104). See pages TE2 and TE20 in Rhythm Basics Teacher’s Edition for information on the various rhythm activities, including suggested dictation examples. As students complete the rhythm activities, take time to review their work and provide feedback, as needed.

&

&

B

B

?

?

?

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

44

44

44

44

44

44

44

44

44

44

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Accomp.

Cello

Bass

Vln.

Vla.

1st x

2nd x

œ≥

œ œ œ

œ≥

œ œ œ

œ≥ œ œ œ

œ≥

œ œ œ

œ≥ œ œ œ

œ≥

œ œ œ

œ≥ œ œ œ

œ≥

œ œ œ

Ó ‰ jœœ œœ. œœ.

.

.œœ

jœœ.

˙˙

A G/A A G/A

[Œ = 84]21. The C# Stretch - Duet

0

0

x2

24

2 4

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

˙ Œ œœ. œœ.

.

.œœ

jœœ. œ œ

œ.œœ.

A7 D D/A24

2

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

‰ jœœ ‰ jœœ œœ œœ

.

.œœ

jœœ.

.

.œœ

jœœ.

G/A A G/A

4

4

x2

14

25

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙

œœœ œœœ ˙

.

.œœ

jœœ. œ œ

œ

.œœ

.˙

A7 D



48

117F

22. Now Is the Month of MayingListen and describe. Together, view or listen to a performance of Now is the Month of Maying by Thomas Morley. What do students hear that might be applied to their own performance of this melody? And, how is the performance different from the music printed in their books? Give students time to talk about their observations with a partner before sharing with the class.Connections! IPS. Thomas Morley and lyrics.

&

B

?

?

&

?

#

#

#

#

#

#

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ≤

œ≤

œ≤

œ≤

œ

œ

D

Allegro

F

F

F

2

5

F

[Œ = 128]

F

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

˙ œœ œœ

˙ œ œ

G D25

2

˙ œ œ

˙ œ œ

˙ œ œ

˙ œ œ

˙ œœ œœ

˙ œ œ

G

.œ jœ œ œ#

.œ jœ œ œ#

.œ jœ œ œ#

.œ jœ œ œ#

˙ œœ œœ#

˙ œ œ

Emi A

x2

Thomas Morley (1559–1602) English Composer

4 1

&

B

?

?

&

?

#

#

#

#

#

#

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

˙ œ œ œ

˙ œ œ œ

˙ œ œ œ

˙ œ œ œ

wœ œ œ œ ˙

˙ ˙

D

p

4

p

p

4

p

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ œ

˙ ˙

Ami G

n

n

n

1

3

p

n

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

˙ ˙

.œ jœ ˙

D

f

f

f

15

f

4

4

œ œ .œj

œ

œ œ .œ jœ

œ œ .œ jœ

œ œ .œ jœ

..œœjœ ˙

˙ œ œ œ

G Gsus D15

f

˙Œ

˙ Œ

˙ Œ

˙ Œ

œ œ œ œ œ

.˙

G



49

117F

23. Theme from “Serenade for Strings”Analyze and describe. In partners, have students study this exercise in 2-measure phrases. Where are the phrases the same? Where are there slight changes? Discuss how these observations can impact their performance of this exercise.Connections! IPS. Tchaikovsky and his Serenade.

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #

42

42

42

42

42

42Accomp.

Vln.

Vla.

Cello

Bass

œ.

≥œ. œ. œ.

œ.≥

œ. œ. œ.

œ.≥ œ. œ. œ.

œ.≥ œ. œ. œ.

jœœ ‰ jœœœ‰

Jœ ‰ Jœ ‰

D/F# A/E

F

4

Allegro

F

F

4

[Œ = 84]

15

2

F

F

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

jœœ ‰ jœœ ‰

Jœ ‰ jœ ‰

Bmi/D A/C#

4

4

x2

25

25

4

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

jœœ ‰ jœœœ‰

Jœ ‰ Jœ ‰

D A/E

4

4

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

jœœ ‰ jœœ ‰

Jœ ‰ jœ ‰

Bmi/D A/C#

Peter Ilyich Tchaikovsky (1840–1893) Russian Composer

25

25

3

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

jœœ ‰ jœœœ ‰

jœ ‰ Jœ ‰

G/B D

13 1

24

œ œ œ œ. œ.

œ œ œ œ. œ.

œ œ œ œ. œ.

œ œ œ œ. œ.


Jœ ‰ Jœ ‰

Emi7G D

4

4

124

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.


jœ ‰ Jœ ‰

G/B D

1.

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

1.jœœ ‰ jœœœ‰

Jœ ‰ Jœ ‰

Emi7/G A/E

3

2.

œ œ œ œ œU

œ œ œ œ œU

œ œ œ œ œU

œ œ œ œ œU

2.jœœ ‰ œœœU

Jœ ‰ œU

Emi7/G D



50

117F

24. Coventry CarolRead and notate. You might approach Coventry Carol as a sight reading line. Before playing, have students study the music and consider the following:

1. Study the pitches. What finger patterns do you use?2. Study the meter and rhythm. What patterns do you see? 3. Study the bow markings and silently plan your bow distribution.

Listen and describe. Have students listen to the Practice Track and identify if Coventry Carol sounds major or minor. Together, discuss how they determined their answer.Connections! IPS. A few facts from the 16th century.

&

B

?

?

&

?

b

b

b

b

b

b

43

43

43

43

43

43Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ œ#

œ≥

œ œ#

œ≥ œ œ#

œ≥ œ œ#

Œ ˙

œ œ ˙

Dmi

Andante4

p4

p

p

p

[Œ = 92]

with pedal3 1

3

p

˙ œ

˙ œ

˙ œ

˙ œ

Œ ˙

œ œ œ œ

Dmi7/C

4 1

˙ œ

˙ œ

˙ œ

˙ œ

Œ œœ œœ

œnœ œ

œ

Bø7

35

4

.˙#

.˙#

.˙#

.˙#

Œœ{ œ# œ œ

œœ œ œ œ

A7 b9

English Carol

1 2 3

2 5

&

B

?

?

&

?

b

b

b

b

b

bAccomp.

Vln.

Vla.

Cello

Bass

œ œ œ

œ œ œ

œ œ œ

œ œ œ

Œ ‰ jœ“ œ œ

œ œ ˙

Dmi7

3 2 1

2 3

˙ œ

˙ œ

˙ œ

˙ œ

Œ ‰ jœ œ œ

œ œ ˙

C6

4 2 1

.˙

.˙

.˙

.˙

Œ Œ ‰ jœ#

œ œ œ œ œ

Dmi

3 5 3 2 1

2

˙ œ≤

˙ œ≤

˙ œ≤

˙ œ≤

œ œ œ

œ œ œ

F

4

P4

P

P

P

2 1

3

P



51

117F

24. Coventry Carol (continued)

&

B

?

?

&

?

b

b

b

b

b

bAccomp.

Vln.

Vla.

Cello

Bass

˙ œ

˙ œ

˙ œ

˙ œ

Œ œœ œœ

œœ ˙

Gmi7 F24

˙ œ

˙ œ

˙ œ

˙ œ

Œ œœ œœ

œ œ œ œ œ

C Dmi13

4 1 3 1

˙ œ

˙ œ

˙ œ

˙ œ

Œ œœ œœœ œ œ œ œ#

C Gmi7

14

2 51 3

.˙#

.˙#

.˙#

.˙#

..˙#œ œ œ

A7

23

&

B

?

?

&

?

b

b

b

b

b

bAccomp.

Vln.

Vla.

Cello

Bass

œ œ# œ

œ œ# œ

œ œ# œ

œ œ# œ

.˙

..˙

BbMA7

4

p

p

14

4

p

p

p

˙ œ˙ œ

˙ œ

˙ œ

Œ ˙

Œ ˙

C

.˙#

.˙#

.˙#

.˙#

Œ ‰ jœ œ œ#

œ œ ˙

D

1

2 4

.˙

.˙

.˙

.˙

.˙

œ˙

117F_024 Coventry Carol - p.2



Louré Bowing/Review: F# on C String (Viola, Cello)

Student Book page 9

Steps to Success:❏ Identify and play Louré bowing❏ Understand Adagio


Video Lesson #1 – Special Bowing Techniques [Length - 5:01]In this video, Ms. Shade teaches three bowing techniques: Louré, bow retrieval, and advanced spiccato. The first portion of the lesson (0:00-2:06) is devoted to Louré, the execution of long hooked notes. Key elements include:

• When playing Louré, there is a slight separation between notes when played on a series of down bows and up bows.• Another word for Louré is Portato, and in String Basics, the term Louré is used.• The notation is written with a dash placed under or over each note.• Start trying Louré on an open D in

3

4 time, using a half note followed by a quarter note. In the demonstration, notice the slight separation within the legato sound.

• Compare the difference between hooked bowing and Louré.• Listen to a portion of 25. Louré - Quartet (Part A) for a sampling of Louré.

Use of BowIn this lesson, Louré bowing style is indicated by dashes over or under the notes. Have students look for these indicators throughout page 9.

Discuss together the difference between separating the bowings in a legato style versus separating the bowings in a staccato style (indicated with dots). For the Louré technique, a slight separation between notes is far more challenging for students than a full stopping of the bow (hooked bow). Begin work on an open string, using plenty of repetition and reinforcement.

Rote Experiences: Louré TechniqueStart the lesson with call and response patterns on an open string in

3

4 time. Progress to patterns using a tetrachord, or including notes found in the lines of music throughout page 9.

Ensemble PlayingStudent book page 9 includes a quartet. For best success, introduce each line of the quartet before dividing the class into parts.

Independent MusicianEncourage violas and cellos to mark sharp signs over or under the F#s on the C string, as needed.

Video Lesson #152

117F

New! Terms & Symbols:• Louré• Adagio


Student Book – Page 925. Louré

26. Las Mañanitas

27. Danny Boy

X X X

X XX

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

Practice and Assessment• Ongoing feedback—to the class, small groups, and individual students—is essential for skill development. Repeat

and reinforce exercises until all students are able to demonstrate skills consistently.• Gather feedback from individual students on the new skill—louré bowing—by having them complete an Exit Slip (A,

B, or C).

Connections! [27. Danny Boy]Usually set to the melody, Londonderry Air, this Irish folk tune has been a beloved song for generations. Lyrics were written for Londonderry Air by Frederick Weatherly and published in 1913.

Frederick Weatherly (1848-1929) was an English lawyer, author, and lyricist. He was quite popular during his lifetime, having written lyrics to many, many popular songs. In 1910, he wrote lyrics for a song called Danny Boy, but it did not receive much attention as it seemed that the melody wasn’t strong enough. He searched for another melody without luck and ultimately moved on to other song projects.

Meanwhile, his sister-in-law Margaret Weatherly emigrated from England to the United States. She and her husband settled in Colorado and in 1913 happened upon a beautiful song being played by a group of Irish immigrants. She asked what the song was and they said it was a song from their homeland of Ireland. Margaret wrote it down, sent it to Frederick, and with minor alterations, his original Danny Boy lyrics fit the melody from Londonderry Air perfectly. The song became quite popular and was instantly published in England in 1913.

Since that time, many major artists have performed and recorded Danny Boy. Here is a small list of artists and groups who have given this song a special voice:Judy Garland Carly SimonHarry Belafonte Harry Connick, Jr.Bing Crosby The Irish TenorsElvis Presley Mormon Tabernacle ChoirSarah Vaughan Celtic Thunder

Lyrics for Verses 1 and 2:

Oh, Danny boy, the pipes, the pipes are callingFrom glen to glen, and down the mountain sideThe summer’s gone, and all the flow’rs are dying‘Tis you, ‘tis you must go and I must bide.

But come ye back when summer’s in the meadowOr when the valley’s hushed and white with snow‘Tis I’ll be here in sunshine or in shadowOh, Danny boy, oh, Danny boy, I love you so.

53

117F

54

117F

25. Louré – QuartetRead and notate. Assign Rhythm Basics pages 18-19 (lines 105-120). See page TE20 in Rhythm Basics Teacher’s Edition for suggested dictation examples. Take time to review students’ work and provide feedback, as needed.Listen and describe. This song features two Practice Track accompaniments. Have students listen to both. Do they have a preference for one more than another? Why?

&

&

&

&

B

B

B

B

?

?

?

?

?

?

?

?

&

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

A

B

C

D

A

B

C

D

A

B

C

D

A

B

C

D

Accomp.(Version 1)

Bass

Vln.

Vla.

Cello

Accomp.(Version 2)

˙≥- œ-

˙≥- œ-

œ≥

œ œ

œ≥

œ œ

˙≥- œ-

˙≥- œ-

œ≥

œ œ

œ≥

œ œ

˙≥- œ-

˙≥- œ-

œ≥

œ œ

œ≥

œ œ

˙≥- œ-

˙≥- œ-

œ≥ œ œ

œ≥ œ œ

‰ Jœœ œœ œœ# œœ

˙ œ œ

‰ Jœœ. œœ. œœ. œœ

˙ œ œ

D

D

25. Louré - QuartetAndante

4

F

F

P

P

F

F

P

P

F

F

P

P

24

5

P

P

24

2

[Swing eighths]

[Œ = 88]

F

F

P

P

x2 4

- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

‰ Jœœ ‰ J

œœ# œœ

˙ œ œ


˙ œ œ

- œ-

- œ-

œ œ œ

œ œ œ- œ-

- œ-

œ œ œ

œ œ œ- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

‰ Jœœ“ œœ œœ œœ

˙“ œ œ


˙ œ œ

Emi7

Emi7

4

24

24

.˙

œ œ œ

.˙

.˙

.˙

œ œ œ

.˙

.˙

.˙

œ œ œ

.˙

.˙

.˙

œ œ œ

.˙

.˙

‰ Jœœ ‰ J

œœ œœn

˙ œ œ


˙ œ œ

D7

D

24 2

5

24

2

117F

Country

Funk R&B

55

117F

&

&

&

&

B

B

B

B

?

?

?

?

?

?

?

?

&

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

# #

A

B

C

D

A

B

C

D

A

B

C

D

A

B

C

D

Accomp.(Version 1)

Bass

Vln.

Vla.

Cello

Accomp.(Version 2)

- œ-

- œ-

œ œ œ

œ œ œ- œ-

- œ-

œ œ œ

œ œ œ- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

‰ Jœœ ‰

Jœœ#

œœ

˙ œ œ

‰ Jœœ. œœ

. œœ. œœ

˙ œ œ

Emi7

Emi7

f

f

F

F

f

f

F

F

4

f

f

F

F

15

14

4

13

f

f

F

F

F

F

15

14

- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

- œ-

- œ-

œ œ œ

œ œ œ

‰ Jœœ ‰

Jœœ#

œœ

˙ œ œ

‰ Jœœ. œœ

. œœ. œœ

˙ œ œ

4

5

œ ˙

œ ˙

œ œ œ

œ œ œ

œ ˙

œ ˙

œ œ œ

œ œ œ

œ ˙

œ ˙

œ œ œ

œ œ œ

œ ˙

œ ˙

œ œ œ

œ œ œ

‰ Jœœ œœ œœ œœ“

˙“ œ œ


˙ œ œ

D/A A7

D/A A

4

35

25

5

42

4

35

12

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

‰jœœ œœ

œœ œœœ œ œ

‰jœœ.

œœ. œœ

. œœ

œ œ œ

D

D

p

p

p

p

p

p

p

p

p

p

p

p

14

15

p

p

p

p

4

p

p

14

117F_025 Louré - Quartet - p.2

117F

25. Louré (continued)

Assess. Duplicate and distribute one of the Exit Slips (Interactive Teacher Studio) to get feedback from individual students on how they are feeling about louré bowing – Exit Slip A, B, or C. In addition to your own observations, this information will help you plan next steps for instruction and practice.

56

117F

26. Las MañanitasConnections! IPS. Las Mañanitas. Soundbytes in Spanish.

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #

43

43

43

43

43

43Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

Œ

œ œ

A

f

Allegro

f

f

5 3

[Œ = 88]

f

f

.œ-jœ- œ œ

.œ- Jœ- œ œ

.œ- Jœ- œ œ

.œ- Jœ- œ œ

Œ œœ œ œœ œ.˙

D

4 0

04

35

2

.œ jœ œ œ

.œJœ

œ œ

.œ jœ œ œ

.œ jœ œ œ

Œ œœ œœœ œ

.˙

A7

35

.œ jœ œ œ

.œJœ

œ œ

.œJœ

œ œ

.œJœ

œ œ


D

- œ-

- œ-

- œ-

- œ-


G

Mexican Folk Song

15

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #Accomp.

Vln.

Vla.

Cello

Bass

.œ≤ jœ œ œ

.œ≤Jœ œ œ

.œ≤Jœ œ œ

.œ≤Jœ œ œ


D

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

Œ œœ œœœ œ

.˙

A7

œ- œ- œ

œ- œ- œ

œ- œ- œ

œ- œ- œ

Œ œœ œœ

˙ œ

D/A G/A A7

35

14

˙

˙

˙

˙

..œœ>œœ œœ

˙

D



57

117F

27. Danny BoyListen and describe. Together, view or listen to a performance of Danny Boy, and have students focus on the mood or feeling communicated in the performance. What else do they hear that might be applied to their own performance of the theme? Give students time to talk about their observations with a partner before sharing with the class.Connections! Danny Boy and lyricist Frederick Weatherly (Return to page 53 in this Teacher’s Edition).

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ≤

œ œ

œ≤ œ œ

œ≤ œ œ

œ≤ œ œ

œ œ œ

‰ Œ

A

Adagio

F

F

F

F

with pedal

3

[Œ = 66]

F

.œ-jœ- œ œ œ œ

.œ-Jœ- œ œ œ œ



œ ..˙

œ œ œ œ œ

D





Œ œ œ ˙

.œ Jœœ œ

Emi7

5

.œ- Jœ- œ œ œ

≥œ≤

.œ- Jœ- œ œ œ≥ œ≤



∑

œ œ œ œ œ

N.C.

f

f

f

f

f

1

˙ ‰œ≤

œ œ

˙ ‰ œ≤ œ œ

˙ ‰ œ≤ œ œ

˙ ‰ œ≤ œ œ

‰ Jœœ œ ˙œ

œ œ œ œ œ

Emi7 A

F

Irish Folk Song

F

F

F

124

F

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #Accomp.

Vln.

Vla.

Cello

Bass

.œ-jœ- œ œ œ œ




œ œ œ œ ˙n

œ œ œ œ œ

D D7

3 2

1





‰ Jœœ œ ˙

œœ œ œ œb

Emi7 Eø7

3

1 3

.œ-jœ- œ œ œ

≥œ≤




œ œ œ ‰ Jœ œ œœ

˙œ

œ

D/A A

rit.

rit.

rit.

rit.

rit.

1 4

˙≥ jœ

U

≥Jœ

U

≥Jœ

U

≥Jœ

U

‰ Jœb œ œœjœœ

U

œ œ jœU

Gmi D

314

13

2



A Major/D String: G# (Violin, Viola, Cello)/G String: G# (Bass)

Student Book page 10

Steps to Success:❏ Violin/Viola – Place high 3rd on G#

❏ Cello – Place extended 4th finger on G#

❏ Bass – Place 1st finger on G#

❏ Understand A Major key signature❏ Play A Major scale

New! Term & Symbol:• A Major


A MajorPage 10 introduces A Major. Students need to be aware of the new key signature, and they should also be able to identify the three sharps in the correct order (F#, C#, G#).

Discuss the photos and fingerboard diagram at the top of page. Even though students are learning G#, the finger patterns and hand positions are quite familiar and easy to transfer from previous learning.

Ear TrainingAs you can see, an E half note reference pitch is provided in the form of a duet for 28. Going for G# - Duet. This useful ear training stategy will help create a pitch center in the classroom.

Additionally for this page, use A tonic pitch along with 30. A Major Scale to reinforce good intonation. Divide the class into two groups and have one group play half notes on A while the other group plays the A Major Scale. Switch parts.

Rote Experiences: A Major/G#

Incorporate call and response patterns in A Major. Feature G# in the patterns and use ascending and descending tetrachords so that solid intonation is achieved in this new key.

New Note:

58

117F


Student Book – Page 1028. Going for G#29. Let’s Take Turns

30. A Major Scale

31. Sicilian Hymn

32. Bella Bimba

XX

XX

XX

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

Practice and Assessment• Repeat and reinforce exercises until all students are able to perform them accurately and with group pulse.• Use the Memorization Line Rubric to provide formal written feedback as students play 30. A Major Scale.• Summarize learning with students by discussing the photo at the top of the page.

59

117F

This is the Interactive Practice Studio Connection for 32. Bella Bimba.

60

117F

28. Going for G# – DuetRead and notate. Assign Rhythm Basics page 20 (lines 121-128). Take time to review students’ work and provide feedback, as needed.

&

&

B

B

?

?

?

?

&

?

44

44

44

44

44

44

44

44

44

44

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Accomp.

Cello

Bass

Vln.

Vla.

œ≥

œ œ# œ

˙≥

˙

œ≥ œ œ# œ

≥ ˙

œ≥ œ œ# œ

≥ ˙

œ≥ œ œ# œ

˙≥

˙

œœ# œœ œœ œœ

.œ jœ .œ jœ

E D/E

[Œ = 84]28. Going for G# - Duet28. Going for G# - Duet

x2

1

13

14

˙# ˙

˙ ˙

˙# ˙

˙ ˙

˙# ˙

˙ ˙

˙# ˙

˙ ˙

œœ œœ ˙

.œ jœ œ œ œ œ

E25

1

Pos.

œ# œ œ# œ

˙ ˙

œ# œ œ# œ

˙ ˙

œ# œ œ# œ

˙ ˙

œ# œ œ# œ

˙ ˙

œœ œœ œœ œœ

.œ jœ .œ jœ

D/E

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

œœ# œœ ˙#

.œ jœ œ œ œ

A/E D/E E13



61

117F

29. Let’s Take TurnsListen and describe. Have students listen to the Practice Track (without student part). Discuss imagery and how music can help motivate the imagination. What comes to mind when hearing this music?

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

44

44

44

44

44

44

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ œ œ

œ≥ œ œ œ

œ≥ œ œ œ

œ≥ œ œ œ

œœ. œœ. ‰Jœœ. ‰ œœ#

.œœ.

‰Jœœ.

jœ.‰ jœ.

‰ jœ.‰ jœ. ‰

A F#mi E7 #5 A

29. Let’s Take Turns

4Everyone

Andante

4

x2

24 1

3

4

[Œ = 88]

1 2

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

‰ Jœœ“ . ‰

Jœœ. ‰ œœ. œœ. ‰

Jœœ.

jœ.‰ jœ.

‰ jœ.‰ jœ. ‰

E7 D E7 D

Cello/Bass4

4

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

‰ Jœœ. ‰

Jœœ. ‰ J

œœ. ‰jœœ.

jœ.‰ jœ.

‰ jœ.‰ jœ.

‰

E7 D E7 D

Viola4

4

15

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

‰Jœœ. ‰ œœ

. œœ. ‰ J

œœ# . œœ

jœ.‰ jœ.

‰ jœ.‰ œ

E7 D E7 #5 A

4Violin

4

25

45

24



62

117F

30. A Major Scale – Memorization LineAssess. This is a memorization line to help students develop proficiency with the finger patterns of the A Major scale. Duplicate and distribute the Memorization Line Rubric (Interactive Teacher Studio). Discuss each element of the Rubric and model an exemplary performance. On performance day, use the Rubric to provide written feedback to students.

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

c

c

c

c

c

cAccomp.

Vln.

Vla.

Cello

Bass

˙≥

˙

˙≥

˙

˙≥

˙

˙≥

˙

œœn-

œœ.Œ

œœn-

œœ.Œ

œ œ œn œ

A7 G7

30. A Major Scale - Memorization Line[Swing eighths Œ = 104]

25

14

1 4 25

˙ ˙

˙ ˙

˙ ˙

˙ ˙

‰ jœœn .Œ

œœn-

œœ.Œ

œ œ œn œ

A7 G7

0

˙ ˙

˙ ˙

˙ ˙

˙ ˙

‰ jœœn .Œ

œœn[-

œœ.Œ

œ œ œ œ

A7 D7

14

2

˙ ˙

˙ ˙

˙ ˙

˙ ˙

œœ-

œœ.Œ

˙[

œ œ œ œ

E7 A

4

4

24

4 1 4

1 2

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #Accomp.

Vln.

Vla.

Cello

Bass

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœn-

œœ.Œ œœ

-

œœ.Œ

œ œ œ œ

D7 E7

4

25

25

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

‰ jœœn.

Œœœ#n-

œœ.Œ

œ œ œ œ

D7 A7

4

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

‰ jœœn.

Œœœ#n-

œœ.Œ

œ œ œ œ

D7 A7

4 14

œ œ ˙U

œ œ ˙U

œ œ ˙U

œ œ ˙U

œœ[-

œœ.Œ

˙n

U

œ œ ˙U

E7 A7



63

117F

31. Sicilian HymnConnections! IPS. Sicily and Mt. Etna.

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

˙≥

˙

≥ ˙

≥ ˙

≥ ˙


w

A D

Moderato

F

F

F

4 2 1 5

[Œ = 96]

F

F

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œœ

œœ œ œ œ

.˙ œ

A D A D/E4 5

5 5

˙ ˙

˙ ˙

˙ ˙

˙ ˙


w

A D4

œ- œ- œ- œ-

œ- œ- œ- œ-

œ- œ- œ- œ-

œ- œ- œ- œ-

œ œœ

œœ œ œ œ

.˙ œ

A D A D/E

Traditional

4 55

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #Accomp.

Vln.

Vla.

Cello

Bass

˙ ˙

˙ ˙

˙ ˙

˙ ˙


˙ ˙

A E/G#4 5 5

˙ œ œ

˙ œ œ

˙ œ œ

˙ œ œ

œ œ œ œ œ œ œ œ˙ ˙

F#mi7 E F#mi

4

4 5 4 4 2

1

4

˙ ˙

˙ ˙

˙ ˙

˙ ˙

œ œ œ œ œ# œ œ œ

˙ .œ jœ

E/B B7

4

.˙ Œ

.˙ Œ

.˙ Œ

.˙ Œ

œ œ œ œ ˙

œ œ œ œ œ

E

,

,

,

1

1

,

P



64

117F

31. Sicilian Hymn (continued)

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ œ œ

œ≥

œ œ œ

œ≥

œ œ œ

œ≥

œ œ œ

∑

.œ jœ ˙

E7

P

P

P

P

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

∑

.œ jœ .œ jœ

A/E E7

œ- œ- œ- œ-

œ- œ- œ- œ-

œ- œ- œ- œ-

œ- œ- œ- œ-

œ œ œ œ

.œ jœ ˙

A/E

F

4 0

4 0

F

F

F

F

œ- œ- ˙

œ- œ- ˙

œ- œ- ˙

œ- œ- ˙

œ œ œ œ

.œ jœ .œ jœ

D/E A/E E/D

2

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #Accomp.

Vln.

Vla.

Cello

Bass

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ œœœ œœœ

.œj

œ œ œ

A/C# D A/E

f

4

f

4

f

2 4 124

3

f

f

2

œ- œ- œ- œ-œ- œ- œ- œ-

œ- œ- œ- œ-

œ- œ- œ- œ-

œ œ œ œ œœ œœ

œ œ œ œ œ œ

F#mi7 Bmi7

13

15

3 4

˙ ˙

˙ ˙

˙ ˙

˙ ˙


.œ Jœ .œ jœ

A/E E7

3

.˙Œ

.˙ Œ

.˙ Œ

.˙ Œ

œ œ œ œ œœœŒ

.œ jœ œ Œ

A

2

117F_031 Sicilian Hymn - p.2



65

117F

32. Bella BimbaRead and notate. Duplicate and distribute instrument-specific Half Steps & Whole Steps I worksheets (Interactive Teacher Studio). Have students label each interval as a half or whole step.Read and notate. Duplicate and distribute Rhythm Basics Teacher’s Edition pages TE22, TE23, and/or TE24 to assess students’ understanding of

4

4, 2

4, and 3

4 meters, including pick-up notes. See pages TE4 and TE21 for information on these assessments. Connections! IPS. Pasta.

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

43

43

43

43

43

43

..

..

..

..

..

..

..

..

....

..

..

..

..

..

..

..

..

....

Accomp.

Vln.

Vla.

Cello

Bass

œ≤

œ≤

œ≤

œ≤

Œ

œ œ

E7

Allegro

F

F

F

1 3

F

F

œ≥ œ œ œ œ œœ≥ œ œ œ œ œ


œ≥

œ œ œ œ œ

Œœœ. œœ.

œ. Œ Œ

A

[Œ = 108]

24

2

4 1 2 1

œ. œ. œ œ

œ. œ. œ œ

œ. œ. œ œ

œ. œ. œ œ

Œ œœ. œœ.

œ.Œ Œ

E7 35

1.

œ. œ. œ œ

œ. œ. œ œ

œ. œ. œ œ

œ. œ. œ œ

1.

Œ œœ. œœ.

œ.Œ Œ

œ. œ. œ.≤

œ. œ. œ.≤

œ. œ. œ.≤

œ. œ. œ.≤

Œœœ. œœ.

œ. Œ œ œ

A E7

1 3

4

4

2.

œ. œ.œ œ

œ. œ. œ œ

œ. œ. œ œ

œ. œ. œ œ

2.

Œ œœ. œœ.

œ.Œ

œ.

E7 25

˙

˙

˙

˙

˙

œ. œ. œ>

A

Italian Folk Song



A Major/E String: G# (Violin, Bass)


Steps to Success:❏ Violin – Play high 2nd finger on G#

❏ Violin – Play upper octave A Major scale❏ Bass – Play 4th finger on G#


Finger Patterns – Violin and BassDiscuss the photos and fingerboard diagrams for violin and bass at the top of page 11. To play this new note G#, students will be able to transfer previous learning quite easily. Fingering and hand position are familiar.


New Note:

Student Book – Page 1133. G# on E String

34. Upper Octave A Scale

35. Chester

36. Gentle Mother

37. Minuet

XX

XX

XX

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

Practice and Assessment• Ongoing feedback—to the class, small groups, and individual students—is essential for skill development. Repeat

and reinforce exercises until all students are able to play fluently in the key of A Major.• Use one of the Test Line Rubrics (A, B, or C) to provide formal written feedback as students play 35. Chester.

66

117F

67

117F

33. G# on E String – New Step for Violin and Bass

&

B

?

?

&

?

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ≥ œ œ# œ

œ≥ œ œ# œ

œ≥ œ œ# œ

œ≥

œ œ# œ

˙˙ ˙#

œœ

œœ

œœ

œœ

Asus/E D/E

33. G# on E String - New Step for Violin and Bass[Œ = 92]

134

135

˙# ˙

˙# ˙

˙# ˙

˙# ˙

www#

œœ

œœ

œœ

œœ

E

4

œ œ œ# œ

œ œ œ# œ

œ œ œ# œ

œ œ œ# œ

˙# ˙#

œœ

œœ

œœ

œœ

A/E E

4

125

135

œ œ œ# œ

œ œ œ# œ

œ œ œ# œ

œ œ œ# œ

˙# ˙#

œœ

œœ

œœ

œœ

Bmi/E E

4

124

&

B

?

?

&

?Accomp.

Vln.

Vla.

Cello

Bass

œ œ# œ# œ

œ œ# œ# œ

œ œ# œ# œ

œ œ# œ# œ

www

œœ

œœ

œœ

œœ

Asus/E

4

134

œ œ# œ# œ

œ œ# œ# œ

œ œ# œ# œ

œ œ# œ# œ

www#

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œœ

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A/E

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œ# œ# ˙

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œœ

œœ

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124



68

117F

34. Upper Octave A Major Scale – New Step for Violin

&

B

?

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&

?

# # #

# # #

# # #

# # #

# # #

# # #

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ œ œ

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œ œ œ

œ≥

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œ≥

œ œ œ

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A Bmi7

34. Upper Octave A Major Scale - New Step for Violin

35

2

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E7 F#mi7

4

25

24

1 2

˙ ˙

˙ ˙

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œœ

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3

˙ ˙

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D E7

4

14

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Vln.

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Cello

Bass

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F#mi E DMA7 A

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25



test Linetest Line

69

117F

35. ChesterListen and describe. Together, view or listen to a performance of Chester by William Billings. What do students hear that might be applied to their own performance of this melody? And, how is the performance different from the music printed in their books? Give students time to talk about their observations with a partner before sharing with the class.Connections! IPS. William Billings.

&

B

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44

44

44

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Vla.

Cello

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˙ œ œ

A D G#o†

Andantino

F

F

F

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5 2

25

[Œ = 100]

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˙ ˙

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œ œ œ œ œ˙ ˙

.˙ œ œ

A D A

13

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œ œ œ œ

œ œ œ œ

œ œ œ œ

Œ œ œ œ œ

˙ .œJœ

D E7

4

3

w

w

w

w

œ œ ˙

œ œ œ œ

A C#mi

William Billings (1746–1800) American Composer

1

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B

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wn

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P

P

P

P

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2

3

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Bmi7

4

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2

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E7

1



70

117F

35. Chester (continued)Assess. A few days before the formal assessment of this line, introduce the Test Line Rubric (Interactive Teacher Studio) you will use to provide individual feedback to students on their performance – Test Line Rubric A, B, or C. Depending on the Rubric you choose, either review the given criteria or lead the class to agree on the three most important skills required of the exercise and the criteria for a satisfactory performance. Provide an exemplary model of each skill. On test day, use the Rubric to provide feedback to each student. As needed, encourage students to use your feedback, continue practicing, and replay the exercise at a later date.

&

B

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A DMA7 Bmi

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25

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15

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4

15

w

w

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wwn

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F15

1

2

4

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3 2

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D E7

1 3

4 5 1

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24

117F_035 Chester - p.2



71

117F

36. Gentle Mother Connections! IPS. School in Japan.

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B

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# # #

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42

42

42

42

42

42Accomp.

Vln.

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œ≥ œ œ œ

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˙

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Andantino

f

f

f

f

[Œ = 72]

2 1

with pedal

f

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˙

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2

Japanese Folk Song

1

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F#5



72

117F

37. MinuetAnalyze and describe. As a class, discuss the intervals in measures 5 and 6. Play each interval slowly to focus on intonation, then play the Minuet again.Connections! IPS. Alexander Reinagle.

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

43

43

43

43

43

43Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ œ œ œ

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.˙

A

Andante

F

F

F

15

F

[Œ = 96]

F

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œ œ œ

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œ œ œ

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.˙

A/C#

œ œ œ

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.˙

D

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Œ œœ œœ

.˙

E7

Alexander Reinagle (1756–1809) American Composer

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B

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..

..

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Accomp.

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Vla.

Cello

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1 2



Review: Sixteenth Notes/Sixteenth & Eighth Note Combinations

Student Book page 12-13

Steps to Success:❏ Play sixteenth notes❏ Play eighth & sixteenth note combinations❏ Play using less bow and near the bridge


Rhythm and PulseWhen you are ready to play exercises and tunes on pages 12-13, use a three-step approach to help students read and success-fully play the various sixteenth note rhythm combinations with a steady pulse:

1. Count the rhythm aloud using previously learned syllables.2. Play the rhythm of the exercise or tune on an open string (ignoring left hand). Divide the class into two groups and have

group one pizzicato the steady pulse as group two plays the rhythm of the line arco. Switch parts.3. Play arco as written.

Use of BowWhen playing the exercises up to tempo, sixteenth note rhythm combinations are generally played around the middle of the bow using small amounts of bow. Constantly check bow placements, making sure bowing stays near the bridge and does not slip towards the fingerboard.

The bow hand should remain loose and the arm should stay relaxed. If students are playing the sixteenth notes successfully, the upper arm should be stationary and only the lower arm (forearm) should be used.

Finger PatternsStudents need to be aware of the various key signatures on these pages. Discuss appropriate finger patterns that need to be played based on the different key signatures.

Ensemble Playing38. Sixteenth and Eighth Notes Reunion is a trio. For best success, introduce each line separately before dividing the class into parts.

73

117F


Practice and Assessment• Repeat and reinforce exercises until all students are able to perform the sixteenth note combinations accurately and

with group pulse.• Have students complete the Self-Evaluation – pages 12-13. Collect their papers and address any difficulties they

identify before moving ahead.

Student Book – Pages 12-1338. Sixteenth and Eighth Notes Reunion

39. Rhythmic Scale in G Major

40. Sourwood Mountain

41. Cripple Creek

42. Bb Major Scale in 92 Notes!

43. Tirra Lirra Loo

44. A Major Broken Thirds and Arpeggio

45. When I Was a Lad from “H.M.S. Pinafore”


XX

X

X X

XX

X

X

X

X

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

74

117F

75

117F

38. Sixteenth and Eighth Notes Reunion – TrioRead and notate. Exercises on pages 12-14 of String Basics review eighth and sixteenth note combinations. Focus on rhythm alone by assigning Unit 6 in Rhythm Basics. Begin with Rhythm Basics pages 26-27 (lines 165-177). See pages TE2-TE4 and TE28 in Rhythm Basics Teacher’s Edition for information on the various rhythm activities. As students complete the rhythm activities, take time to review their work and provide feedback, as needed.

&

&

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44

44

44

44

44

44

44

44

44

44

44

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44

44

..

..

..

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..

..

..

..

..

..

..

..

..

..

A

B

C

A

B

C

A

B

C

A

B

C

Vln.

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Vla.

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œ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ≥




œ≥




‰ œœœ œœœ ‰ jœœœ ‰jœœœ ‰

jœœœ

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D G A D

[Œ = 72]38. Sixteenth and Eighth Notes Reunion - Trio

125

2

Use less bow and play close to the bridge.

œ œ œ œ œ œ œ œ œ œ œ œ


œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ



œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ


œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ


‰ œœœ œœœ ‰jœœœ ‰ jœ œœœ œ

jœ ‰ jœ ‰ ‰ jœ œœ

A A7 D

4

4

4

3

2



39. Rhythmic Scale in G Major – Steps to Learning Theory

&

B

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?

#

#

#

#

#

#

42

42

42

42

42

42Accomp.

Vln.

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Cello

Bass

œ≥

œ œ œ œ

œ≥

œ œ œ œ

œ≥

œ œ œ œ

œ≥

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Œ jœœ‰

.œ œ ≈œ œ œn

G Dmi7

39. Rhythmic Scale in G Major - Steps to Learning Theory

15

1

[Œ = 72]

Write in the counts before playing.

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G/F C/E14

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G/D Ami/C

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Bass

1st x

2nd x

œ≥

œ œ œ œ

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œ≥ œ œ œ œ

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Bmi7

4

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C G

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Ami G

1 2

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œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

Œ œœ

œn œ œ œ œœ

Dmi7 G

,

,

,

,



76

117F

77

117F

40. Sourwood MountainAnalyze and describe. Have students compare measures 1-4 with 5-8, and describe how the measures are the same or different. Discuss how their observations can impact their performance of this folk song.Connections! IPS. Mountain peaks and their names.

&

B

?

?

&

?

#

#

#

#

#

#

42

42

42

42

42

42Accomp.

Vln.

Vla.

Cello

Bass

œ≥ œ œ œ œ

œ≥ œ œ œ œ

œ≥ œ œ œ œ

œ≥ œ œ œ œ

‰ jœœ‰ jœœ

jœ ‰ jœ‰

G Emi7

F

Moderato

F

F

15

12

1

[Œ = 76]

F

F

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

‰ jœœ‰ jœœ

jœ

‰ jœ‰

C D7

4

4

13

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œ œ œ œ

œ œ œ œ

œ œ œ œ

‰ jœœ‰ jœœ

jœ ‰ jœ‰

G Emi712

œ œ œ œ œ

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œ œ œ œ œ

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‰ jœœ œœ

œ œ œ œ

G/D D7 G

,

,

,

American Folk Song

,

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B

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#

#

#

#

#

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..

..

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1st x

2nd x

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jœ‰ jœ ‰

Emi7 C

f

f

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24

3 1

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f

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jœ ‰ jœ ‰

Ami7 Bmi7

4

4

4

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œ œ œ œ

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jœ ‰ jœ ‰

C Bmi7

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,

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78

117F

41. Cripple CreekRead and notate. Duplicate and distribute Counting Eighth and Sixteenth Combinations worksheet (Interactive Teacher Studio). Have students write in the counting, count and clap, then play the lines on an open string.Listen and describe. Have students listen to the Practice Track and identify if Cripple Creek sounds major or minor. Together, discuss how they determined their answer.

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B

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# #

# #

# #

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42

42

42

42

42

42Accomp.

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‰ jœœ‰ jœœ

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D

Allegro

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14

1 3

[Œ = 72]

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G A15

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5

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G A7 D Do7/A

American Folk Song

3

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‰ jœœ‰ jœœ

jœ ‰ œ œ

G A




‰ jœœ‰ jœœb

Jœ ‰ jœ ‰

D Eø7/G

24

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

‰ jœœ œœ

œ œ œ œ œ

A G D25

3



79

117F

41. Cripple Creek (continued)

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #Accomp.

Vln.

Vla.

Cello

Bass


œ œ œ œ œ œ

œ œ œ œ œ œ

‰Jœœ ‰

Jœœ##

Jœ ‰ Jœ ‰

D Do7

p

p

p

15

14

p

p


œ œ œ œ œ œ

œ œ œ œ œ œ

‰Jœœ ‰

Jœœ

Jœ ‰ Jœ ‰

D


œ œ œ œ œ œ

œ œ œ œ œ œ

‰Jœœ ‰

Jœœ##

Jœ ‰ Jœ ‰

Do7

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœ œœ““ œœ

Jœ ‰ ‰ œ œ

D Emi D14

3

&

B

?

?

&

?

# #

# #

# #

# #

# #

# #Accomp.

Vln.

Vla.

Cello

Bass

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

‰ jœœ‰ jœœ

Jœ ‰ Jœ ‰

D G

f

f

f

14

f

f


œ œ œ œ œ œ

œ œ œ œ œ œ

‰ jœœ‰ jœœ#

Jœ ‰ Jœ ‰

D A7 #5

14

14





‰ jœœ‰ jœœ

Jœ ‰ Jœ ‰

D G14

1

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

‰ jœœ œœ

œ œ œ

A G D25

4

117F_041 Cripple Creek - p.2



80

117F

42. B b Major Scale in 92 Notes!Analyze and describe. In partners, have students study this exercise for patterns in the rhythm. Discuss how these observations can impact their performance of this exercise.

&

B

?

?

&

?

bb

bb

bb

bb

bb

bb

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ≥


œ≥


œ≥


œ≥


‰jœœ ‰

jœœ ‰ œœ œœ ‰Jœœ

.œ œ œ œ Ó

Bb Cmi7

42. Bb Major Scale in 92 Notes!

5

[Œ = 76]

.





‰jœœ ‰


.œ œ œ œ Ó

Bb Cmi7

3





‰jœœ ‰


.œ œ œ œ Ó

Bb Cmi7

3 3





‰Jœœ ‰

Jœœ ‰ œœ œœ ‰

jœœ

.œ œ œ œ Ó

F7 Bb

25

&

B

?

?

&

?

bb

bb

bb

bb

bb

bbAccomp.

Vln.

Vla.

Cello

Bass





‰ jœœ ‰ jœœ ‰ œœ œœ ‰jœœ

.œ œ œ œ Ó

Gmi7 F14 2

5





‰ jœœ ‰ jœœ ‰ œœ œœ‰ jœœ

.œ œ œ œ Ó

Gmi7 F





‰ jœœ ‰ jœœ ‰ œœ œœ ‰ jœœ

.œ œ œ œ Ó

Cmi7 Gmi25

1





‰ jœœ ‰ jœœ Œ œœ

.œ œœ

œ ≈ œ œ ≈ œ

Cmi7/F Bb

1



½ Pos

81

117F

43. Tirra Lirra LooRead and notate. You might approach Tirra Lirra Loo as a sight reading line. Before playing, have students study the music and consider the following:

1. Study the key signature and pitches. Where are the steps and skips? What finger patterns do you use?2. Study the rhythm. Silently practice any measures that could be tricky.3. Study the other markings. Where will you go when you reach D.C. al Fine?

Analyze and describe. In partners, have students look at the 4-measure phrases that make up this theme, then use A and B to represent the pattern of the phrases (ABA). Encourage students to play the dynamics as marked as one way to distinguish between A and B phrase.

&

B

?

?

&

?

bb

bb

bb

bb

bb

bb

42

42

42

42

42

42Accomp.

Vln.

Vla.

Cello

Bass





‰ jœœ ‰ jœœ

jœ ‰ Jœ ‰

Bb F

f

Moderato

f

f

35

25

5

[Œ = 72]

f

f

œ œ œ

œ œ œ

œ œ œ

œ œ œ

‰ jœœ‰ jœœ

Jœ ‰ Jœ ‰

Eb Bb14

25





‰ jœœ‰ jœœ

Jœ ‰ Jœ ‰

Eb Bb25

25

Fine

œ œ œ

œ œ œ

œ œ œ

œ œ œ

Fine

œœ œ œ

œ œ œ

F7 Bb14

Canadian Folk Song

&

B

?

?

&

?

bb

bb

bb

bb

bb

bbAccomp.

Vln.

Vla.

Cello

Bass


œ œ œ œ œ œ

œ œ œ œ œ œ

‰ jœœ. œœ. œœ.˙

Bb

p

p

p

13

2

p

p

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœ œœ˙

Eb Bb


œ œ œ œ œ œ

œ œ œ œ œ œ

‰ jœœ. œœ. œœ.˙

F

F

F

F

F

D.C. al Fine

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

D.C. al Fine

œœ œœ. œ.œ œ. œ.

Eb F7

2 1



82

117F


&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

44

44

44

44

44

44Accomp.

Vln.

Vla.

Cello

Bass

œ≥

œ œ œ œ œ œ œ œ œ

œ≥


œ≥


œ≥


Œœœœ œœœ

. œœœ. œn œœœ

w

A Bmi7/A


4

4

[Œ = 72]

125

124

œ œ œ œ œ œ œ œ œ œ




Œ œœœ œœœ.œœœ. œ œœ

w

A Bmi7/A

12





Œ œœœ œœœn

.œœœ.

œ œœœ

œ œ œ œ ˙

A E7 D7

4

4

3





Œ œ œ jœ œœn.

œœ.œœ#

œ˙ œ. œ. œ

E7 D7 A

,

12 3 1

4

,

,

,

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #Accomp.

Vln.

Vla.

Cello

Bass

œ≥


œ≥


œ≥


œ≥


Œœœœ œœœ

. œœœ. œœœ

w

D

4





Œ œœœ œœœ.œœœ.

œœœ

w

A D





wŒ œ œ œn . œ. œ

A7

3 2 1

œ œ œ œ œ œ œ œ œ œU




Œ œ œn ˙U

.˙œ

U

2 4

1



83

117F

Listen and describe. Together, view or listen to a performance of When I Was a Lad from “H.M.S. Pinafore” by Sir Arthur Sullivan (and lyrics by W.S. Gilbert). This comic opera is light-hearted and silly at times. Is humor evident in the performance you view or listen to? If so, in what ways does it show? What do students hear that might be applied to their own performance of this melody? Give students time to talk about their observations with a partner before sharing with the class. Connections! IPS. Comic opera, Gilbert and Sullivan.

45. When I Was a Lad from “H.M.S. Pinafore”

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

42

42

42

42

42

42Accomp.

Vln.

Vla.

Cello

Bass

jœ≤.

Jœ≤.

Jœ≤.

Jœ≤.

jœœ.‰

E7

f

Allegro

f

f

f

25

f

œ. œ œ œ. œ.

œ. œ œ œ. œ.

œ. œ œ œ. œ.

œ. œ œ œ. œ.

‰ jœœ.‰ jœœ.

jœ

‰ jœ

‰

A

4

4

14

5

[Œ = 80]

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.


jœ

‰ jœ

‰

1

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

‰ jœœ## .‰ jœœ.

jœ

‰ jœ

‰

Ao7

35

x2

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

‰ jœœ“.

‰ jœœ.

jœ

‰ jœ

‰

E7/A25

1

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ


jœ

‰ jœ

‰

A

4

4

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

‰ jœœn.

‰ jœœ.j

œ‰ j

œ‰

Ami

Sir Arthur Sullivan (1843–1900) English Composer

&

B

?

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #Accomp.

Vln.

Vla.

Cello

Bass

œ. œ.œ œ œ œ

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

œ. œ. œ œ œ œ

‰ jœœ# .‰ jœœ.

jœ

‰ jœ

‰

B7

25

1 4 x2

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.


jœ‰ jœ

‰

E

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œœ.œœ.

œœ.œœ.

œ. œ. œ. œ.

A

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œœ.œœ.

œœ.œœ.

œ. œ. œ. œ.

4

4

5





œœ.œœ.

œœ.œœ.

œ. œ. œ. œ.

E7D

4

4

25

25

1

œ. œ.jœ>.

œ. œ. Jœ

œ. œ. Jœ

œ. œ. Jœ

œœ. œ.j

œfl‰ jœ.

jœfl

A

4

4

x2



84

117F

46. Steps to Learning TheoryAssess. Duplicate and distribute Self-Evaluation – pages 12-13 (Interactive Teacher Studio). Have students complete the self-evaluation for individual reflection. Collect their papers, and compare your observations to student responses. Address any student concerns before moving ahead.

& bb 44 œ≥œ œ œ œ œ œ œ œ œ œ œ

42. B Major Scale in 92 Notes!

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb 42 œ≥ œ œ œ œ œ œ

43. Tirra Lirra Loo

f

Moderato

œ œ œ œ œ œ œ œ œ œFine

œ œ œ œ œ œ œ œ œpœ œ œ œ œ œ œ œ œ œF

D.C. al Fine

œ œ œ œ

Canadian Folk Song

&### 44œ≥œ œ œ œ œ œ œ œ œ


4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ4

œ œ œ œ œ œ œ œ œ œ œ,

&### œ≥œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œU

45. When I Was a Lad from “H.M.S. Pinafore” Sir Arthur Sullivan (1843–1900) English Composer

&### œ. œ.

œ œ œ œ œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.4

œ œ œ œ œ œ œ œ4

œ. œ.jœ>.

4

43 œ œ


Complete each measure using these notes: qttt qtr qrt. Check the time signature. Write in the counting and performyour new rhythm line on open D.

œ œ œ

13

b

&### 42 jœ≤.f

Allegro

œ. œ œ œ. œ.4

œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ.œ. œ. œ œ œ œ4

œ. œ. œ. œ.

Tempo: Andantino


Steps to Success:❏ Understand Andantino


Use of BowBefore playing the orchestra arrangement, be sure to point out various bow lifts, hooked bowings and staccato articulations.

Ensemble Playing48. Theme from William Tell Overture is an orchestra arrangement. It includes rhythms recently introduced. In general, this arrangement should be played in the lower half of the bow, and lift bows need to be executed quickly. Each instrument part is independent. Rehearse parts separately before combining.


New! Terms & Symbols:• Andantino• Simile

Student Book – Page 1447. Dance

48. Theme from William Tell Overture

X X

XXXX

Read and

notate

ACTIVITIE

S

Analyz

e and

describ

e

Listen

and desc

ribe

AssessCon

nectio

ns!

Practice and Assessment• Have students reflect on their own progress and developing fluency by completing a Practice-Reflection Journal (A, B,

or C).

85

117F

86

117F

47. Dance – DuetAnalyze and describe. In partners, have students study this melody in 2-measure phrases. Where are the phrases the same? Where are there slight changes? Discuss how these observations can impact their performance of this exercise.Connections! IPS. Türk.

&

&

B

B

?

?

?

?

&

?

#

#

#

#

#

#

#

#

#

#

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Accomp.

Cello

Bass

Vln.

Vla.

œ≥ œ œ œ œ œ œ œ œ œ œ

˙≥

˙


≥ ˙


≥ ˙

œ≥


≥ ˙

˙ ˙

œ œ œ œ œ œ

G D/F#

[Œ = 69]Andantino

F

F

F

F

F

F

25

3 1 4 3

F

F

F

œ œ œ œ œ œ# œœ






œ œ œ œ œ œ# œ œ


œœ œœ# ..œœjœœ

œ œ œ œ œ œ

Emi7 A D7

f

f

f

f

f

f

24

4

f

f

f


˙ ˙


˙ ˙


˙ ˙


˙ ˙

˙ ˙

œ œ œ œ œ œ

G D/F#

p

p

p

p

p

p

3 4 4

p

p

p

œ œ œ œ œ œ .œ Jœ

œ œ œ .œ ‰

œ œ œ œ œ œ .œ Jœ

œ œ œ .œ ‰

œ œ œ œ œ œ .œ jœ

œ œ œ .œ ‰

œ œ œ œ œ œ .œjœ

œ œ œ .œ ‰

œœ œ œ œ œ œ œ œ œ œ œ

œ œ ˙

G D7 G

Daniel Gottlob Türk (1750–1813) German Composer

5

13



87

117F

47. Dance – Duet (continued)

&

&

B

B

?

?

?

?

&

?

#

#

#

#

#

#

#

#

#

#

A

B

A

B

A

B

A

B

Accomp.

Cello

Bass

Vln.

Vla.









œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ

D7 G

2 3

3 3 2

2









œ œ œ œ ˙


C Ami7 D7

4

32

1 1

4 4 1 4


˙ ˙


˙ ˙


˙ ˙


˙ ˙

˙ ˙

œ œ œ œ œ œ

G D/F#

P

P

P

P

P

P

13

2

P

P

P

œ œ œ œ œ œ ˙









œ œ œ œ œ

G D7 G

rit.

rit.

rit.

rit.

rit.

rit.

rit.

rit.

rit.

1 2

117F_047 Dance - Duet - p.2



88

117F

48. Theme from “William Tell Overture” – Orchestra ArrangementAnalyze and describe. In partners, have students talk about how they will play this piece from beginning to end, given the D.S. al Fine. Check their understanding as a full class.Listen and describe. Together, view or listen to a performance of the finale of William Tell Overture. What do students hear that might be applied to their own performance of this melody? Give students time to talk about their observations with a partner before sharing with the class.Assess. Duplicate and distribute one of the Practice-Reflection Journals (Interactive Teacher Studio) to help students reflect on their work in rehearsals and individual practice – Practice-Reflection Journal A, B, or C.Connections! IPS. The story of William Tell.

From Interactive Practice Studio:

89

117F

48. Theme from “William Tell Overture” – Orchestra Arrangement

&

B

?

?

&

?

#

#

#

#

#

#

42

42

42

42

42

42Reduction

Vln.

Vla.

Cello

Bass

œ≥ œ œ≥ œ≤

∑

∑

∑

œ œ œ œ

∑

Allegro

f

,

f

3

[Œ = 80–84]œ œ œ≥ œ≤

∑

∑

∑

œ œ œ œ

∑

, œ. œ. œ. œ.

∑

∑

∑

œ. œ. œ. œ.

∑

2 1

œ. œ. œ. œ.

∑

∑

∑

œ. œ. œ. œ.

∑

2

œ. œ. œ. œ.

œ≥

œ œ≥

œ≤

œ≥ œ œ≥ œ≤

∑

œ. œ. œ. œ.œœ œœ œœ œœ

f

,

,

f

13

5

Gioacchino Rossini (1792–1868) Italian Composer

5

&

B

?

?

&

?

#

#

#

#

#

#Reduction

Vln.

Vla.

Cello

Bass

œ. œ. œ. œ.

œ œ œ≥

œ≤

œ œ œ≥ œ≤

∑

œ. œ. œ. œ.

œœ œœ œœ œœ

,

,

œ. œ œ œ. œ.

œ. œ. œ. œ.œ. œ. œ. œ.

∑

œ. œ œ œ. œ.

œœ. œœ. œœ. œœ

.

œ. œ œ œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

∑

œ. œ œ œ. œ.

œœ. œœ. œœ. œœ.

13

12

13

˙

˙

˙

≥

˙

˙

f

œ ‰ œ≥

œ

œ ‰ œ≥

œ

œ ‰ œ≥ œ

œ ‰ œ≥ œ

œ ‰ œ œœœœ ‰ œœ œœ

,

P,

P,

P

P

P

,



90

117F

48. Theme from “William Tell Overture” (continued)

&

B

?

?

&

?

#

#

#

#

#

#Reduction

Vln.

Vla.

Cello

Bass

%œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

%œ. œ œ œ. œ œœœ. œœ œœ œœ. œœ œœ

11

11

œ. œ. œ. œ œ

œ. œ. œ. œ œ

œ. œ. œ. œ œ

œ. œ. œ. œ œ

œ. œ. œ. œ œœœ. œœ. œœ. œœ œœ1 1 13 3 2

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œœ. œœ œœ œœ. œœ œœ13

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œœ œœ

sim.sim.

sim.

sim.

4 2

sim.

&

B

?

?

&

?

#

#

#

#

#

#Reduction

Vln.

Vla.

Cello

Bass

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œœœ œœ œœ œœ œœ œœ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œœ œœ œœ œœ œœ1 1 13 3 3

1

œ œ œ œ œ




œ œ œ œ œ

œœ œœ œœ œœ œœ œœ24

œ œ œ≥ œ≥ œ

œ œ œ œ≥ œ

œ œ œ œ≥ œ

œ œ œ œ≥ œ

œ œ. œ. œœ œœ

œœ œœ. œœ. œ œ

f

f

f

f12

3

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117F_048 Theme from “William Tell Overture” - Orchestra Arrangement - p.2



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REVIEW EXCERPTkjos.vo.llnwd.net/o28/pdf/117F_Excerpt.pdf · 3 117F Acknowledgements The authors...

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Transcript of REVIEW EXCERPTkjos.vo.llnwd.net/o28/pdf/117F_Excerpt.pdf · 3 117F Acknowledgements The authors...