Lessons - January 2010

I've shifted around lesson groups a bit, so please take note of new groupings.

Lesson Groups
Group 1 So Yeon Kim, Daniel Logiudice, Sera Song
Group 2 Sophie Balzer, Delaney Guntert, Claire Hill, Eliana Rowe
Group 3 Sydney Marotta, Leo Miller, Joseph Petitti, Katie Yang
Group 4 Michelle Burmistrova, Cory Parker, Sophie Patka, Alfredo Salazar, Alex Selsley
Group 5 Matthew Krieg, Catie Rafferty, Allison Reiner, Rebecca Tucker
Group 6 Asha Anand, Heather Krofft, Rebekah Wolanski
Group 7 Curtis Ericson, Hannah Hernandez, Rose Leicht, Emily Toffenetti
Group 8 Naila Brown, Jennifer Hoffmann, Jacob Rosenberg, Sophia Schermerhorn
Group 9 Alicia Chen, Vivian Dai, Carrie Rose Mulligan, Walter Nyangaga, Erin Templeton, Michelle Yu
Group 10 Arianna Barnum, Shaddai Henry, Sazeed Huq
Group 11 Andy Cummings, Gerardo Salazar, Kevin Zeng
Group 12 Kristina Marinopoulos, Nihaal Pabba, Gianluca Russo, Rachel Swyer, Alana Zervos
Group 13 Markos Abebe, Maddy Farry, Christina Morawski, Jo Ann Mulligan
Group 14 Elijah Clemente, Allyson McAuliffe, Natasha Permaul, Amir Rastegar
Group 15 Mary Jean Mulligan, Mathilde Warren, Amy Toscano, Andrew Xu
Group 16 Ali Gohlke-Schermer, Joe Sipzner, Naomi Tenenini
Group 17 Pranav Kannan, Josh Lamb, Katie Randorf
Group 18 Elise Burby, Laura Chevalier, Karthik Ramesh, Victor Rau-Sirois, Michael Trichilo
Group 19 Sarah Byerly, Sydney Campbell, Julia Chong, Andrea Long
Group 20 Cody Ingraham, Abigail Kedik, Asaph Ko

1/4 AC
8:50 9
9:30 10
10:10 11
10:50 12
11:30 13
2:00 14

1/5 BD
8:50 15
9:30 16
11:30 17
1:20 18

1/6 AC
8:50 7
10:10 8

1/7 BD
8:50 1
9:30 2
10:50 3
11:30 4
1:20 5
2:00 6

1/8 AC
11:30 19
2:00 20

1/11 BD
8:50 14
9:30 13
10:50 12
11:30 11
1:20 10
2:00 9

1/12 AC
8:50 17
9:30 18
11:30 16
2:00 15

1/13 BD
8:50 8
10:50 7

1/14 AC
8:50 3
9:30 4
10:10 5
10:50 6
11:30 1
2:00 2

1/15 BD
8:30 19
1:20 20

1/19 AC
8:50 16
9:30 15
11:30 18
2:00 17

1/20 BD
10:50 8
2:00 7

1/21 AC
8:50 6
9:30 1
10:10 2
10:50 3
11:30 4
2:00 5

1/22 BD
8:30 20
1:20 19

1/25 AC
8:50 13
9:30 9
10:10 10
10:50 11
11:30 12
2:00 14

1/26 BD
9:30 17
11:30 15
1:20 16
2:00 18

1/27 AC
8:50 8
11:30 7

1/28 BD
8:50 5
9:30 6
10:50 1
11:30 2
1:20 3
2:00 4

1/29 AC
11:30 20
2:00 19

2/1 BD
8:50 9
9:30 14
10:50 13
11:30 12
1:20 11
2:00 10

2/2 AC
10:10 16
10:50 17
11:30 18
1:20 15

2/3 BD
11:30 8
1:20 7

2/4 AC
8:50 2
9:30 3
10:10 4
10:50 5
11:30 6
2:00 1

2/5 BD
8:30 19
1:20 20

2/8 AC
8:50 14
9:30 13
10:10 9
10:50 10
11:30 11
2:00 12

2/9 BD
8:50 15
9:30 16
11:30 17
1:20 18

2/10 AC
10:10 7
10:50 8

2/11 BD
8:50 2
9:30 4
10:50 6
11:30 5
1:20 1
2:00 3

2/12 AC
9:30 19
2:00 20

2/22 BD
8:50 10
9:30 9
10:50 14
11:30 13
1:20 12
2:00 11

2/23 AC
8:50 17
9:30 18
11:30 16
2:00 15

2/24 BD
10:50 7
1:20 8

2/25 AC
9:30 2
10:10 1
10:50 3
11:30 5
2:00 4

2/26 BD
10:50 19
11:30 20

Chamber Strings - 8th Rehearsal

We haven't spent much time on Die Forelle, but we will be shifting our focus to this small piece in the next few weeks. I encourage you to listen to recordings of this work by Schubert in any form that you can find it. The most popular arrangements by the composer are for voice and piano or piano quintet. The important thing to know about this piece is where your part falls on the hierarchy of parts. Though the first violins carry the melody throughout, small sections of the 2nd, viola, and cello parts are extremely important in creating that flowing feeling in our trout's river. Circle these important measures and mark them up in dynamic.

Allegretto is coming along, and I was pleased to see how many good cues I received from all sections of the orchestra. It is clear that you are recognizing the importance between the breath and clear entrances. However, I would like to hear evidence of more careful rhythmic practice so that we don't have to continue to take time reviewing the connection between the divisions and melodies.

Our first concert is a little more than a month away, and I plan to play the following pieces:

Die Forelle

Allegretto

Winter

(possibly Song Without Words as well)

We're lucky this year in that almost every section has someone from 6th, 7th, or 8th grade. Practice your parts in pairs, trios, or quartets when possible to drastically improve your skills.

In attendance were:

Joe Sipzner

Ali Gohlke-Schermer

Katie Gonick

Arianna Barnum

William Wang

Bill Dong

Erin Templeton

Rachel Swyer

Karthik Ramesh

Caity Rafferty

Katie Yang

Naila Brown

Andrea Long

We're sorry we missed:

Gloria Zhao
Marko Crnkovic

Emma Pearson

Cody Ingraham

6th Grade - Monday, December 21, 2009

We were able to do so much sight-reading today in 6th grade! This tells me two things:

1. Behavior was slightly improved from the last class.

2. We are becoming more observant musicians, using our knowledge and past performance as a reference to read new works accurately.

Let's continue to work on improving the silence that happens when we stop playing. When I -- or any conductor -- "cuts off" the music, it means that they have something to say to you. Don't begin talking during this time because it distracts from the learning. If you have something to say, I will gladly call on quietly raised hands.

We read the following pieces today:

3 Scenes From Green Valley

Entry of the Tumblers

Celtic Dance

8th Grade - Monday, December 21, 2009

Letters to parents and students were distributed as part of a packet. This packet should be inserted into each student's 3-ring binder and brought to class daily. The letter outlines the expectations for preparation for the upcoming concert period.

In-class listening will become a staple in our spring semester. Today, we listened to the last movement from Benjamin Britten's Simple Symphony (IV. Frolicsome Finale). Britten composed this work between his 7th and 8th grade years in school, and while the title implies a work for children, the Simple Symphony is complex in composition and difficult in execution. The other movements of this work are: I. Boisterious Bourree, II. Playful Pizzicato, and III. Sentimental Sarabande.

We began rehearsal with the first 4 measures of Scale Exercise #36 in D Major. These scale exercises are designed to improve intonation through slow and careful chord progressions.

Toy Symphony, by Leopold Mozart (Wolfgang Amadeus's father) was our sight reading piece of the day. As with many classical period compositions, Toy Symphony is deceivingly difficult thanks to the bowing and articulation that is demanded at a quick tempo.

Though we fell short in time, we read most of Star of County Down, a medley of Irish tunes. This is a long work with extended sections in 6/8. I like this arrangement, but it may be too long as a programmed work.

A number of students left their packets behind. Andrew Xu, Pranav Kannan, Victor Rau-Sirois, Sydney Campbell, and Sarah Byerly can pick up their packets in the music room any time before next class. I have packets for Laura Chevalier and Emma Pearson, and I also have scale sheets for the cellists. All of these can be found in the orange 8th grade homework folder located next to the lesson cards.

Make sure you bring your packets to class each day for full preparation credit!

7th and 8th Grade Reminders

Just a reminder of the slight changes being made to Orchestra class:

Beginning in January, students must have/do the following each class period in order to receive full participation/attendance grades:

Instrument - complete with shoulder rest, sponge, or equivalent.
Pencil - each student should have their own.
3 Ring Binder (1/2 - 1.5") - where practice parts, practice logs, and other class handouts are stored

You may begin bringing in your 3-ring binder so that I can give you inserts prior to the winter break. Please clearly mark these binders with your first and last name.

Congratulations!

Sixth, 7th, and 8th graders should all be proud of themselves for the work they did in preparing for our winter concerts! I received many positive and impressed comments on your behalf from your family, friends, and teachers. Let's work to make our spring performances even more spectacular!

Congratulations as well to those musicians who were highlighted in the Spotlight on Character assembly last week! I'm glad to see so many string players making meaningful contributions to the Farnsworth community.

Chamber Strings - 7th Rehearsal

Yay for metronomes! Although many of you were not as thrilled as I was with my discovery of the world's loudest metronome, I hope that you recognized how easily and quickly it focused our rhythm practice. Please refer to the post on metronomes to find some online. We worked on Winter for bowings and Allegretto for the divisions in 6/8, and it would really help us out if there was individual time spent with metronome work on these pieces.

Before you begin playing, set a goal for yourself. Do you want to be able to play the practiced excerpt in tempo by the end of your practice session? Do you want to be able to play the excerpt 5 bpm (beats per minute) faster than you started? 10? 20? Make sure your goals are appropriate for the amount of time you have. There is no use trying to cram with practicing a musical instrument -- it just doesn't work. Consider that you have just over 7 weeks before our concert, keeping in mind that I'd like our program to be performance-ready at least 2 weeks before that time. How does this help you to structure your goals? When do you think you would like to be personally ready to perform in public?

Use the metronome, a mirror, and any other tools suggested in the Secrets of Perfect Practicing to help you.

Don't know what tempo to start at? Here are some metronome suggestions:

1. Click to Get Faster Use this method by finding the tempo that is the slowest possible tempo at which you can maintain a subdivision. Play it perfectly: bowings, dynamics, etc. When it is perfect, click the metronome one mark faster. Play it perfectly at this new tempo. Continue to click until you have achieved your desired speed.

2. Click to Get Slower Sometimes the slow tempo is harder than the fast one because it requires more silent subdivisions and divisions of the macrobeat and it demands greater bow control. Set the metronome to a tempo in which you can play all the notes, bowings, and dynamics comfortably. Play it perfectly. Click the metronome one mark slower. Play it perfectly at this new tempo. Continue to click until you have achieved your desired speed.

3. Click for Variety & Checking your Work Bored clicking one at a time? To achieve faster tempos, begin with the "Click to Get Faster" method, but instead of advancing by one click of the metronome each time, advance by 3 clicks. Play it perfectly at the new tempo. Check your work by clicking back one (only one!). Play it perfectly at this tempo. When it sounds good, click it up 3 more (now you're at 5 clicks above your starting tempo). Be careful with this method! Tempo increases much faster, and it can be easier to forget valuable technique this way!

4. Click with a Base Tempo. Choose a base tempo. This should be a tempo that is comfortable for you to play everything correctly, but ultimately outside of the goal (if your goal is to be slower, the base tempo should move along at a faster pace; if your goal is to be faster, make your base tempo slow enough for you to feel all the subdivisions). Each time, click up a few notches on the metronome (exact number tbd by you), and always return to play your base tempo in between. You can choose to climb up one click by one click, or you can skip a couple in between...always returning to your base.

5. Click with a Goal Tempo. This is exactly the opposite as "Click with a Base Tempo." Begin by playing -- as best you can -- the ultimate goal tempo. This tempo can be the one given to you by your teacher, the one printed in the music, or one you've heard on recordings. Once you have played your goal tempo, go drastically in the other direction (slow goals --> go faster; fast goals --> go slower). Climb up or down in tempo from this start, always playing your goal in between.

Tuesday, December 8, 2009

After a wonderful 8th grade performance last week, we are starting from scratch once again. I enjoyed reading your responses in the Personal Performance Reviews -- I've even found some to be pleasantly surprising :) I will do my best to keep your preferences and concerns in mind as I introduce music for our next concert. Furthermore, I hope you all enjoyed seeing excerpts from Music From the Inside Out. I find it to be a fascinating and inspiring documentary for musicians of all ages and abilities.

We sight-read 3 new pieces during orchestra yesterday. All three of them were arrangements of other works in very different styles. The first of the three was Ashokan Farewell, a piece written originally for guitar and fiddle at a camp in Ashokan, NY. Ashokan Farewell features the first violin section, with gentle chords in the 2nd violins, violas, and cellos.


If you weren't so busy worrying about all those darn accidentals in our second piece, Round Dance, you may have recognized its melody from Disney's Fantasia 2000. The Firebird (or, L'Oiseau de feu for those of you looking for recordings) was written by Igor Stravinsky in 1910. The ballet is based on Russian folklore. In the ballet, Prince Ivan enters the magical realm of an immortal giant, Kashchei. Prince Ivan does not know that this giant is evil (he captures women and turns men to stone), and so he wanders into his forest oblivious to the dangers. While in the forest, Prince Ivan sees the Firebird, a beautiful creature, and takes one of its feathers.
Now, in many fairy tales there is one prince and one princess (sometimes a good prince, an evil prince, and a princess)...but in Stravinsky's tale there are 13 princesses! Luckily, Prince Ivan falls in love with only one of them. Unfortunately for Ivan, the giant has imprisoned all the princesses. Next comes a series of events involving magic, capture, monsters, the Firebird's feather, and perhaps a happy ending. But you can read all about that another time...


The last piece of the day was Brandenburg 5, movement 1. I have heard that you enjoyed playing Brandenburg 3 last year, and that's what prompted me to take this one out of the music library. The Brandenburg Concertos were written by J.S. Bach and presented as a sort of job application to the Margrave of Brandenburg in 1721. Bach didn't get the job, but the concertos (more appropriately, concerto grossi) have remained popular since their rediscovery 150 years later. Today, we think of chamber music as trios, quartets, and quintets, but chambers must have been a bit bigger in Bach's day. His Brandenburg concerti are considered chamber works though they are often scored with more than a handful of instruments. The 3rd Concerto has 10 string parts and a harpsichord, and this 5th Concerto is scored for solo harpsichord, flute, violin, and ripieno strings. Of the 6 Brandenburg concerti, the 5th Concerto was probably written last. Check out some videos of these concerti:

Brandenburg Concerto 1 - Note the period instruments: Baroque-style bows (much harder to control!), no chin rests on the upper strings, natural horns (no valves on these French horns), and oboes that more closely resemble their shawm predecessors. No conductors for these large ensembles either -- they move with the music to cue and maintain tempo.

Brandenburg Concerto 2 - The same ensemble.

Brandenburg Concerto 3 - Cellists, notice anything unusual? Why are their cellos almost perpendicular with the floor, and why aren't they sitting like "good" musicians with their feet flat on the floor? Because they don't have endpins... Cellos of this time resembled viola da gambas, instruments held with the knees. Here's that 2nd movement I talked to some of you about. It creates what we call a Phrygian Cadence (movement from the submediant to the dominant in minor). This is the 3rd movement.

Brandenburg Concerto 4

Brandenburg Concerto 5 (the movement we looked at in class). The second movement might be familiar to some as well. And the third...

Brandenburg Concerto 6 - No violins!



More sight-reading to come!

7th Grade Winter Concert Information

Although 7th graders received a letter about our concert a few weeks ago, I'd like to remind everyone of the essentials:

Our concert is tomorrow night, December 10th, at 7:30pm in the FMS Cafetorium.

Musicians should plan to arrive at 6:30pm. Report directly to the orchestra room, unpack, and begin to warm up.

Dress Code is the same for boys and girls: black bottom, colorful top. If you do not have clothes that fit this guideline, come in your best concert attire. Please, no jeans or sneakers.


The concert is a family event -- invite everyone you know! No tickets are required, and the entire performance should last about 1 hour.

If you have any questions or concerns, please email me at ellisl@guilderlandschools.org


I'll see you tomorrow night!

Lessons for the 2nd Marking Period - Revised

Please note any changes to the Lesson Rotation due to today's snow day.

**Stay Tuned** The 6th Grade Dress Rehearsal on 12/14 (at 1:20pm) will have to be changed barring any additional changes in the school schedule.

12/10 (A/C)
8:50 18
9:30 19
11:30 15
1:20 7th Grade Dress Rehearsal**This will now occur during the 7th grade orchestra rehearsal time, but we will meet in the classroom instead of onstage.
2:00 16
7:30 7th Grade Concert

12/11 (B/D)
8:50 20
9:30 21

12/14 (A/C)
8:50 4, 6
9:30 2
10:10 1, 5
10:50 3


12/15 (B/D)
8:50 9
9:30 10
2:00 7, 8
7:30 6th Grade Concert

12/16 (A/C)
8:50 12
10:50 13
11:30 14

12/17 (B/D)
8:50 15
9:30 17
10:50 18, 19
11:30 16

12/18 (A/C)
8:50 21
11:30 20

12/21 (B/D)
9:30 7th Grade Make Ups - Sign Up Ahead of Time
10:50 8th Grade Make Ups - Sign Up Ahead of Time
2:00 6th Grade Make Ups - Sign Up Ahead of Time

8th Grade Winter Concert Tonight!

Come out and see the 8th grade orchestra perform in their Winter Concert tonight at 7:30pm!

Our last dress rehearsal will be at 8:50am in the Cafetorium. Check in with your homeroom teachers and then come right to the stage.

Eighth grade students should plan to arrive no later than 6:40pm. Come immediately to the orchestra room so that we can tune and warm up as an ensemble. Chorus members will be dismissed to the choir room shortly after we tune.

As a reminder, please wear your most beautiful concert clothes. I have asked for black bottoms and colorful tops, so try to do your best. I'll see you all tonight!

Chamber Strings - 6th Rehearsal

I demanded a lot of focus at this rehearsal, and I appreciate the cooperation I received. We began serious work on Die Forelle, based on Schubert's famous compositions. Between Die Forelle and Allegretto (Beethoven), we have a lot of division-type work to do to differentiate a quarter and eighth note in 6/8 meter from a dotted eighth and sixteenth note in 2/4 time. Use your metronome at slow speeds to help make this distinction.

The Die Forelle parts can be confusing. Remember that 2nd violins play part 3 and violas play part 2. If you are a first violinist who is uncomfortable playing the first violin part, please talk to me about it and I will come up with a solution that works for all of us.

I can't stress enough the need to be at the frog in the 32nd note passages in Winter! Traveling to different ends of the bow is where hooked bowings can really help you. Practice using the hooked bowing (and the faster notation of the 16th notes) to get your all the way to the frog before those 32nd notes come.

At this point, I'm bored with Adiorondack Sleighride, and I'd prefer to work on the other three pieces for performance. I may throw in some easier arrangements in the next few weeks, so do your best to focus on what you've got for now.

In attendance were:

Joe Sipzner

Ali Gohlke-Schermer

Katie Gonick

Arianna Barnum

Bill Dong

William Wang

Marko Crnkovic

Rachel Swyer

Erin Templeton

Karthik Ramesh

Catherine Rafferty

Emma Pearson

Andrea Long

Naila Brown

Cody Ingraham

We're sorry we missed: Katie Yang and Gloria Zhao

Chamber Strings - 5th Rehearsal

In attendance for our rehearsal on November 23rd were:

Joe Spizner

Gloria Zhao

Ali Gohlke-Schermer

Katie Gonick

William Wang

Bill Dong

Marko Crnkovic

Rachel Swyer (left early)

Erin Templeton

Karthik Ramesh

Catherine Rafferty

Katie Yang

Andrea Long

In the Beethoven arrangement of Allegretto, we revisited 6/8 meter and did a lot of switching back and forth between easier and more difficult parts. We are learning to use our breathing as a unifying tool, and we talked about the "priority" of different musical lines in this particular piece (i.e. who to listen to, who to bring out, who to set and maintain tempo). Continue to work on the part assigned to your section, but if you find a particular part unmanageable, you may work on the less complicated arrangement.

We have now made it all the way through Winter, but we're still working on basic fundamentals of bow management. First violins, remember the plateaus of sound we discussed. Make marks in your music to help you remember. Everyone should practice the "circle bows" necessary to make the correct sound in the 32nd note rhythms.

6th Grade Winter Concert Seating

*The person listed first is the outside player

Violin A
Stand 1 Michael Zhu, Gabrielle Sanza
Stand 2 Mackenna Dombroski, Alana Lake
Stand 3 Bill Dong, Jake Kelley
Stand 4 Marko Crnkovic, Gretchen Long
Stand 5 Catherine Seita, John Piechowiak
Stand 6 Annie Lin, Erin Callahan
Stand 7 Libby Reedy, Alex Magnan
Stand 8 Michaela Mazzeo, Sabrina Milks
Stand 9 Britany Nauman, So Yeon Kim
Stand 10 Gabrielle Kernozek, Mary Stammel



Violin B
Stand 1 Gloria Zhao, Lucas Laing
Stand 2 Matthew Darby, Kathryn Gonick
Stand 3 Nora Stevens, Bridget Bellanger
Stand 4 Aurora Trainor, Sarah Hanlon
Stand 5 Megan Govin, Elaine Santos
Stand 6 Nataleigh Huber, Sera Song
Stand 7 Paul Trichilo, Matthew Lurie
Stand 8 Daniel Logiudice, Ryan Dillon
Stand 9 Paul Caruso

Viola
Stand 1 Ahna Pearson, Allison Reiner
Stand 2 Matthew Krieg, Catherine Rafferty
Stand 3 Alex Selsley, Alfredo Salazar
Stand 4 Rebecca Tucker, Cory Parker
Stand 5 Michelle Burmistrova

Cello
Stand 1 Katie Yang, Andre Pinto
Stand 2 Joseph Petitti, Sydney Marotta
Stand 3 Claire Hill, Eliana Rowe
Stand 4 Leo Miller, Delaney Guntert
Stand 5 Sophie Balzer


Bass
Stand 1 Sara Kogelmann, Alex Beams
Stand 2 Rachel Cardiff, Ryan Adkison
Stand 3 Winsor Jewell, Eva Mazzella

7th Grade Winter Concert Seating

*The first person listed on each stand is the outside player

Violin 1
Stand 1 Alicia Chen, Walter Nyangaga
Stand 2 Erin Templeton, Jo Ann Mulligan
Stand 3 Vivian Dai, Gianluca Russo
Stand 4 Christina Morawski, Markos Abebe
Stand 5 Allyson McAuliffe, Gerardo Salazar
Stand 6 Kristina Marinopoulos, Elijah Clemente
Stand 7 Shaddai Henry


Violin 2
Stand 1 Michelle Yu, Carrie Rose Mulligan
Stand 2 Maddy Farry, Rachel Swyer
Stand 3 Nihaal Pabba, Alana Zervos
Stand 4 Kevin Zeng, Amir Rastegar
Stand 5 Andy Cummings, Arianna Barnum
Stand 6 Sazeed Huq, Victoria Blackwood
Stand 7 Permaul, Natasha


Viola
Stand 1 Rebekah Wolanski, Asha Anand
Stand 2 Heather Krofft


Cello
Stand 1 Naila Brown, Jennifer Hoffmann
Stand 2 Jacob Rosenberg, Curtis Ericson
Stand 3 Sophia Schermerhorn, Hannah Hernandez
Stand 4 Rosemary Leicht, Emily Toffenetti

Bass
Stand 1 Julia Manobianco
Stand 2 Thomas Fortune
Stand 3 Emily Gunther

8th Grade Winter Concert Seating

* The first person listed on each stand is the outside player.

Violin 1
Stand 1 Michelle Kang, Courtney Van Oort
Stand 2 Naomi Tenenini, Andrew Xu
Stand 3 Mary Jean Mulligan, Miguel Garcia
Stand 4 Aaron Kester, Pranav Kannan


Violin 2
Stand 1 Joey Sipzner, Ali Gohlke-Schermer
Stand 2 Amy Toscano, Mathilde Warren
Stand 3 Katie Randorf, Josh Lamb

Viola
Stand 1 Emma Pearson, Karthik Ramesh
Stand 2 Laura Chevalier, Michael Trichilo
Stand 3 Victor Rau-Sirois, Elise Burby

Cello
Stand 1 Andrea Long, Sarah Byerly
Stand 2 Sydney Campbell, Jacob Hill
Stand 3 Cody Ingraham, Julia Chong
Stand 4 Michelle Xiong, Abigail Kedik
Stand 5 Asaph Ko

6th Grade

Hello 6th graders,

I'm looking for ways to help you feel more comfortable with Carmen, Carmela and Pictures at an Exhibition. In a poll of yesterday's class, many of you indicated that you would find a recording of your part helpful and useful. I have put Carmen, Carmela into a sound file, and I will do the same for Pictures at an Exhibition today.

Please bring in a blank CD so that I can make you a copy. Write your name on the CD with permanent marker. If you do not have a CD, can't get one, but would otherwise like a recording, email me at ellisl@guilderlandschools.org.

I would like to get CDs to everyone before Thanksgiving break so you can listen to them in cars, on MP3 players, etc.

I hope that this will help.

Jeopardy Terms: 300 Level

Presto
marcato
arpeggio
concerto
accelerando
improvisation
movement
stringendo
rallentando
allargando
reel
jig
accompaniment
etude
key
minuet
march
accidental
meno mosso
meno
molto
piu
poco
poco a poco
chromatic scale
con sordino
8va
8vb
tonic

Jeopardy Terms: 250 Level

chord
flat
mp
mf
Largo
Andante
Moderato
beat
dim.
fp
sfz
canon
harmony
quartet
quintet
octet
a tempo
tremolo
fermata
waltz
coda
ritardando
time signature
key signature
senza
divisi
con
minor
major

Jeopardy Terms: 200 Level

ff
pp
cresc.
decresc.
Adagio
staccato
legato
clef
melody
bar line
double bar
duet
trio
fine
double stop
octave
col legno
D.S. al coda
D. C. al fine
prelude
a cappella

Jeopardy Terms: 100 Level

p
f
< (accent)
ritard
Allegro
pizzicato
arco
dynamics
tempo
intonation
rhythm
sharp
scale
measure
:|
staff
quarter note
half note
eighth note
fermata
caesura

Monday, November 16, 2009

7th grade

Today, all 7th graders who take lessons with me received a master schedule for the 2nd marking period. The biggest problem I observed last marking period was in regard to lesson attendance. Although the lesson card procedure will remain exactly the same, I hope to improve lesson attendance by providing this schedule of every lesson, dress rehearsal, and concert for the remainder of 2009. Everyone is listed on this schedule, and I recommend that you write the dates and times of your lessons into your A-Pad. I understand that some lessons were scheduled during lunch periods, and I will be flexible about changing those times. All students enter the 2nd marking period with a clean slate; there is no need to make up lessons from the last marking period.

New practice logs will be distributed for 7th graders on Wednesday. If you are absent because of the choir trip or for any other reason, be sure to pick up a practice log 1st thing Thursday morning.

Rhythm testing finished today in class. I have viewed all of the tests and graded them. I am missing tests from:

Curtis Ericson
Natasha Permaul
Emily Toffenetti
Kevin Zeng

All of these students were present today, so I'm not sure why they did not choose to take the tests. I will provide one more opportunity to take this first rhythm test, but soon we will be moving ahead to scale testing.

Scale tests will also begin on Wednesday. Students should be able to play (and describe, using a key signature) the following scales:

F Major, C Major, G Major, D Major

Play the scale in the way that is most comfortable for you. You may choose to play one or two octaves.

Today, we did work on Saturday at the Symphony, in the 3rd and final section. First violins are getting more comfortable with the tied rhythms around measure 50, and the more that they work with metronomes, the better it will be. Inner voices (violin 2 and viola) can still work on the chromatic passages, being careful both to tune the D# to E naturals (and back) and not slow down longer notations.

Variations on a Ground gets better every time we play it. We will work to create different characters in sections of the piece, and anyone interested in solos should plan on playing in orchestra during the next few rehearsals.

Harvest Song has reached a comfortable stage for us, which isn't necessarily good. We are set in certain tempos instead of using our ears to hear our fellow musicians. Practice giving your own breath cues so that you can feel a tempo before you begin playing it.

6th

We are almost finished with rhythm testing in 6th (A/C). On Wednesday I will be ready to test the student council members (who were absent due to a meeting) and those bassists who did not yet test. I've watched most of the 6th grade rhythm tests, and I'm happy to see that many of you not only prepared, but are really internalizing the tempo from the metronome. We've already had many perfect scores!

Also exciting was that we got all the way through Carmen, Carmela. It was rough at times, but it showed me that you have the stamina and focus to get through such a long and difficult piece. Basses should use metronomes to count their parts, making sure to play a dotted half note and a quarter note instead of two half notes. Don't forget to practice changing your bow grip from "bowing" to "pizzicato" grip!

Chamber Strings - 5th Rehearsal

Chamber Strings

What a great rehearsal we had with Winter this afternoon! I have said it before, but just because a piece of music looks easy doesn't mean it is... I continue to be impressed with the focus of this group. As cellos and violas enter the 32nd-note passages, I remind you to take double down bows, play aggressively, and very close to the frog. Violins, don't let that new passage scare you: try using 4th fingers for D#s on the A string, crescendoing through the last 2 beats of the measure. First violins, please also remember the sound plateaus we talked about. Experiment with different parts of the bow to achieve these dynamics.

Some practice parts still need to be picked up. You can find them in the "Chamber Strings" folder outside of the orchestra room. Although it is fun to play at a fast tempo, please try to limit your speed and build technique.




In attendance were:

Joe Sipzner

Gloria Zhao

Katie Gonick

Ali Gohlke-Schermer

Arianna Barnum

Bill Dong

Marko Crnkovic

Erin Templeton

Rachel Swyer
Catherine Rafferty
Emma Pearson

Andrea Long

Naila Brown

Cody Ingraham

We're sorry we missed: William Wang, Karthik Ramesh, Katie Yang, and Sydney Marotta

Concert Dress Code

Our concerts are right around the corner! Now is a good time to start looking for those beautiful clothes you will wear as we present our Winter Concert.

This is what I would like you to wear for our performance:

Girls:
Solid-Colored, Long-Sleeve Shirt
Black Bottoms (Dress Pants/Long Skirt, stockings/socks, shoes)

Boys:
Solid-Colored, Long Sleeve Shirt -- Preferably a collared, button-down.
Black Dress Pants, Black Socks, Black Shoes


Please do not wear shirts with pictures, prints, or letters. Cellists, please opt for pants over a skirt so that you can play your instrument most comfortably and appropriately.

No jeans or sneakers!


If you don't have a solid colored shirt, you may wear a white or a black shirt.

Lessons for the 2nd Marking Period

As a reminder, all Private Lesson Logs were due last Monday, November 9th. Please submit these logs if you have not already done so. I will keep your grade as "incomplete" until they have been submitted.

I would like all students to receive full credit for their lesson attendance in this second marking period. Poor attendance was the primary reason that some students received grades that were not as high as they would've liked. To help students be more successful in this area, I have created a schedule for lessons up until the close of the marking period in December.

Find your last name and find your group number. You will use this group number to read the lesson schedule. I recommend that you write this schedule into your A-Pad. I might also print out this schedule and highlight the dates and times that I see my group number listed.

You will also find the concert dates and the dates/times of the mandatory dress rehearsals. The dress rehearsals will be held in the Cafetorium. It is very important that you are present, on time, and prepared for these dress rehearsals. Your teachers will be notified of your absence from class, but be sure to check with them to get any assignments or work.

Group 1 Zervos, Barnum, Henry, Blackwood
Group 2 Chen, Dai, Templeton, Yu, Mulligan (Carrie Rose)
Group 3 McAuliffe, Farry, Permaul, Swyer
Group 4 Morawski, Marinopoulos, Mulligan (Jo Ann)
Group 5 Zeng, Cummings, Huq, Salazar, Russo
Group 6 Abebe, Pabba, Nyangaga, Rastegar, Clemente
Group 7 Xu, Mulligan (Mary Jean), Warren, Toscano, Zhao
Group 8 Zhu, Gohlke-Schermer, Sipzner, Tenenini
Group 9 Garcia, Kannan, Randorf, Kester, Van Oort, Lamb
Group 10 Burby, Rau-Sirois, Chevalier, Trichilo, Ramesh, Pearson
Group 11 Miller, Petitti, Marotta, Yang
Group 12 Leicht, Ericson, Toffenetti
Group 13 Hoffmann, Rosenberg, Brown
Group 14 Hernandez, Schermerhorn,
Group 15 Pinto, Guntert, Balzer, Rowe, Hill
Group 16 Song, Kim
Group 17 Krofft, Anand, Wolanski
Group 18 Reiner, Krieg, Rafferty, Tucker
Group 19 Patka, Burmistrova, Parker, Salazar, Selsley
Group 20 Ko, Xiong, Long, Campbell, Ingraham
Group 21 Chong, Byerly, Kang, Hill, Kedik

11/16 (A/C)
8:50 6
9:30 4
10:10 1, 3
10:50 2
2:00 5

11/17 (B/D)
8:50 10
9:30 7
11:30 8
1:20 9

11/18 (A/C)
10:10 12, 14
11:30 13

11/19 (B/D)
8:50 19
9:30 18
10:50 17
1:20 16
2:00 15

11/20 (A/C)
9:30 21
2:00 20

11/23 (B/D)
8:50 2
9:30 6
10:50 4
11:30 3, 5
1:20 6th Grade Dress Rehearsal
2:00 1

11/24 (A/C)
8:50 7
9:30 8
10:10 9
10:50 10

11/30 (B/D)
8:50 1, 3
11:30 4
1:20 6
2:00 2

12/1 (A/C)
9:30 10
10:10 7
10:50 8
2:00 9

12/2 (B/D)
8:50 8th Grade Dress Rehearsal
1:20 12, 13
2:00 14
7:30 8th Grade Concert

12/3 (A/C)
8:50 16
9:30 15
10:10 18, 19
10:50 17

12/4 (B/D)
8:50 20
1:20 21

12/7 (A/C) 8:50 7th Grade Dress Rehearsal

12/8 (B/D)
8:50 6th Grade Dress Rehearsal
10:50 9
11:30 7
1:20 8
2:00 10

12/9 (A/C)
8:50 13, 14
10:10 12

12/10 (B/D)
8:50 18
9:30 19
11:30 15
1:20 7th Grade Dress Rehearsal
2:00 16
7:30 7th Grade Concert

12/11 (A/C)
10:10 20
10:50 21

12/14 (B/D)
8:50 4, 6
9:30 2
10:50 1, 5
1:20 6th Grade Dress Rehearsal
2:00 3

12/15 (A/C)
8:50 9
10:10 10
2:00 7, 8
7:30 6th Grade Concert

12/16 (B/D)
8:50 12
10:50 13
11:30 14

12/17 (A/C)
8:50 15
9:30 17
10:10 16
10:50 18, 19

12/18 (B/D)
8:50 21
11:30 20

12/21 (A/C)
10:10 7th Grade Make Ups - Sign Up Ahead of Time
10:50 8th Grade Make Ups - Sign Up Ahead of Time
2:00 6th Grade Make Ups - Sign Up Ahead of Time

Chamber Strings - 4th Rehearsal

In attendance were:

Joe Sipzner

Gloria Zhao

Katie Gonick

William Wang

Bill Dong

Marko Crnkovic

Emma Pearson

Catherine Rafferty

Karthik Ramesh

Andrea Long

Katie Yang

This afternoon in Chamber Strings we revisited the Allegretto from Beethoven's Op. 16. The 6/8 time signature is still relatively new to us, so we reviewed the way to approach triple time (looking at "big"/macro beats -- in this case, dotted quarter notes -- and speaking the microbeats -- "du da di"). Students are encouraged to practice whatever part (A or B in vln 1, vla, cello, and C or D in vln 2) they feel capable of playing with the understanding that they can switch to a different part at any time. I love how well we can listen when we know how to open our ears! We had great leaders using their rhythmic breath to cue the entire ensemble.

Continue to look at Winter this week, practicing those double down bows carefully, and add Allegretto to your daily routine.

Monday, November 9, 2009

As a reminder, the Evacuation Drill is scheduled to occur tomorrow afternoon during 13th mod. Sixth grade students who do not have lessons tomorrow should leave their instruments at home as we will not be playing them in class (6th graders with lessons are only those who have Ms. Norman as a teacher). We will have class during the "Hold in Place," so please arrive on time.

7th Grade

Rhythm testing began in the 7th grade today, and it will continue for the remainder of the week. Tests are administered during orchestra rehearsals, so there should be no concern about missing classes. Please keep in mind that these new types of tests are not in place of regular weekly lessons -- last week's testing was the exception.

Rhythm test procedure:

1. Check the list so that you know approximately who is before you. There should always be one person standing by the door ready to test.

2. Don't bring anything with you (unless you'd like to use your own copy of the rhythm sheet for help with syllables). Leave instruments, music, and writing utensils at your stand.

3. Sign out. You're only going across the hall, but since you're out of the classroom I need a record.

4. Once in Ms. Dame's room, sit in the chair. Do not move chairs, stands, or the tripod. The computer will be on, set to the metronome site.

5. Internalize the macrobeat. You may wish to tap macrobeats in your feet/heels to coordinate with the metronome's macrobeat.

6. Chant and clap your rhythm only once. Don't stop, don't repeat. Make sure to show rests when necessary, speak loudly and clearly, and clap when appropriate.

7. Return directly to the orchestra room -- no bathroom/drink breaks! Sign in and return to class.

I have current grades available for 7th and 8th grade students. The lesson that you attend this week is the last lesson of the marking period and will be an additional 15pts to your cumulative grade (out of 400pts). Practice logs were collected in the 7th grade, also worth 15pts. If you forgot your practice log (or have a log from last week that was not turned in), I will accept it up until Thursday morning.

For students studying privately, this is a reminder that your private lesson logs were due Friday. I will accept late work (including private lesson logs) until Thursday morning.

If you missed your lesson today, be sure to check with me (or someone in your lesson group) if you need a copy of the music we looked at. Next week starts a brand new marking period and a clean slate, so you'll want to be ready to put your best foot forward.

The 7th grade violins are divided in two large sections, each devoted to learning a different group of NYSSMA solos. The assignments were as follows:

Achievement March Groups: We played from the beginning to measure 9, and then from measure 25 to the end. We will work to memorize measures 25 to the end for the next lesson, remembering to still play the beginning to measure 9.

Etude Groups: We found places in Etude where there are clear G major scale patterns. There are a few different places: can you find/remember them? We will learn the first line for next week, making sure to start with a clear tone and correct posture. Don't let your first fingers become idle as you play the open strings!

6th Grade

Counting tests will begin for sixth graders on Thursday during orchestra. All students should have a copy of the test material as well as a "How to Prepare for Clapping and Counting Tests" sheet. At the start of today's rehearsal we used rhythm flashcards to remind us the proper way to clap and chant/count. These flashcards will later be used in Music Jeopardy, and students are encouraged to review clapping and counting procedures at home during practice time.

Practice logs will soon be due for 6th graders. This log is the last grade of the first marking period. I will be accepting late work until Thursday morning, so hand in any of those scale sheets, practice logs, etc that you might still have!

We have now played through all of Modest March and Kleine Kanon! It is a good idea to remind yourself of the "road map" for these pieces at home, remembering the difference between D.C. al Coda and D.S. al Coda.

Sixth grade: when you're practicing, are you sitting in a 3? A 2? Don't practice sitting in a 1!

Chamber Strings - 3rd Rehearsal

We began again with Winter, this time hooking 8th notes (4 to a bow) so that they sound more like the first flakes of snow that fall in a winter storm. Still underspeed, we worked toward a continuity of sound and a conformity of bowstroke in passages with faster notation. Violins will play double down bows for the first two notes in the 32nd-note passages, and these double down bows must be taken at the frog to achieve the right style. Think winter storms!

After a brief look back at the Allegretto from Beethoven Op. 16, we moved on to some sight reading. Die Forelle is a famous piece written for many different ensembles, but it's playful rhythm can often be tricky. As an introduction to the piece, we played the melody in unison (all in our own clefs and octaves) and took turns using our breath and body language to start the piece. Breathing is essential to an ensemble who hopes to play together, and it becomes more difficult when "pickup" notes are involved. All of our breathing leaders did a great job!

Also discussed in this rehearsal was tuning etiquette for a string orchestra. This is the procedure we decided on:

1. Principal cellist would check his/her intonation with a tuner.
2. Concertmaster, when entering onto stage or beginning rehearsal, would request the principal cellist to play an A.
3. Once the principal cellist plays his A, the concermaster checks his own instrument before "giving" the A to the rest of the orchestra.
4. Using broad bowstrokes in the mp to mf range, the orchestra would check the tuning of their strings.

We practiced this, and will continue to tune this way in the future.



Be sure to check the folder outside of the orchestra room (labeled "Chamber Strings") for practice parts to the Allegretto and Die Forelle.

In attendance:
Joe Sipzner
Gloria Zhao
Ali Gohlke-Schermer
Katie Gonick
Arianna Barnum
Bill Dong
William Wang
Erin Templeton
Marko Crnkovic
Rachel Swyer
Emma Pearson
Catherine Rafferty
Karthik Ramesh
Andrea Long
Naila Brown
Cody Ingraham

We're sorry we missed:
Michelle Burmistrova
Katie Yang
Sydney Marotta

6th Grade Fall Repertoire - Carmen, Carmela

For weeks now, I have been promising the 6th grade a post on Spanish and Mexican music to reward them for all their hard work on Carmen, Carmela.

"Carmen, Carmela" (sometimes simply called "Carmen") is an early folk tune that is popular throughout Mexico. The rhythm originated from the Cuban habanera dance and became popular in Spain during the nineteenth century, inspiring numerous European composers to employ this syncopation in their works. The most well-known use of the habanera is heard in Bizet's opera "Carmen."

Many composers have used this habanera rhythm in their works, and many composers have used Bizet's opera as the basis for other works. One of my favorite adaptations is the Carmen Fantasy, arranged by Pablo de Sarasate. Here it is played in two parts by Gil Shaham:

Part 1
Part 2

The Carmen Fantasy is a very difficult piece and must be taken very seriously when learning. Some adaptations of Bizet's opera "Carmen" aren't always so serious...like this one. If you watch the Muppets or any old Looney Tunes, you probably know more opera than you think you do. Perhaps I'll do a post on opera later in the year.

Just like our Carmen, Carmela, some very famous pieces had simple beginnings as folk tunes. In this video, Itzhak Perlman plays a transcription for violin and piano. Kreisler, a wonderfully creative violinist from a previous generation of string playing, often took simple pieces and transformed them into "salon" or recital pieces. This song is called Danse Espagnole from "La Vida Breve" (translated: Spanish Dance from "The Short Life") by Manuel de Falla.

Here's a historic recording of Kreisler playing his own transcription of La Gitana. As much as I like listening to Kreisler, I also like watching a musician playing...so here's a more modern recording.

I personally have never been bullfighting, but I imagine it might be a scary experience. Joaquin Turina wrote a piece called Oracion Torero (translated: The Bullfighter's Prayer). What do you think this bullfighter is thining about?

A longtime favorite piece of mine is Estrellita (translated: Little Star), played here by Joshua Bell. Jascha Heifetz transcribed this piece by Manuel Ponce, and his transcription is deceivingly difficult. Jascha Heifetz was an amazing violinst -- and he knew it. Do you remember the order of sharps in a key signature? F# - C# - G# - D# - A# - E# - B#. Heifetz arranged Estrellita in the key of F# Major (6 sharps!) so that you can't use any open strings even if you wanted to!

When you think about it, France and Spain are not too far away from each other, but while the French have their own distinctive style of music, some French composers were attracted to Spanish melodies and rhythms. Here's the Havanaise by Camille Saint-Saens (you might recognize him as the composer of works such as Danse Macabre and Carnival of the Animals from Fantasia). This Havanaise is based on the same habanera rhythm that inspired Carmen, Carmela.

Some vocabulary related to Carmen, Carmela:

habanera - A Cuban dance and song, named after the capital, Havana. The music is in a moderate to slow duple metre. The habanera (not habañera) became popular in the early 19th century and was much used by French and Spanish composers; an outstanding example appears in Bizet's Carmen

syncopation - A shift of accent in a passage or composition that occurs when a normally weak beat is stressed

tango - a ballroom dance of Latin-American origin in ²⁄₄ time with a basic pattern of step-step-step-step-close and characterized by long pauses and stylized body positions

Monday, November 2, 2009

7th Grade

New practice logs: due 11/9!

A list was passed around today during orchestra for students to record the email addresses of their parents. Although I would like to continue to communicate via this blog, I am finding it necessary to email parents directly to inform them about changes in lesson schedules and upcoming events. If you did not record your parents' email address, please give it to me sometime in the near future so that I can help you be more successful in orchestra.

We ran through Saturday at the Symphony today and got all the way through to the end. The Finlandia section (see the post on 7th Grade Fall Repertoire if you can't remember Finlandia) is still very rough, but we're slowly understanding the rhythm and learning how to sustain our bows through those long whole notes. Remember that although the notes in this section differ from instrument to instrument, the rhythm remains the same.

At the beginning of Saturday at the Symphony is a section from a famous Rondeau, often felt in a 2-beat pattern instead of the 4-beat pattern that is written in this arrangement. It is my goal to conduct this section in that 2-beat pattern (creating more emphasis on beats 1 and 3), but to do so means that violins need to practice this section with their metronomes, in increments of speed. It should have a playful, dancelike feel.

Rhythm testing will commence next week once the first round of performance tests is completed. To prepare for these rhythm tests, every student in grades 6-8 will receive a mini-tutorial on how to clap and count. For many of you this is nothing new, but for some it is. Use the front of the sheet to check your use of syllables and for practicing suggestions. On the back, each grade has a short rhythm assignment. This line is what you will be tested on next week, and I encourage you to make any necessary notes on the page. When I grade the Rhythm tests, I will be looking for the following:

1. Coordination with the metronome. Could you set the metronome? Do you clap and count to its macrobeat?
2. Counting/Chanting. I want to hear those syllables!
3. Clapping. Clap when you have notes, show rests when you have rests. Coordinate your clapping with your chanting and your metronome.

Lastly, we began learning a fiddle tune called Stinky's Blues. We learned the skeleton (or "bones") of the tune, and we will add more complicated parts in both lessons and orchestra. I love playing fiddle music, and part of the fun is that you can take fiddle tunes with you - no sheet music required! It is up to each student how much of this tune they want to learn. If you can show me that you've memorized the bones, I'll help you add to it. It is my hope that we can add a bass line and create opportunities for improvisation.

Youtube is a wonderful thing, and I was able to find a recording of the exact version of Stinky's Blues that I want to teach you. Unlike most of the other recordings I post of famous and notable performers, these youtube videos are mostly of kids like you. Enjoy!

Stinky's Jam Session 1 Session 2
10-year-old playing Stinky's Blues

6th Grade

Carmen, Carmela has provided us with many opportunities to learn new techniques, terms, and concepts, but the hard part is almost over. In the weeks to come, we will focus on putting all of the pieces of this song together so that we can play it all the way through. Today, we played from the viola soli* section all the way to the end of the pieces. Although the last note looks terrifying with all its notes and squiggely lines, we are picking one note at a time and focusing on plucking that one note together as an ensemble.

At home, use your metronome (ignoring those pesky fermatas) to help you play through the entire piece without stopping. Can you play the entire piece as if you were learning it as a solo for NYSSMA? Perform it for your family!

Sixth graders also received a clapping & counting/chanting sheet to help prepare for their own round of rhythm tests. Feel free to ask me or Ms. Dame for help in preparing.

Certainly my favorite part of rehearsal today was "Cabbage." Using our knowledge of the D Major Scale, we began learning a famous - yet simple - fiddle tune called Bile 'em Cabbage Down. To practice at home, first play a D Major Scale (remember: 2 sharps - F# and C#). Sing "do-mi" and play it on your instrument (D-F#). Bile 'em Cabbage Down begins on mi (F#):

mi mi mi mi fa fa
mi mi mi mi re re
mi mi mi mi fa fa fa fa
mi mi re re do do

Having trouble? Sing it first! Like most fiddle songs, Bile 'em Cabbage Down began as a piece with lyrics. They're silly...

Bile 'em cabbage down, down,

Bake 'em biskets brown, brown.

Only tune I ever did learn was

Bile 'em cabbage down.

Verse:

June bug he has wings of gold,

The firefly wings of flame.

The bedbug's got no wings at all,

But gets there just the same.

Love it is a killing fit,

When beauty hits a blossom,

And if you want your finger bit,

Just poke it at a possum.

Raccoon and the possum

Rackin' cross the prairie,

Raccoon asks the possum,

Did she want to marry?

Possum is a cunnin' thing,

He travels in the dark,

And never thinks to curl his tail,

Till he hears old Rover bark.



*Soli = a soloistic portion of the music where the entire section gets to play together

Chamber Strings - 2nd Rehearsal

Attendance is getting better as summer/fall sports are wrapping up! The following students helped to make Monday's rehearsal a productive and musical experience:

Gloria Zhao
Katie Gonick
Arianna Barnum
William Wang
Rachel Swyer
Marko Crnkovic
Emma Pearson
Karthik Ramesh
Naila Brown
Cody Ingraham
Sydney Marotta
Katie Yang

We continued work on Winter, and we used a worksheet to practice hearing the chord changes that occur in this piece. I encourage all of you to listen to (and watch) performances of this piece to help you get an idea of the type of bowstroke and intensity you should strive for. Here is a youtube video of Gil Shaham with a creative take on the filming. This video of Nigel Kennedy has an interesting mix of modern staging (and string techniques -- note the ponticello used to create that icy sound) with older instruments. Vivaldi's Four Seasons are traditionally performed without a conductor, as in this video. This is another good video, a little more traditional.

We sight-read a new piece this week as well, and I am really pleased with how well the ensemble did with it! The piece is an arrangement of the Allegretto theme from Beethoven's String Quartet Op 16. Next week, we will read another arrangement, this time by Schubert.

Practice Logs & Upcoming Tests

Is everyone filling out their practice charts? All students have a specific weekly practice chart -- which I will collect next week -- that they should be filling out and getting signed. Although most practice charts "require" 30 minutes per day, I understand that this is not always possible. Instead, I am using this assignment as a diagnostic tool to see when students practice, what they focus on, and how their time is spent. If you were absent and did not receive a chart, record your daily minutes of practice (and what it was that you practiced) so that you can fill out your chart when you return to class.

Practice charts will count as a significant part of the orchestra grade as practicing is the most important thing a music student can do outside of rehearsal. As I said in class, I'd rather see you spend 10 minutes working on an assigned excerpt than have you try to split 10 minutes among 3 assignments. Please don't hesitate to ask questions!

This should go without saying, but instruments left in the storage room overnight can't be practiced on at home. One student has told me that she uses her sister's instrument at home so that she can leave hers in school. Unless you come and tell me something like this, I can only assume that you are not practicing on the days that you have violins and violas left in school. I have begun taking note of the instruments that are left behind. Take them home! Use them!



The first round of performance tests will begin at the end of this week and end next week. Because the schedule may be confusing, I'll post it at the end of this entry. Please note that the time listed is the time you will begin playing for me. Your lesson card will say a different time so that you can get to the orchestra room, warm up, tune, and not feel stressed out. For example, Kevin Zeng will play for me on Thursday the 29th at 11:00am, but his lesson card will say 10:50am. Please be on time for your test! If you miss your test, prepare to stay after school THAT DAY to make it up.

Remember that your performance tests make up 25% of your final grade, so it is important that you come and come prepared.

Performance Test Grading - 25 possible points

Up to 5 points in each of the following categories
Rhythm
Pitch/Notes
Dynamics
Articulation
Phrasing/Musicality*

*Note that many students have tests scheduled along with other students. In these situations, one of the 3 excerpts will be played together so that I can check for understanding of your own part as well as for awareness and understanding of other parts in the ensemble.


Students will have 3 opportunities to play, and I will take the average of these performances in each category:

1. Scale. I am looking for correct pitches, knowledge of key signature, good tone, correct posture.
2. Excerpt #1. To be played alone, from the assigned weekly excerpt. Metronome coordination a must!
3. Excerpt #2. To be played in ensemble, being conscious of the other musician.

Please ask me any questions and come to me with any concerns before your test! There will be no time to ask questions once the test has begun (as we have to hear 2 scales, 2 solo excerpts, and 1 combined excerpt in 10 minutes). Only in extreme circumstances will a second playing be granted, so I recommend that you prepare your excerpts well and give yourself enough time to warm up.

Lessons & Tests with Miss Ellis
Thursday, October 29th - A/C
8:50
Andre Pinto Delaney Guntert Sophie Balzer Leo Miller Eliana Rowe Claire Hill Sydney Marotta Katie Yang Joseph Petitti

9:30
Rebecca Tucker Ahna Pearson Allison Reiner Catherine Rafferty Matthew Krieg Michelle Burmistrova Cory Parker Alfredo Salazar Alex Selsley Sophie Patka

10:10
Sera Song So Yeon Kim

11:00 Kevin Zeng
11:10 Michelle Yu, Markos Abebe
11:20 Gerardo Salazar
11:30
11:40 Allyson McAuliffe, Andy Cummings
2:10 Natasha Permaul, Gianluca Russo
2:20 Sazeed Huq
2:30


Lessons with Miss Ellis
Friday, October 30th - B/D

8:50
Asaph Ko
Andrea Long
Julia Chong
Michelle Xiong
Sydney Campbell
Jake Hill
Cody Ingraham
Abigail Kedik
Sarah Byerly
Michelle Kang
9:40 Elijah Clemente, Alana Zervos
9:50 Walter Nyangaga, Victoria Blackwood
10:00 Nihaal Pabba, Jo Ann Mulligan
1:20
1:30 Kristina Marinopoulos, Rachel Swyer
1:40 Alicia Chen, Emily Toffenetti
1:50 Maddy Farry, Jennifer Hoffmann
2:00
2:10 Curtis Ericson, Asha Anand
2:20 Sophia Schermerhorn, Rebecca Wolanski
2:30 Erin Templeton, Julia Sanford


Playing Tests
Monday, November 2nd – A/C

8:50 Rosemary Leicht, Heather Krofft
9:00 Jacob Rosenberg, Carrie Rose Mulligan
9:10 Hannah Hernandez, Thomas Fortune
9:20
9:30 Julia Manobianco
9:40 Elise Burby, Asaph Ko
9:50 Victor Rau-Sirois
10:00 Laura Chevalier, Michelle Xiong
10:10
10:20 Karthik Ramesh, Andrea Long
10:30 Emma Pearson, Julia Chong
10:40 Jake Hill, Andrew Xu
10:50
11:00 Cody Ingraham, Aaron Kester
11:10 Abigail Kedik, Mathilde Warren
11:20 Michelle Kang, Joe Sipzner
11:30
2:10 Amy Toscano, Courtney Van Oort
2:20 Miguel Garcia, Katie Randorf
2:30 Pranav Kannan, Josh Lamb

Playing Tests
Wednesday, November 4th – B/D

8:50 Ryan Adkison, Erin Callahan
9:00 Alex Beams, Gretchen Long
9:10 Sara Kogelmann, Madeline Cartwright
9:20
11:00 Winsor Jewell, Alex Magnan
11:10 Joseph Petitti, Gabrielle Sanza
11:20 Eliana Rowe, Marko Crnkovic
11:30
1:20 Delaney Guntert, Amanda Conklin
1:30 Andre Pinto, Gloria Zhao
1:40 Rebecca Tucker, Britany Nauman
1:50
2:00 Matthew Kreig, Elizabeth Reedy
2:10 Alfredo Salazar, Katie Yang
2:20 Sophie Balzer, Matthew Lurie
2:30

Playing Tests
Thursday, November 5th – A/C

8:50 Bridget Bellanger, Alex Magnan
9:00 Michelle Burmistrova, Sera Song

9:20 Allison Reiner, Michaela Mazzeo
9:30 So Yeon Kim, Nora Stevens

9:50 Mackenna Dombroski, Paul Caruso
10:00 Annie Lin, Ryan Dillon

10:30 Jacob Kelley, Lucas Laing
10:40 Aurora Trainor, Madeline Cartwright

11:00 Sarah Hanlon, Eva Mazzella

11:20 Cat Seita, Elaine Santos
11:30 Catherine Rafferty, Katie Gonick

2:10 Cory Parker, Michael Zhu
2:20 Matthew Darby, John Piechowiak
2:30 Leo Miller, Daniel Logiudice


Playing Tests
Friday, November 6th – B/D

8:50 Emily Gunther

9:10 Michael Trichilo, Sydney Campbell
9:20 Sarah Byerly, Mary Jean Mulligan

9:50 Ali Gohlke-Schermer, Naomi Tenenini
10:00 Rachel Cardiff, Megan Govin
11:00 Claire Hill, Alana Lake

11:40 Alex Selsley, Gabrielle Kernozek
1:20 Sydney Marotta, Ahna Pearson
1:30 Christina Morawski, Arianna Barnum

1:50 Vivian Dai, Naila Brown
2:00 Amir Rastegar
2:10 Shaddai Henry