I'd like to extend a special thanks to the 6th (AC) and 7th grades today for their focus and energy in rehearsal. I was pleasantly surprised with the amount of music we were able to play and the levels of musicianship that the students in these classes achieved.
The biggest news to me came during the 7th grade rehearsal when students told me they actually liked the Harvest Song. I was under the impression that students liked this one least, and I was considering taking it off our winter concert program. Sight-reading in the Allegro section was significantly better than it had been a few weeks ago, and I'm excited to see how much fun we can have with this folk song suite!
In 6th grade rehearsal, we focused on shorter sections of Carmen, Carmela, plucking new rhythms and air-bowing new material. The practice assignment is drawn from the syncopated section that we worked on in class. I'm glad that sixth graders are becoming more friendly and getting to know their stand partners, but we still have a lot of work to do in the next couple months. Try to listen carefully, play only what -- and when -- I ask, and relax when I give you time to relax!
We finished a few minutes before the bell today, and I'll be happy to give you time to talk and pack up at the end as a reward for meaningful rehearsal time.
Again, thank you all for a good day of rehearsals.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Tuesday, September 29, 2009
Announcements
As a reminder, full choir rehearsals are on 10/23, 11/20, and 12/11. Students attended a full choir rehearsal on 9/25 and were excused from orchestra during this time. If I sent you to choir, it means you were on Ms. Norman's attendance list. If you desire to be removed from this list (and attend orchestra every scheduled day), please go and talk to Ms. Norman in person.
Another violin has gone missing. It is a 3/4 size violin in a student case (black, plastic, with silver edges) with no name tag. Please check your -- or your child's -- instrument to make sure it belongs to you. If it does not have a name tag, please add one! Even masking tape with your name on it is better than nothing.
Ms. Norman's daughter, Julie, is giving a recital at SUNY Albany next Thursday night. Julie was a very talented violinist, but this recital will feature her as a vocalist. Ms. Norman will be accompanying, and FMS students who attend will receive a special treat during their next orchestra period. Fliers will be up in the orchestra room with more information.
As announced in class, Seat Checks for all grades will begin next week. Performances (including concerts, seat checks, and auditions) make up 25% of the orchestra grade, so it is now more important than ever to pay attention -- and practice -- the assignments! Seat check material will be derived from the daily practice assignments.
What is a Seat Check?
Seat checks are mini-performances given alone or in small groups during the regular rehearsal period. I may ask one student to play by themselves, or I may ask a team* to play. At this point, I will count off so that they start together, but it is up to the student to know their music well enough that they can listen -- and stay together -- with the other members of their team as they play.
Each student receives a grade both relative to their own development as a musician and to their contribution to the team sound. Students may earn up to 25 points per seat check, broken down as follows:
If a student is present and plays their seat check, the lowest grade they can receive is 5 points (because I give one point in each category if they are present, playing, and trying their best). Students who have an unexcused absence forfeit their grade for that seat check, but those with a legal excuse may make up the missed seat check at another time.
Today's Practice Assignments & Rehearsal notes
6th Grade: Carmen, Carmela m12-20
In 6th grade rehearsal, we worked mostly on Carmen, Carmela. I spoke about the seat check process, and we practiced thinking about the elements of music by rating ourselves on scales of 1-5. This 6th grade ensemble has acquired more discipline than it had in the past, but there are still a few chatty people in each section. Please remember that participation grades suffer when students become distractions to others.
In general, we are becoming more comfortable with the switch from pizzicato to arco (and maintaining the tempo). The change in dynamics from mp to mf is also improving, and I challenge students to remember to change without me reminding them.
8th Grade: Fanfare & Frippery beginning - Letter C
A smaller 8th grade ensemble arrived in my class this morning, and I hope it was because of the confusing shorter week instead of illness. Nonetheless, we were able to do some good work with a 1st violin section, 1 stand of 2nd violins, 1 viola, and 2 cellists. Thanks to those students who remembered to come!
Our warm-up today was in the key of D (same as Fanfare), and we played scales using trills on each note. As with the 6th grade, we talked about seat checks. Although the practice assignment for next time is just Fanfare and Frippery, cellists should continue work on Mambo Incognito (especially at measure 25) and Cellos Ole.
*Remember that teams were pre-formed, but students selected their own team names. Don't remember your team members or team name? Check the board outside the orchestra room or refer to an earlier blog post.
Monday, September 28, 2009
7th Grade Fall Repertoire
In this entry, I have provided some suggested listening/viewing for 7th graders as they practice the music for our winter performance. Our 7th Grade program includes:
Czech Folk Song Suite of Traditional songs (Harvest Song); arranged by Merle Isaac
Saturday at the Symphony by John O’Reilly
Variations on a Ground by Marsha Chusmir Shapiro
Concert Piece for Strings by Elliot del Borgo
Fantasia on Amazing Grace by Elliot del Borgo
In learning Variations on a Ground, we talked about what a "variation" is. In music, variation is a formal technique where material is altered during repetition; reiteration with changes. Changes may be harmonic, melodic, contrapuntal, rhythmic and of timbre or orchestration. Variational sections depend upon one type of presentation of material, while developmental sections use many different presentations and combinations of material. Listen to some variations as they appear in famous classical works:
Niccolò Paganini's Variations on "God Save the Queen" for solo violin. Paganini was a violin virtuoso who played both violin and viola and is credited with developing the modern style of violin playing.
The International Tchaikovsky Competition is one of the most famous and prestigious music competitions in the world. Held in Moscow, this competition takes place every 4 years (beginning in 1958), making it much like a musical olympics. It is open to pianists, violinists, cellists, and vocalists (unfortunately, no violists or bassists -- Tchaikovsky didn't write the same type of solo literature for these instruments) from every country. In this youtube.com selection, 1990 prizewinner Gustav Rivinius plays the Tchaikovsky Rococo Variations.
Unfortunately, no video footage exists of the great Russian composer, pianist, and conductor Sergei Rachmaninoff playing his own set of variations. Many composers have used Paganini's Caprice No. 24 for solo violin (here, played with an accompaniment created by Robert Schumann..also a set of varitions) as inspiration for even more variations. This youtube.com video is very helpful in understanding the nature of variations because each section is labeled. What is interesting in Rachmaninoff's Rhapsody on a Theme of Paganini is that the 1st variation comes before the Theme, as opposed to after it.
Edward Elgar wrote a thought-provoking set of variations based on the personalities of his friends. His Enigma Variations can be listened to in its complete form using this link, but the most popular variation is probably that of Nimrod. This powerful and moving recording was made in 1997 by the Chicago Symphony performing at Carnegie Hall in New York City. Watch the string players and see how they use the speed and pressure of their bowstroke to enhance the emotion and dynamic build of the piece.
Czech Folk Song Suite of Traditional songs (Harvest Song); arranged by Merle Isaac
Saturday at the Symphony by John O’Reilly
Variations on a Ground by Marsha Chusmir Shapiro
Concert Piece for Strings by Elliot del Borgo
Fantasia on Amazing Grace by Elliot del Borgo
Saturday at the Symphony
I got excited when I found this piece in the music library at Farnsworth Middle School because it is full of opportunities to learn string techniques and it incorporates some of my favorite classical music pieces. When John O'Reilly arranged Saturday at the Symphony, he thought about what a great Saturday night program would look like. His basic draft might have looked like this:
Or, he might have thought about a progam in this way:
Title: Musical Timeline
1. Something old: a selection from the Baroque period of music history.
2. A "crowd-pleaser" from the Classical or Romantic era of music history.
3. Something new: a piece using a modern or otherwise less-familiar compositional technique.
2. A "crowd-pleaser" from the Classical or Romantic era of music history.
3. Something new: a piece using a modern or otherwise less-familiar compositional technique.
Or, he might have thought about a progam in this way:
Title: European Travels
1. France
2. Finland
3. Germany
1. France
2. Finland
3. Germany
What he came up with was this:
Title: Saturday at the Symphony
1. Rondeau by Jean-Joseph Mouret.
2. Finlandia by Jean Sibelius
3. Symphony No. 1 by Johannes Brahms
1. Rondeau by Jean-Joseph Mouret.
2. Finlandia by Jean Sibelius
3. Symphony No. 1 by Johannes Brahms
Jean-Joseph Mouret was a talented French singer and composer who specialized in writing dramatic works (operas, and other stage productions) during the Baroque era (1600-1750). Even though most of his works are no longer performed, Mouret's name survives today thanks to the popularity of the Fanfare-Rondeau from his first Suite de Symphonies, which has been adopted as the signature tune of the PBS program "Masterpiece Theater," and it is a popular musical choice in many modern weddings. A Junior Brass Quintet also does a great job with their arrangement of Rondeau.
Finlandia, by Finnish composer Jean Sibelius, is a symphonic poem first written in 1899. Originally, Finlandia had been part of a larger composition which was later reworked. This youtube.com creation describes the political struggles of Finland with Finlandia as the soundtrack. Some students may recognize a theme in Finlandia from the Christian hymn Be Still, My Soul or the national anthem of the short-lived African state of Biafra.
Finally, O'Reilly incorporates themes from Symphony No. 1 by Johannes Brahms. Have you ever been excited to do something, but nervous that you might not do it well? If so, you and Brahms have something in common:
Brahms began writing his first symphony in 1854, and it wasn't performed in public until 1876. Brahms was very critical of himself, causing him to destroy much of his early work. Plus, his friends and colleagues had great expectations for him: to create a symphony as good as the symphonies of Ludwig van Beethoven. Beethoven had died almost 30 years before Brahms began writing his first symphony, but the expectations still weighed heavy on his mind. He wanted so badly to write a good symphony, but he was afraid of what the critics would say.
What emerged was his Symphony No. 1 in c minor. This symphony is often called "Beethoven's Tenth" (because Beethoven only wrote 9 symphonies). Brahms had done it! He had created a symphony as memorable and beloved as those of Beethoven. Brahms would go on to write 3 more symphonies in his lifetime, all of which are still played today.
Here is an excerpt from the 4th movement of Symphony No. 1 performed by the Berlin Philharmonic under the direction of Sir Simon Rattle. Just like Sibelius wrote nationalistic music for his home of Finland, Brahms was also inspired by the musical heritage of his native Germany. Listen how one of the world's best orchestras plays music that was written especially for them. Also, watch Sir Simon Rattle conduct. Does he always conduct in a 4/4 pattern? How do the musicians stay together if he doesn't always give them a beat? Why would he conduct this way?
Finlandia, by Finnish composer Jean Sibelius, is a symphonic poem first written in 1899. Originally, Finlandia had been part of a larger composition which was later reworked. This youtube.com creation describes the political struggles of Finland with Finlandia as the soundtrack. Some students may recognize a theme in Finlandia from the Christian hymn Be Still, My Soul or the national anthem of the short-lived African state of Biafra.
Finally, O'Reilly incorporates themes from Symphony No. 1 by Johannes Brahms. Have you ever been excited to do something, but nervous that you might not do it well? If so, you and Brahms have something in common:
Brahms began writing his first symphony in 1854, and it wasn't performed in public until 1876. Brahms was very critical of himself, causing him to destroy much of his early work. Plus, his friends and colleagues had great expectations for him: to create a symphony as good as the symphonies of Ludwig van Beethoven. Beethoven had died almost 30 years before Brahms began writing his first symphony, but the expectations still weighed heavy on his mind. He wanted so badly to write a good symphony, but he was afraid of what the critics would say.
What emerged was his Symphony No. 1 in c minor. This symphony is often called "Beethoven's Tenth" (because Beethoven only wrote 9 symphonies). Brahms had done it! He had created a symphony as memorable and beloved as those of Beethoven. Brahms would go on to write 3 more symphonies in his lifetime, all of which are still played today.
Here is an excerpt from the 4th movement of Symphony No. 1 performed by the Berlin Philharmonic under the direction of Sir Simon Rattle. Just like Sibelius wrote nationalistic music for his home of Finland, Brahms was also inspired by the musical heritage of his native Germany. Listen how one of the world's best orchestras plays music that was written especially for them. Also, watch Sir Simon Rattle conduct. Does he always conduct in a 4/4 pattern? How do the musicians stay together if he doesn't always give them a beat? Why would he conduct this way?
Variations on a Ground
In learning Variations on a Ground, we talked about what a "variation" is. In music, variation is a formal technique where material is altered during repetition; reiteration with changes. Changes may be harmonic, melodic, contrapuntal, rhythmic and of timbre or orchestration. Variational sections depend upon one type of presentation of material, while developmental sections use many different presentations and combinations of material. Listen to some variations as they appear in famous classical works:
Niccolò Paganini's Variations on "God Save the Queen" for solo violin. Paganini was a violin virtuoso who played both violin and viola and is credited with developing the modern style of violin playing.
The International Tchaikovsky Competition is one of the most famous and prestigious music competitions in the world. Held in Moscow, this competition takes place every 4 years (beginning in 1958), making it much like a musical olympics. It is open to pianists, violinists, cellists, and vocalists (unfortunately, no violists or bassists -- Tchaikovsky didn't write the same type of solo literature for these instruments) from every country. In this youtube.com selection, 1990 prizewinner Gustav Rivinius plays the Tchaikovsky Rococo Variations.
Unfortunately, no video footage exists of the great Russian composer, pianist, and conductor Sergei Rachmaninoff playing his own set of variations. Many composers have used Paganini's Caprice No. 24 for solo violin (here, played with an accompaniment created by Robert Schumann..also a set of varitions) as inspiration for even more variations. This youtube.com video is very helpful in understanding the nature of variations because each section is labeled. What is interesting in Rachmaninoff's Rhapsody on a Theme of Paganini is that the 1st variation comes before the Theme, as opposed to after it.
Edward Elgar wrote a thought-provoking set of variations based on the personalities of his friends. His Enigma Variations can be listened to in its complete form using this link, but the most popular variation is probably that of Nimrod. This powerful and moving recording was made in 1997 by the Chicago Symphony performing at Carnegie Hall in New York City. Watch the string players and see how they use the speed and pressure of their bowstroke to enhance the emotion and dynamic build of the piece.
Friday, September 25, 2009
Thursday, September 24, 2009
Announcements
There have been changes to the lesson schedule. Check to make sure you know what day your lesson will be on (updates are posted outside of the orchestra room).
We are still on the lookout for a half-size violin in a black plastic case. I'll have a serial number available soon so that you can check your instrument.
Full Choir will rehearse tomorrow. The following 7th graders will be excused from orchestra to attend the rehearsal:
Alicia Chen, Elijah Clemente, Vivian Dai, Curtis Ericson, Thomas Fortune, Emily Gunther, Shaddai Henry, Hannah Hernandez, Rosemary Leicht, Christina Morawski, Carrie Rose Mulligan, Jo Ann Mulligan, Natasha Permaul, Amir Rastegar, Sophia Schermerhorn, Rachel Swyer, Erin Templeton, Emily Toffenetti, Rebekah Wolanski, and Michelle Yu.
Chamber Strings auditions will continue next week. Sign up for a time outside of the orchestra room!
In my lessons this week, we have been working on a few different techniques:
Bow Control: First, we play a scale at a moderate tempo with each note getting a separate bow. Second, we play the same scale - at the same tempo - this time slurring two notes per bow. Then we add 3 notes, then 4. For now, 4 notes is plenty.
Elements of Music with New Music: We are all learning new music, and it can be a bit overwhelming. Take a small part of the music that you'd like to learn (or something that was assigned to practice). When you play it, rate your performance on a scale of 1 to 5.
Rate your rhythm.
Rate your pitch/note accuracy.
Rate your dynamic observation.
Rate your articulation (slurs, separate bows, bowings, dots, etc).
Rate your phrasing, tone, and/or musicality.
Now, pick ONE of these elements that you want to make better. Play it again, and rate each one again. Did the element that you picked get better? Did it stay the same? Did any of the other elements (the ones you weren't focused on) get better? Worse? Stay the same?
6th Graders: Spend some time just holding your bow. Hold your bow while you're watching tv or driving to the dentist or doing something else that doesn't require the use of your hands but is not appropriate for practicing with your instrument. Does your bow grip look like the grip in your Essential Elements pictures? Violinists/Violists: can you do "pinky pushups"?
Practice Assignments
6th Grade
Carmen, Carmela; measures 12-28
Pictures at an Exhibition: measures 14-26
Miniature Symphony: III. Minute Minuet: measure 1-14
7th Grade
Violins
Ground m25-41
Concert m97-99
Viola/Cello
Ground m41-49
Bass
Ground m1-17
All
Harvest m17-33
8th Grade
Violins/Violas
Mambo m17-25
Dramatic beg-m9
Cellos
Cellos Ole 7-15
Mambo 25-37
There was a question in the 6th grade orchestra today about a bow grip someone had seen on TV. What this cellist had seen was a bassist using a German bow grip. Most bassists use what is called a French bow, which has the same type of frog as a violin, viola, and cello bow. German bows have frogs that are different, with a wider space. Both bows produce the same type of sound, and the decision to use one or the other is a matter of preference.
Tuesday, September 22, 2009
Monday, September 21, 2009
As we enter into this next week of school, I'd like to remind all students that they have practice copies of all the music we're scheduled to perform in our winter concerts. Your practice copies are yours to use and to make notes on. After each rehearsal, we sound better than when we started, and I am excited to see how much we can accomplish this semester!
Soon, we will begin setting class goals for individual rehearsals, weeks, months, and concerts. It is important to set meaningful class goals, and we can do this by setting personal goals for ourselves. What kinds of things do you hope to accomplish this week? This month? This year? How will you know you accomplished these goals? What is your reward for accomplishing your goals?
Here's an example of a personal set of goals that a 6th grade student may have:
Daily Goals:
1. Practice my violin/viola/cello/bass every day (and on weekends!), even if only for 15 minutes.
2. Remember to bring my violin/viola, lesson book, homework/practice parts to class each day.
Check for Accomplishment: Having a filled Practice Chart/Log; Playing in orchestra and lessons on your own instrument, with your own books.
Weekly Goals:
1. Learn the key signature (how many sharps or flats) to one of the scales I have learned to play. Use this key signature to practice that scale.
2. Attend my weekly lesson on time, ready to play!
Check for Accomplishment: When the teacher asks about key signatures, you can raise your hand for the answer and know you've got it right even if you're not called on.
Monthly Goal:
1. Feel confident playing one entire piece for the concert. Confidence comes from personal practice and focus in class.
Check for Accomplishment: Play a piece for your parents, a friend, a sibling, or a pet. Make it like a real performance where they can practice being respectful audience members!
Thursday-Monday
6th Grade
Carmen, Carmela measures 1-28
Pictures at an Exhibition measures 14-26
Miniature Symphony III. Minute Minuet measures 1-14
7th Grade
Violin Variations on a Ground measures 33-41
Viola & Cello Fantasia on Amazing Grace measures 51-72
Bass Variations on a Ground measures 57-end
Everyone Saturday at the Symphony measures 66-end
8th Grade
Violin & Viola Mambo Incognito measures 17-25; Dramatic Essay beginning - measures 9
Cello Cellos Ole! measures 7-15; Mambo Incognito measures 25-37
Soon, we will begin setting class goals for individual rehearsals, weeks, months, and concerts. It is important to set meaningful class goals, and we can do this by setting personal goals for ourselves. What kinds of things do you hope to accomplish this week? This month? This year? How will you know you accomplished these goals? What is your reward for accomplishing your goals?
Here's an example of a personal set of goals that a 6th grade student may have:
Daily Goals:
1. Practice my violin/viola/cello/bass every day (and on weekends!), even if only for 15 minutes.
2. Remember to bring my violin/viola, lesson book, homework/practice parts to class each day.
Check for Accomplishment: Having a filled Practice Chart/Log; Playing in orchestra and lessons on your own instrument, with your own books.
Weekly Goals:
1. Learn the key signature (how many sharps or flats) to one of the scales I have learned to play. Use this key signature to practice that scale.
2. Attend my weekly lesson on time, ready to play!
Check for Accomplishment: When the teacher asks about key signatures, you can raise your hand for the answer and know you've got it right even if you're not called on.
Monthly Goal:
1. Feel confident playing one entire piece for the concert. Confidence comes from personal practice and focus in class.
Check for Accomplishment: Play a piece for your parents, a friend, a sibling, or a pet. Make it like a real performance where they can practice being respectful audience members!
What types of goals can we set as an orchestra?
Chamber Strings Auditions have begun! Sign up for an audition time (even if you have handed in a Chamber Strings Audition Form) outside of the orchestra room. Auditions take place after school on Monday, Tuesday, and Thursday of this week and Monday, Tuesday, Thursday of next week. The last auditions will finish before 4:05 so that you can take the Activity Bus home.
(Are you a 6th grader who has never taken the Activity Bus before? Stay after school tomorrow for the 6th Grade Ice Cream Social where you can eat ice cream with your friends and then learn to take the Activity Bus!)
Most lesson groups have been given assignments from the Essential Elements 2000 book 2. Make sure you bring this, or whatever book was assigned, to lessons each week.
I'm missing music for the very first stand of viola in the 6th grade. Original copies went missing after rehearsal today (6th grade AC), and it is very important that I get them back. The folder was left, and I fear that the originals are now also unprotected. As a reminder, folders and original copies should never go home. If you did not receive practice parts or if you have lost your practice parts, come talk to me. Original parts must be used in performance and festivals and can cost up to $4 per part, per piece.
Did someone take home the wrong instrument by mistake? A student is missing a 1/2-size violin which disappeared sometime between Thursday night and Friday afternoon. It is in a standard black plastic case (shaped), with no tag. There were two pens in the case. If you took home this instrument in error, please bring it in so that we can find your instrument and return the other to its owner.
Practice AssignmentsAnnouncements
Chamber Strings Auditions have begun! Sign up for an audition time (even if you have handed in a Chamber Strings Audition Form) outside of the orchestra room. Auditions take place after school on Monday, Tuesday, and Thursday of this week and Monday, Tuesday, Thursday of next week. The last auditions will finish before 4:05 so that you can take the Activity Bus home.
(Are you a 6th grader who has never taken the Activity Bus before? Stay after school tomorrow for the 6th Grade Ice Cream Social where you can eat ice cream with your friends and then learn to take the Activity Bus!)
Most lesson groups have been given assignments from the Essential Elements 2000 book 2. Make sure you bring this, or whatever book was assigned, to lessons each week.
I'm missing music for the very first stand of viola in the 6th grade. Original copies went missing after rehearsal today (6th grade AC), and it is very important that I get them back. The folder was left, and I fear that the originals are now also unprotected. As a reminder, folders and original copies should never go home. If you did not receive practice parts or if you have lost your practice parts, come talk to me. Original parts must be used in performance and festivals and can cost up to $4 per part, per piece.
Did someone take home the wrong instrument by mistake? A student is missing a 1/2-size violin which disappeared sometime between Thursday night and Friday afternoon. It is in a standard black plastic case (shaped), with no tag. There were two pens in the case. If you took home this instrument in error, please bring it in so that we can find your instrument and return the other to its owner.
Thursday-Monday
6th Grade
Carmen, Carmela measures 1-28
Pictures at an Exhibition measures 14-26
Miniature Symphony III. Minute Minuet measures 1-14
7th Grade
Violin Variations on a Ground measures 33-41
Viola & Cello Fantasia on Amazing Grace measures 51-72
Bass Variations on a Ground measures 57-end
Everyone Saturday at the Symphony measures 66-end
8th Grade
Violin & Viola Mambo Incognito measures 17-25; Dramatic Essay beginning - measures 9
Cello Cellos Ole! measures 7-15; Mambo Incognito measures 25-37
Saturday, September 19, 2009
Friday, September 18, 2009
Today, the 8th grade received “permanent” section assignments, accompanied by practice parts. Students were divided based on ability, with strong players being assigned to both the first and second violin sections and distributed among stands in the viola and cello sections. Seating will continue to rotate, but with more structure. Barring any disciplinary or scheduling changes, the stand partners that students sat with today will continue to be their partners until permanent concert seating is assigned.
The following practice parts were distributed:
Cellos Ole by Richard Meyer
Dramatic Essay by Mark Williams
Mambo Incognito by Doug Spata
Fanfare and Frippery by Richard Stephan
On the front of each practice part packet is a Practice Log. Record both lesson and orchestra assignments (and practice) on this log. I will be checking the logs of the students in my lesson groups. Ms. Norman, Ms. Dame, and Mr. Herchenroder may also choose to check these logs, or they may distribute a similar log.
8th graders have homework over the weekend:
Cellos
Cellos Ole: measures 7-15; Mambo Incognito 25-37
Violins & Violas
Mambo Incognito measures 7-25; Dramatic Essay: beginning to measure 9
Some 6th graders arrived on time today, got out their instruments, and found their seats without me even having to remind them. These, and a few more, showed good focus and sat like good musicians (with their feet flat on the floor, their backs away from their chairs, good instrument posture, all without talking) all throughout rehearsal. I look forward to the day that all the 6th graders can conduct themselves in this way.
Orchestra at FMS is different from orchestra in the elementary school. In 6th grade, everyone receives a grade for orchestra that gets factored into their average in the same way their core classes are. Because of this, orchestra functions in much the same way as other classes at Farnsworth in that lateness, absence, and missing supplies/equipment (and, by nature, homework) are all recorded and factored into the final grade. Make sure you have your instrument, practice part, pencil, and any written homework with you on the day it is due. Just like in any other class, students who are late need to come with a pass, and just like in any other class, homework is late if it is left in a locker or in a homeroom.
My grading policy is outlined in the handouts that students received on the first day of school as well as the handout parents received at open house. Someone asked me today if it was possible to fail orchestra. The answer is yes, but I hope I will never, ever have to fail a child in a music class. The simplest things to remember in order to pass and receive good grades in orchestra are:
1. Bring your instrument and your folder (with practice parts & homework) every orchestra day.
2. Attend your lessons. Be on time, bring your book, and practice your assignments.
3. Fully prepare your orchestra homework by practicing every day.
4. Contribute musically to orchestra and lessons by playing to the best of your ability and by being respectful to your teacher and classmates.
We read through 3 movements of Miniature Symphony by Richard Meyer, which will probably be the final addition to the 6th grade concert program.
The following practice parts were distributed:
Cellos Ole by Richard Meyer
Dramatic Essay by Mark Williams
Mambo Incognito by Doug Spata
Fanfare and Frippery by Richard Stephan
On the front of each practice part packet is a Practice Log. Record both lesson and orchestra assignments (and practice) on this log. I will be checking the logs of the students in my lesson groups. Ms. Norman, Ms. Dame, and Mr. Herchenroder may also choose to check these logs, or they may distribute a similar log.
8th graders have homework over the weekend:
Cellos
Cellos Ole: measures 7-15; Mambo Incognito 25-37
Violins & Violas
Mambo Incognito measures 7-25; Dramatic Essay: beginning to measure 9
Some 6th graders arrived on time today, got out their instruments, and found their seats without me even having to remind them. These, and a few more, showed good focus and sat like good musicians (with their feet flat on the floor, their backs away from their chairs, good instrument posture, all without talking) all throughout rehearsal. I look forward to the day that all the 6th graders can conduct themselves in this way.
Orchestra at FMS is different from orchestra in the elementary school. In 6th grade, everyone receives a grade for orchestra that gets factored into their average in the same way their core classes are. Because of this, orchestra functions in much the same way as other classes at Farnsworth in that lateness, absence, and missing supplies/equipment (and, by nature, homework) are all recorded and factored into the final grade. Make sure you have your instrument, practice part, pencil, and any written homework with you on the day it is due. Just like in any other class, students who are late need to come with a pass, and just like in any other class, homework is late if it is left in a locker or in a homeroom.
My grading policy is outlined in the handouts that students received on the first day of school as well as the handout parents received at open house. Someone asked me today if it was possible to fail orchestra. The answer is yes, but I hope I will never, ever have to fail a child in a music class. The simplest things to remember in order to pass and receive good grades in orchestra are:
1. Bring your instrument and your folder (with practice parts & homework) every orchestra day.
2. Attend your lessons. Be on time, bring your book, and practice your assignments.
3. Fully prepare your orchestra homework by practicing every day.
4. Contribute musically to orchestra and lessons by playing to the best of your ability and by being respectful to your teacher and classmates.
We read through 3 movements of Miniature Symphony by Richard Meyer, which will probably be the final addition to the 6th grade concert program.
Friday, September 18, 2009
Performance Opportunity
In early November, Barnes and Noble will be having an evening Book Fair. I was contacted by one of the directors who would like some FMS students to play in small ensembles (duets, trios, quartets).
More information is on its way, and I'll post it when it arrives.
Is anyone interested? If you and a couple friends would like to perform, please come see me or leave me a note. I have a lot of duet and trio music that I can help you with, or feel free to bring your own!
More information is on its way, and I'll post it when it arrives.
Is anyone interested? If you and a couple friends would like to perform, please come see me or leave me a note. I have a lot of duet and trio music that I can help you with, or feel free to bring your own!
Thursday, September 17, 2009
Does practice really make perfect?
I used to hate practicing because it was tedious and repetitive, and I didn't think it made me better at music. I was practicing mindlessly, and because I wasn't focused on what I was practicing, I was just playing: playing the wrong notes, the wrong rhythms, the wrong bowings over and over and over again. Practice makes perfect?
Mindful practice makes perfect practice makes perfect playing. It is difficult to develop good practice habits, just as it is difficult to learn how to study properly.
Mindful practice makes perfect practice makes perfect playing. It is difficult to develop good practice habits, just as it is difficult to learn how to study properly.
In this post, I have tried to outline the
Secrets of Perfect Practice.
Secrets of Perfect Practice.
I. PRACTICE ROOM – Good students have all the necessary supplies to help them succeed, and the same is true for good practicers. A good music student practices in an environment that is quiet and free from distraction. In addition, a practice room should include:
i. Music Stand adjusted to a height that promotes good posture.
ii. Tuner/Metronome to use as a tonal and rhythmic aid.
iii. Mirror to check for correct position and posture.
iv. Pencil to mark changes and record questions.
v. Armless Chair for cellists.
vi. Lesson Book & Orchestra Music
vii. Tape Recorder for personal review.
II. WHAT TO PRACTICE? – A practice plan is half of the battle. Before you begin practicing, ask yourself what you’d like to accomplish. We talk about the 5 elements of music (the same elements that students are evaluated on during their performance tests). Use these elements to form your goals:
i. Rhythm/Tempo
1. Can I clap and count all the rhythms?
2. Can I play along with my metronome?
3. Can I play rhythms accurately without my metronome?
4. Does my rhythm sound the same whether I’m clapping it, speaking it, plucking it, or bowing it?
ii. Pitch/Correct Notes
1. Can I play the scale(s) that this piece employs?
2. Am I playing all the correct notes as written?
3. Can I put all of the notes on the fingering chart?
4. Am I using open strings to tune octaves?
5. Can I sing the interval I’m trying to play?
iii. Dynamics
1. How many different dynamics will I play in a piece?
2. Do I know what sound level I should be at when a crescendo starts? When it finishes?
3. Do I know what sound level I should be at when a decrescendo starts? When it finishes?
iv. Articulation
1. Have I observed all slurs? Ties? Dots?
2. What part of the bow should I be playing at?
v. Phrasing/Musicality
1. Can I use vibrato to enhance my sound?
2. Am I making a musical statement? Is there a musical question and answer?
3. Do I know what other instruments might be playing the same musical material with me? Is my part most important right now or am I accompanying a more prominent melody?
III. HOW TO PRACTICE? Successful orchestra musicians practice for 30-45 minutes per day. This estimate is from the time your instrument is out and ready to play! Let’s break down a 30 minute practice session:
i. Scales – 5 minutes. This may seem like forever, but scales should be practiced each day and can be used to improve a variety of skills. Scales are a musician’s warm-up. Just like stretching before a sport, scales prevent injury and encourage focus. Consider the following questions:
1. Am I playing the correct pattern of Whole/Half steps?
2. Can I play a scale using my full bow, frog to tip? Can I do it with a metronome?
3. Can I slur 2 notes at a time? 4 notes? 8 notes?
4. Can I play a scale at all dynamics? Can I make a crescendo/decrescendo while playing my scale?
ii. Orchestra Music – 15 minutes. Don’t try to practice all of your orchestra music every day because it becomes playing, not practicing. I recommend 1 orchestra piece to a different day of the week. Regardless of the additional assignment, you will always practice a specific piece on Monday and a specific piece on Tuesday and so on. Practice this piece for 5-10 minutes. For the remaining 5-10 minutes, practice the music that was assigned in class. Things to consider when practicing orchestra music:
1. Can I answer all of the “5 Elements of Music” questions?
2. Can I play an entire excerpt without stopping?
3. Do I need to write in any shifts, bowings or other notes?
4. Can I play my music with a metronome? How close am I to the assigned metronome marking?
5. Do I have any questions to ask next class?
iii. Lesson Music – 10 minutes. Just like practicing orchestra music, pick a specific element of the lesson you’d like to review for yourself. Your lesson teacher will have assignments for you to structure your practice.
Practice does not make perfect. What if you’re practicing the wrong thing? When you’re practicing and you do something different that sounds better or is closer to your goal, do it again. And again. And again. PERFECT PRACTICE MAKES PERFECT. On the other hand, if you find yourself getting frustrated because you’re not making progress, stop. Work on a different part or give yourself an ego boost by playing something you know you can sound good on, then come back. Still not better? Write down the place and ask your teacher about it.
IV. WHEN TO PRACTICE? Every day. Daily practice is a cornerstone of steady progress. Daily practice helps to keep you toned and strengthened, both physically and mentally.
I’ll bring up sports again. When you’re on a team, you have a specific time for practice. Pick a specific time for you to practice every day. Better yet, find something that happens every day and use it as your own personal practice reminder.
There will come days when you really don’t have time for a full practice session. On days like these, go easy on yourself, but don’t skip practicing altogether. Shorten your practice rather than skipping it. Play 2 scales and work on that difficult part you remember from rehearsal. Take 10 minutes and call it a day. Make up the extra time on a different day when you have more time.
IV. I’VE DONE ALL THIS. HOW DO I GET EVEN BETTER? Reward yourself for good practice by doing things that inspire you to be better! Choose any of these:
i. Go hear an orchestra concert. The Albany and Schenectady both have symphonies, but you can also hear some wonderful music at Guilderland High School Orchestra performances.
ii. Talk to your teacher. Outside of class, lessons, or private instruction, ask your teacher to tell you his/her favorite things about music.
iii. Teach someone what you’ve learned. Parents, aunts, uncles, friends, etc. make great practice tools if you can explain to them what you’ve learned. Don’t forget to play for them!
iv. Youtube can be a great resource for historical recordings. Use these keywords to hear some great performances:
1. Violins: David Oistrakh, Fritz Kreisler, Yehudi Menuhin, Nathan Milstein, Jascha Heifetz, Anne-Sophie Mutter, Hilary Hahn, Regina Carter, Mark O’Connor
2. Violas: William Primrose, Lionel Tertis, Emanuel Vardi, Yuri Bashmet,
3. Cellos: Jaqueline DuPre, Yo-Yo Ma, Mstislav Rostropovich, Pablo Casals, Gregor Piatigorsky, Leonard Rose
4. Bass: Gary Karr, Renaud Garcia-Fons, Edgar Meyer
i. Music Stand adjusted to a height that promotes good posture.
ii. Tuner/Metronome to use as a tonal and rhythmic aid.
iii. Mirror to check for correct position and posture.
iv. Pencil to mark changes and record questions.
v. Armless Chair for cellists.
vi. Lesson Book & Orchestra Music
vii. Tape Recorder for personal review.
II. WHAT TO PRACTICE? – A practice plan is half of the battle. Before you begin practicing, ask yourself what you’d like to accomplish. We talk about the 5 elements of music (the same elements that students are evaluated on during their performance tests). Use these elements to form your goals:
i. Rhythm/Tempo
1. Can I clap and count all the rhythms?
2. Can I play along with my metronome?
3. Can I play rhythms accurately without my metronome?
4. Does my rhythm sound the same whether I’m clapping it, speaking it, plucking it, or bowing it?
ii. Pitch/Correct Notes
1. Can I play the scale(s) that this piece employs?
2. Am I playing all the correct notes as written?
3. Can I put all of the notes on the fingering chart?
4. Am I using open strings to tune octaves?
5. Can I sing the interval I’m trying to play?
iii. Dynamics
1. How many different dynamics will I play in a piece?
2. Do I know what sound level I should be at when a crescendo starts? When it finishes?
3. Do I know what sound level I should be at when a decrescendo starts? When it finishes?
iv. Articulation
1. Have I observed all slurs? Ties? Dots?
2. What part of the bow should I be playing at?
v. Phrasing/Musicality
1. Can I use vibrato to enhance my sound?
2. Am I making a musical statement? Is there a musical question and answer?
3. Do I know what other instruments might be playing the same musical material with me? Is my part most important right now or am I accompanying a more prominent melody?
III. HOW TO PRACTICE? Successful orchestra musicians practice for 30-45 minutes per day. This estimate is from the time your instrument is out and ready to play! Let’s break down a 30 minute practice session:
i. Scales – 5 minutes. This may seem like forever, but scales should be practiced each day and can be used to improve a variety of skills. Scales are a musician’s warm-up. Just like stretching before a sport, scales prevent injury and encourage focus. Consider the following questions:
1. Am I playing the correct pattern of Whole/Half steps?
2. Can I play a scale using my full bow, frog to tip? Can I do it with a metronome?
3. Can I slur 2 notes at a time? 4 notes? 8 notes?
4. Can I play a scale at all dynamics? Can I make a crescendo/decrescendo while playing my scale?
ii. Orchestra Music – 15 minutes. Don’t try to practice all of your orchestra music every day because it becomes playing, not practicing. I recommend 1 orchestra piece to a different day of the week. Regardless of the additional assignment, you will always practice a specific piece on Monday and a specific piece on Tuesday and so on. Practice this piece for 5-10 minutes. For the remaining 5-10 minutes, practice the music that was assigned in class. Things to consider when practicing orchestra music:
1. Can I answer all of the “5 Elements of Music” questions?
2. Can I play an entire excerpt without stopping?
3. Do I need to write in any shifts, bowings or other notes?
4. Can I play my music with a metronome? How close am I to the assigned metronome marking?
5. Do I have any questions to ask next class?
iii. Lesson Music – 10 minutes. Just like practicing orchestra music, pick a specific element of the lesson you’d like to review for yourself. Your lesson teacher will have assignments for you to structure your practice.
Practice does not make perfect. What if you’re practicing the wrong thing? When you’re practicing and you do something different that sounds better or is closer to your goal, do it again. And again. And again. PERFECT PRACTICE MAKES PERFECT. On the other hand, if you find yourself getting frustrated because you’re not making progress, stop. Work on a different part or give yourself an ego boost by playing something you know you can sound good on, then come back. Still not better? Write down the place and ask your teacher about it.
IV. WHEN TO PRACTICE? Every day. Daily practice is a cornerstone of steady progress. Daily practice helps to keep you toned and strengthened, both physically and mentally.
I’ll bring up sports again. When you’re on a team, you have a specific time for practice. Pick a specific time for you to practice every day. Better yet, find something that happens every day and use it as your own personal practice reminder.
There will come days when you really don’t have time for a full practice session. On days like these, go easy on yourself, but don’t skip practicing altogether. Shorten your practice rather than skipping it. Play 2 scales and work on that difficult part you remember from rehearsal. Take 10 minutes and call it a day. Make up the extra time on a different day when you have more time.
IV. I’VE DONE ALL THIS. HOW DO I GET EVEN BETTER? Reward yourself for good practice by doing things that inspire you to be better! Choose any of these:
i. Go hear an orchestra concert. The Albany and Schenectady both have symphonies, but you can also hear some wonderful music at Guilderland High School Orchestra performances.
ii. Talk to your teacher. Outside of class, lessons, or private instruction, ask your teacher to tell you his/her favorite things about music.
iii. Teach someone what you’ve learned. Parents, aunts, uncles, friends, etc. make great practice tools if you can explain to them what you’ve learned. Don’t forget to play for them!
iv. Youtube can be a great resource for historical recordings. Use these keywords to hear some great performances:
1. Violins: David Oistrakh, Fritz Kreisler, Yehudi Menuhin, Nathan Milstein, Jascha Heifetz, Anne-Sophie Mutter, Hilary Hahn, Regina Carter, Mark O’Connor
2. Violas: William Primrose, Lionel Tertis, Emanuel Vardi, Yuri Bashmet,
3. Cellos: Jaqueline DuPre, Yo-Yo Ma, Mstislav Rostropovich, Pablo Casals, Gregor Piatigorsky, Leonard Rose
4. Bass: Gary Karr, Renaud Garcia-Fons, Edgar Meyer
6th & 7th Grade Open House
I had a handout for the parents of 6th and 7th graders who attended Open House this week. I have a number of extra copies, so please let me know if you'd like an extra. This is what they said (combined):
I. PHILOSOPHY- Students are exposed to a variety of music and experiences that will help them grow both musically and personally. Students will develop responsibility skills, leadership skills, make and attain personal goals and continue to develop the technical skills needed for advanced success on their instrument. This is a course of study and all practice and written assignments are taken seriously.
II. OVERVIEW- The orchestra experience is comprised of two main factors- the daily rehearsal and the weekly lesson. Students are expected to be prepared for orchestra and lessons with the proper materials and to have practiced lesson assignments and orchestra music.
III. ORCHESTRA- The goal of the orchestra rehearsal is to build and refine large ensemble skills and individual playing ability.
Students are to be prepared daily with the following:
1. Instrument (with Rosined bow)
2. Folder containing practice parts and homework
3. Homework/written assignments (includes practicing)
4. Shoulder Rest or Contoured Sponge (violins/violas only)
5. Extra Set of Strings
6. Cleaning Cloth
7. A-Pad for recording assignments (both written and practice)
8. Sharpened Pencil & Eraser
9. Cleaning Cloth
Sixth Grade Orchestra rehearses during 13th Period (2:40-3:20pm). Because of the wonderful participation we experience in the 6th grade, the ensemble will be split into two groups. Your child will either rehearse on A/C or B/D Days.
The Sixth Grade Orchestra will perform in at least 2 concerts this year:
Winter Concert: December 15, 2009 @ 7:30pm
Spring Concert: April 20th, 2010 @ 7:30pm
Seventh Grade Orchestra rehearses during 11th Period (1:20-2:00pm) on A/C Days.
We will perform in at least 2 concerts this year:
Winter Concert: December 10, 2009 @ 7:30pm
Spring Concert: April 15, 2010 @ 7:30pm
We may also perform at the NYSSMA Majors festival April 22nd-23rd. Attendance is mandatory for all performances!
IV. LESSON- The weekly lesson is designed to teach new skills related to the instrument of study and refine existing skills. Students are assigned to a lesson group which meets once a week during the school day. The day of the lesson will always be the same, but the time of the lesson will change each week. Students are required to report to the orchestra room to pick up their lesson card (to be used as a pass as well as attendance). Students may only miss a lesson in the event of a test or if they are failing. Missed lessons must be made up within two weeks during an activity period.
V. PRACTICE- Practicing is the most beneficial – and the most difficult – part of your child’s music experience. This is a time when they can review lessons and refine their individual skills. Good practice skills must be cultivated and nurtured. Please refer to the attached practice sheet for tips on how to help your child succeed in music.
VI. BEHAVIOR- Talking during rehearsal, disruptive behavior and being rude to others is unacceptable. Positive attitudes are welcome 100% of the time. ☺
VII. INSTRUMENTS (violin/viola only)- The instrument storage room is locked after school. Although the storage facility and the classroom are locked for safety, students are discouraged from leaving their personal instruments in the music room overnight. Also, when an instrument has been left in school it is obvious that homework (practice) is not being done. ***Students attending after-school activities should get their instrument from the instrument storage room BEFORE attending the activity.***
VIII. GRADING/TESTS- Grading in orchestra is based on three components:
• Rehearsals 50% (preparation of orchestra music, turning work in on time, attitude and behavior)
• Lessons 25% (preparation of orchestra music, turning work in on time, attitude and behavior)
• Written and Performance tests 25% (performance on seat checks, team checks, auditions, and other evaluations)
Extra help is available upon request by the students.
IX. ADDITIONAL INFORMATION-
1. If you are interested in purchasing an instrument please call or e-mail me first. There are a lot of instruments for sale that seem like a good deal but will actually hinder your child’s development. Before you purchase call or e-mail me so you can make an informed decision that will help your child advance their skills and get the most for your money!!!
2. During the middle school years, many students are interested in advancing and refining their skills on their instrument. There are many benefits to private lessons instruction. I have a list of recommended private lesson instructors and would be glad to help to anyone who is interested in finding the right teacher for them.
3. Please feel free to contact me at any time to discuss your child’s progress. My email address is ellisl@guilderlandschools.org.
I. PHILOSOPHY- Students are exposed to a variety of music and experiences that will help them grow both musically and personally. Students will develop responsibility skills, leadership skills, make and attain personal goals and continue to develop the technical skills needed for advanced success on their instrument. This is a course of study and all practice and written assignments are taken seriously.
II. OVERVIEW- The orchestra experience is comprised of two main factors- the daily rehearsal and the weekly lesson. Students are expected to be prepared for orchestra and lessons with the proper materials and to have practiced lesson assignments and orchestra music.
III. ORCHESTRA- The goal of the orchestra rehearsal is to build and refine large ensemble skills and individual playing ability.
Students are to be prepared daily with the following:
1. Instrument (with Rosined bow)
2. Folder containing practice parts and homework
3. Homework/written assignments (includes practicing)
4. Shoulder Rest or Contoured Sponge (violins/violas only)
5. Extra Set of Strings
6. Cleaning Cloth
7. A-Pad for recording assignments (both written and practice)
8. Sharpened Pencil & Eraser
9. Cleaning Cloth
Sixth Grade Orchestra rehearses during 13th Period (2:40-3:20pm). Because of the wonderful participation we experience in the 6th grade, the ensemble will be split into two groups. Your child will either rehearse on A/C or B/D Days.
The Sixth Grade Orchestra will perform in at least 2 concerts this year:
Winter Concert: December 15, 2009 @ 7:30pm
Spring Concert: April 20th, 2010 @ 7:30pm
Seventh Grade Orchestra rehearses during 11th Period (1:20-2:00pm) on A/C Days.
We will perform in at least 2 concerts this year:
Winter Concert: December 10, 2009 @ 7:30pm
Spring Concert: April 15, 2010 @ 7:30pm
We may also perform at the NYSSMA Majors festival April 22nd-23rd. Attendance is mandatory for all performances!
IV. LESSON- The weekly lesson is designed to teach new skills related to the instrument of study and refine existing skills. Students are assigned to a lesson group which meets once a week during the school day. The day of the lesson will always be the same, but the time of the lesson will change each week. Students are required to report to the orchestra room to pick up their lesson card (to be used as a pass as well as attendance). Students may only miss a lesson in the event of a test or if they are failing. Missed lessons must be made up within two weeks during an activity period.
V. PRACTICE- Practicing is the most beneficial – and the most difficult – part of your child’s music experience. This is a time when they can review lessons and refine their individual skills. Good practice skills must be cultivated and nurtured. Please refer to the attached practice sheet for tips on how to help your child succeed in music.
VI. BEHAVIOR- Talking during rehearsal, disruptive behavior and being rude to others is unacceptable. Positive attitudes are welcome 100% of the time. ☺
VII. INSTRUMENTS (violin/viola only)- The instrument storage room is locked after school. Although the storage facility and the classroom are locked for safety, students are discouraged from leaving their personal instruments in the music room overnight. Also, when an instrument has been left in school it is obvious that homework (practice) is not being done. ***Students attending after-school activities should get their instrument from the instrument storage room BEFORE attending the activity.***
VIII. GRADING/TESTS- Grading in orchestra is based on three components:
• Rehearsals 50% (preparation of orchestra music, turning work in on time, attitude and behavior)
• Lessons 25% (preparation of orchestra music, turning work in on time, attitude and behavior)
• Written and Performance tests 25% (performance on seat checks, team checks, auditions, and other evaluations)
Extra help is available upon request by the students.
IX. ADDITIONAL INFORMATION-
1. If you are interested in purchasing an instrument please call or e-mail me first. There are a lot of instruments for sale that seem like a good deal but will actually hinder your child’s development. Before you purchase call or e-mail me so you can make an informed decision that will help your child advance their skills and get the most for your money!!!
2. During the middle school years, many students are interested in advancing and refining their skills on their instrument. There are many benefits to private lessons instruction. I have a list of recommended private lesson instructors and would be glad to help to anyone who is interested in finding the right teacher for them.
3. Please feel free to contact me at any time to discuss your child’s progress. My email address is ellisl@guilderlandschools.org.
September 17, 2009
As of the end of today, all 6th grade violinists and violists should have attended a lesson in school, with the exception of anyone who added orchestra to their schedule on or after Monday and those students who study privately. If you missed your lesson, forgot to pick up your lesson card, or could not attend for any reason, I will begin makeup lessons during activity period next week.
We are almost finished sight-reading during our orchestra periods, and all students will have practice parts by the end of next week. Sixth graders all have practice parts for the following pieces:
Carmen, Carmela, a traditional piece arranged by Betty Dardess
Miniature Symphony by Richard Meyer
Pictures at an Exhibition by Modest Mussorgsky; arr. Larry Clark
During our first rehearsals, we read Clog Dance, but I have decided not to continue work on this piece because it was recently performed in Guilderland Elementary.
Sixth graders in orchestra on A/C days have been assigned:
Carmen, Carmela: measures 1-28
Pictures at an Exhibition: measures 14-26
Eighth graders have been assigned:
Gauntlet: measures 1-33
The order of importance for preparing these excerpts are:
-Speak all the rhythms while maintaining a steady beat.
Use “du” for quarter notes, “du de” for eighth notes, and “du da de ta” for sixteenth notes.
Can you speak the rhythms and add dynamics?
-Pluck the music. Isolate difficult measures, then put them all together.
-Play the music as written.
I will be checking homework for understanding by either calling on students to plaly shorter excerpts individually or by team.
In eighth grade rehearsals, we have sight-read the following pieces (listed in order of popular approval):
Mambo Incognito by Doug Spata
Fanfare and Frippery by Richard A. Stephan
Dramatic Essay by Mark Williams
Summer Dance by Alan Lee Silva
Gauntlet is another piece by Doug Spata (which we have not yet read as an ensemble). It is a personal favorite of mine, and if the eighth grade likes it as much as I do, I’ll gladly order the parts for performance.
The seating arrangement today in 7th grade proved to be a bit more difficult than past arrangement, as certain sections had to deal with the absence of stronger players and more confident sight-readers. However, I observed some very impressive reading from the backs of the violin sections. I urge students who have confidence in their playing to recognize the importance of combining their skills with the conductor’s direction so that the orchestra can stay together!
Seventh grade has read a bunch of music, and I can only imagine how much work we could get done if we could cut down on the chattiness. So far, here’s what we’ve sight-read:
Czech Folk Song Suite of Traditional songs; arranged by Merle Isaac
Saturday at the Symphony by John O’Reilly
Variations on a Ground
Concert Piece for Strings by Elliot del Borgo
Fantasia on Amazing Grace by Elliot del Borgo
Fiddle-a-Jig by Percy Hall
I’ve warned the 7th graders that they should do whatever they can to enjoy the beautiful weekend we have ahead of us, because come next week I’ll be expecting a higher level of focus and concentration, and I will be assigning a soon-to-be-regular workload of music to practice.
We are almost finished sight-reading during our orchestra periods, and all students will have practice parts by the end of next week. Sixth graders all have practice parts for the following pieces:
Carmen, Carmela, a traditional piece arranged by Betty Dardess
Miniature Symphony by Richard Meyer
Pictures at an Exhibition by Modest Mussorgsky; arr. Larry Clark
During our first rehearsals, we read Clog Dance, but I have decided not to continue work on this piece because it was recently performed in Guilderland Elementary.
Sixth graders in orchestra on A/C days have been assigned:
Carmen, Carmela: measures 1-28
Pictures at an Exhibition: measures 14-26
Eighth graders have been assigned:
Gauntlet: measures 1-33
The order of importance for preparing these excerpts are:
-Speak all the rhythms while maintaining a steady beat.
Use “du” for quarter notes, “du de” for eighth notes, and “du da de ta” for sixteenth notes.
Can you speak the rhythms and add dynamics?
-Pluck the music. Isolate difficult measures, then put them all together.
-Play the music as written.
I will be checking homework for understanding by either calling on students to plaly shorter excerpts individually or by team.
In eighth grade rehearsals, we have sight-read the following pieces (listed in order of popular approval):
Mambo Incognito by Doug Spata
Fanfare and Frippery by Richard A. Stephan
Dramatic Essay by Mark Williams
Summer Dance by Alan Lee Silva
Gauntlet is another piece by Doug Spata (which we have not yet read as an ensemble). It is a personal favorite of mine, and if the eighth grade likes it as much as I do, I’ll gladly order the parts for performance.
The seating arrangement today in 7th grade proved to be a bit more difficult than past arrangement, as certain sections had to deal with the absence of stronger players and more confident sight-readers. However, I observed some very impressive reading from the backs of the violin sections. I urge students who have confidence in their playing to recognize the importance of combining their skills with the conductor’s direction so that the orchestra can stay together!
Seventh grade has read a bunch of music, and I can only imagine how much work we could get done if we could cut down on the chattiness. So far, here’s what we’ve sight-read:
Czech Folk Song Suite of Traditional songs; arranged by Merle Isaac
Saturday at the Symphony by John O’Reilly
Variations on a Ground
Concert Piece for Strings by Elliot del Borgo
Fantasia on Amazing Grace by Elliot del Borgo
Fiddle-a-Jig by Percy Hall
I’ve warned the 7th graders that they should do whatever they can to enjoy the beautiful weekend we have ahead of us, because come next week I’ll be expecting a higher level of focus and concentration, and I will be assigning a soon-to-be-regular workload of music to practice.
Wednesday, September 16, 2009
September 16, 2009
All scale sheets from all grades have been collected. I grade each scale that was assigned, and I will return the sheets during our next class period. Hold on to your sheet! I will be assigning the remaining scales over the next couple of months. As a reminder, homework that is not with you during class cannot be handed in on time. I do not give credit for late homework!
Eighth and 6th graders that I saw today received music to practice at home. Eighth grade students were assigned measures 1-33 in Gauntlet, to be played individually or in small groups during the next class. Sixth graders received a packet containing: Carmen, Carmela, Miniature Symphony, and Pictures at an Exhibition. Violin packets were created with constructive seating techniques in mind, and 6th grade violinists know that they will be playing first violin for some pieces and second violin for others. Seating will continue to rotate within these categories.
Put your name on your practice part, and bring your practice part to class each day! We will be adding fingerings, bowings, dynamics, and other reminders that are important both for school rehearsal and home practice.
Finally, the grace period for forgotten instruments has ended. So far, the 6th grade has taken the lead in terms of remembering to bring their instruments to class -- congratulations, and keep up the good work!
Here are some suggestions for remembering your instrument:
-Every Sunday night, label the days of the week that you have orchestra and lessons in your A-Pad.
-Keep your instrument in a place that you'll see it every morning. I keep mine right by my door!
-Make a "reminder buddy." This is someone in orchestra that you'll talk to every day because it will be your job to remind them to bring their instrument (and they'll remind you, just in case).
Eighth and 6th graders that I saw today received music to practice at home. Eighth grade students were assigned measures 1-33 in Gauntlet, to be played individually or in small groups during the next class. Sixth graders received a packet containing: Carmen, Carmela, Miniature Symphony, and Pictures at an Exhibition. Violin packets were created with constructive seating techniques in mind, and 6th grade violinists know that they will be playing first violin for some pieces and second violin for others. Seating will continue to rotate within these categories.
Put your name on your practice part, and bring your practice part to class each day! We will be adding fingerings, bowings, dynamics, and other reminders that are important both for school rehearsal and home practice.
Finally, the grace period for forgotten instruments has ended. So far, the 6th grade has taken the lead in terms of remembering to bring their instruments to class -- congratulations, and keep up the good work!
Here are some suggestions for remembering your instrument:
-Every Sunday night, label the days of the week that you have orchestra and lessons in your A-Pad.
-Keep your instrument in a place that you'll see it every morning. I keep mine right by my door!
-Make a "reminder buddy." This is someone in orchestra that you'll talk to every day because it will be your job to remind them to bring their instrument (and they'll remind you, just in case).
Monday, September 14, 2009
September 14, 2009
Lessons began today for 6th and 7th grade students. Many students were missing from their lessons, and many lesson cards were left in the music room after homeroom and Mod 1. Please remember to pick up your lesson cards before homeroom on the day of your lesson! Unlike elementary school, we will not go to your class to find you. It will just be marked as an absence from lessons.
In the 7th grade violin lessons, we worked on our major scales (in 1 and 2 octaves). During the next lesson, students will be asked to play G, D, or C major scales alone. Seventh grade violinists will be finishing work in their Essential Elements 2000 Book 2 this year, and the Essential Elements book must be brought to class each week. I will also be handing out copies of duets and solo works.
We are sight-reading in orchestra for the first few class meetings. Thank you to the 8th graders who came to class with their instruments, found their seats, turned in their homework, and were ready to play!
The 8th grade orchestra read excerpts from Summer Dance and Dramatic Essay. Their homework (due next class) is to complete the C, G, and D scales on the Major Scale sheet. This, and all homework, will be collected and will count toward your grade in orchestra.
The 6th grade (BD) did a good job finding their seats and following directions. Here are some things about orchestra that might be new to our 6th graders:
1. We share folders! The folders on the stand contain original parts and will be used in performance. As young adult orchestra members, we will learn stand etiquette.more on that later.
2. If you don't have it in class, you don't have it. An instrument in a locker or a folder in a homeroom doesn't count for being prepared in orchestra. Make sure you bring all assignments, practice parts, and instruments to class!
3. We write in pencil 99.99999% of the time. Bring 2 pencils to class, but leave the pens in your locker or binder.
4. Sometimes we read/play music that we won't perform in a concert. Sight reading in orchestra is like reading the synopsis of a book on the back cover: it gives you a little idea about the piece, indicates the difficulty level, and sometimes sparks interest in learning more.
We all come from different schools, towns, families, and musical backgrounds. Pieces may be familiar to some and brand new to others, and I'll do my best to keep it interesting.
5. I'll give you practice parts for pieces that we will perform in a concert. I want you to practice, and I want to make practicing as easy and enjoyable as possible.
6. Orchestra is a great way to meet new people in a school. You won't always sit next to your old friends, but you will certainly sit next to potential new ones. I'll be changing your seat frequently right up until the day of the concert so that you can experience new locations, new musicians, and new challenges.
Today in 6th grade, we sight-read Clog Dance and Pictures at an Exhibition. We will read a few more pieces over the next two weeks and then decide as a group on a concert program. As you sight-read, consider the following:
Was this too easy? Did I get all the notes, bowings, dynamics, and rhythms right the first time?
Was this hard for me to read? Would I sound better if I practiced it?
Do I like it? What do I like about it?
Do I want to play this for the concert? If not, why?
Will this be a fun piece to play if I put the right amount of work into it?
Finally, I'm glad to see all the musicians bringing their instruments home every night. You are always welcome to drop off your instrument in the orchestra room in the morning, but please use the shelves! All upper strings will fit on a shelf, even if everyone brings their instrument from home every day. I don't want to assign shelves to specific students, but we need to be able to get in and out of the storage room.
Saturday, September 12, 2009
September 11, 2009
Today was our first orchestra rehearsal. Thank you to all the students who remembered to bring their instruments to class! I am impressed with all the 6th and 7th graders who remembered to check the seating chart for their name and found their correct place.
I collected the information sheets and signed yellow letters. Continue to submit these homework assignments as you complete them. Homework is due at the next class meeting unless otherwise noted. I'm having a great time reading about you, your interests, and your expectations for orchestra!
We began by playing a G Major Scale, one octave, in unison. The G Major Scale, as all Major Scales, follows this pattern:
I collected the information sheets and signed yellow letters. Continue to submit these homework assignments as you complete them. Homework is due at the next class meeting unless otherwise noted. I'm having a great time reading about you, your interests, and your expectations for orchestra!
Whole – Whole – Half – Whole – Whole – Whole - Half
In the 6th Grade, we sight-read parts of Clog Dance. Clog Dance is based on the D Major Scale.
Homework for 6th Grade: Fill in the lines of the Major Scale chart that correspond to the G Major Scale and the D Major Scale. Be sure to include any accidentals (sharps, flats) that are included in the key signature. This will be collected on Tuesday at the start of class.
In the 7th Grade, we began sight-reading an arrangement of Czech folk songs. We will continue to sight-read from this arrangement during our next class meeting.
Homework for 7th Grade: Fill in the lines of the Major Scale chart that correspond to the G Major Scale, D Major Scale, and C Major Scale. Be sure to include any accidentals (sharps, flats) that are included in the key signature. This will be collected on Tuesday at the start of class.
Announcement for 7th Grade: I am missing a Violin Stand 4 folder. If you took it home by mistake, please bring it to me Monday morning. Folders contain original copies of music and should be left on the stand at the end of class. I will provide practice copies of music once we have decided on a program.
Schedule for next rehearsal:
Check the seating chart. Find your name and take your seat. It is important that you sit in the correct SECTION and on the correct STAND NUMBER. We did such a good job with this, let's do it again!
Unpack your instrument (remember to rosin your bow!), and come to get tuned.
When you are tuned, return to your seat. Take out your homework so that it can be collected, and have a pencil ready.
Thus, the G Major Scale uses these notes: G A B C D E F# G
Ideally, this is how scale homework should be completed: play the scale, say the notes, fill in the chart. Scales are a very important part of practicing because all of the pieces that we will play this year are based on scales. The written homework should take no more than 5 minutes to complete, but in many cases it will take less than 1 minute. If written homework is taking more than 5 minutes, please come talk to me so that we can clear up any confusion.In the 6th Grade, we sight-read parts of Clog Dance. Clog Dance is based on the D Major Scale.
Homework for 6th Grade: Fill in the lines of the Major Scale chart that correspond to the G Major Scale and the D Major Scale. Be sure to include any accidentals (sharps, flats) that are included in the key signature. This will be collected on Tuesday at the start of class.
In the 7th Grade, we began sight-reading an arrangement of Czech folk songs. We will continue to sight-read from this arrangement during our next class meeting.
Homework for 7th Grade: Fill in the lines of the Major Scale chart that correspond to the G Major Scale, D Major Scale, and C Major Scale. Be sure to include any accidentals (sharps, flats) that are included in the key signature. This will be collected on Tuesday at the start of class.
Announcement for 7th Grade: I am missing a Violin Stand 4 folder. If you took it home by mistake, please bring it to me Monday morning. Folders contain original copies of music and should be left on the stand at the end of class. I will provide practice copies of music once we have decided on a program.
Schedule for next rehearsal:
Check the seating chart. Find your name and take your seat. It is important that you sit in the correct SECTION and on the correct STAND NUMBER. We did such a good job with this, let's do it again!
Unpack your instrument (remember to rosin your bow!), and come to get tuned.
When you are tuned, return to your seat. Take out your homework so that it can be collected, and have a pencil ready.
Thursday, September 10, 2009
Metronomes
A metronome is any device that produces a regulated aural, visual or tactile pulse. It dates back to the early 19th century. A metronome is used by some performing musicians for practice in maintaining a consistent tempo; it also allows composers to precisely specify the tempo desired.
Metronomes can be hard to appreciate, and they are even harder to love. The rhythmic accuracy required to play along with a metronome at many tempos is sometimes daunting, sometimes frustrating, but always worthwhile.
I grew up hating my metronome. I had a graveyard of metronomes: ones that I "dropped," ones that "fell off my stand," and ones that I "accidentally stepped on." And at the request of my music teacher, my poor parents kept buying me new ones. Think of all the other things they could have bought me if I had just taken care of the first one! Let's see, 3 additional metronomes purchased for me between 6th and 8th grade at $15 each would have bought me 16.364 hot fudge sundaes from Stewarts...but who's counting?
Now, I own about 7 metronomes. I have ones that cost less than $20 which can click anywhere between 40 and 200 bpm (that's "beats per minute," for those of you who have not yet encountered the device). I have one that has a light that flashes with the beat, and I have one that speaks to me (yes, speaks. It speaks subdivisions - du de du de - to me as I practice). I even have a metronome that looks like a child's bath toy. I can't think of practicing without my metronome close by.
Go out and get one! Look for brands such as Korg, Qwik Time, Matrix, and Boss.
Running low on funds? Plug in your computer speakers, turn up the volume, and visit websites like these:
Online Metronome
Web Metronome <-- This one is great because it provides the musical term for the tempo you're playing, and it can accent certain beats for you.
Seventh String Metronome <-- This one looks like an old desktop metronome and clicks with the same sort of sound. The foot-tapper is a little hard to maneuver, but it's easy enough to just set your own tempo.
8Notes Metronome <-- While I don't recommend you use this metronome to practice your orchestra music, it is a GREAT tool for those of you who like to make up -- or improvise -- your own music. My favorites are the Rock and Samba beats.
Metronomes can be hard to appreciate, and they are even harder to love. The rhythmic accuracy required to play along with a metronome at many tempos is sometimes daunting, sometimes frustrating, but always worthwhile.
I grew up hating my metronome. I had a graveyard of metronomes: ones that I "dropped," ones that "fell off my stand," and ones that I "accidentally stepped on." And at the request of my music teacher, my poor parents kept buying me new ones. Think of all the other things they could have bought me if I had just taken care of the first one! Let's see, 3 additional metronomes purchased for me between 6th and 8th grade at $15 each would have bought me 16.364 hot fudge sundaes from Stewarts...but who's counting?
Now, I own about 7 metronomes. I have ones that cost less than $20 which can click anywhere between 40 and 200 bpm (that's "beats per minute," for those of you who have not yet encountered the device). I have one that has a light that flashes with the beat, and I have one that speaks to me (yes, speaks. It speaks subdivisions - du de du de - to me as I practice). I even have a metronome that looks like a child's bath toy. I can't think of practicing without my metronome close by.
Go out and get one! Look for brands such as Korg, Qwik Time, Matrix, and Boss.
Running low on funds? Plug in your computer speakers, turn up the volume, and visit websites like these:
Online Metronome
Web Metronome <-- This one is great because it provides the musical term for the tempo you're playing, and it can accent certain beats for you.
Seventh String Metronome <-- This one looks like an old desktop metronome and clicks with the same sort of sound. The foot-tapper is a little hard to maneuver, but it's easy enough to just set your own tempo.
8Notes Metronome <-- While I don't recommend you use this metronome to practice your orchestra music, it is a GREAT tool for those of you who like to make up -- or improvise -- your own music. My favorites are the Rock and Samba beats.
Articles for Young String Players
I've subscribed to Strings Magazine for many years because I love reading about the new and interesting artists in the classical/folk/jazz world of string playing.
Recently, Strings created a new magazine aimed at younger students. This new publication is called Teen Strings. Twelve-month subscriptions are available for $20 (about $1.70) per issue and make a great holiday or birthday gift. Many articles are currently available online for free!
Check it out!
Recently, Strings created a new magazine aimed at younger students. This new publication is called Teen Strings. Twelve-month subscriptions are available for $20 (about $1.70) per issue and make a great holiday or birthday gift. Many articles are currently available online for free!
Check it out!
Renting, Buying, Restoring, Repairing Instruments
If you're looking to purchase musical instruments, equipment, or accessories and would prefer to order them yourself, check out the following companies:
John Keal Music Company, Inc. The FMS music department conducts a lot of business with this company, and Chris Trombley (a representative) visits our school on a weekly basis to deliver orders and pick up instruments for repair. Ordering online with your credit card is easy; otherwise, you can fill out a blue form and submit your payment in school for delivery on Wednesdays.
Shar Music has an extensive online cataloge of accessories and sheet music. You can also purchase instruments from their website.
Southwest Strings often has good deals on student instrument outfits (instrument, bow, and case).
I've known many friends and colleagues who have had positive experiences with Stammell Stringed Instruments (with workshops in Amherst, MA and Poughkeepsie, NY). They offer high-quality instrument rentals for advancing students. Renters receive discounts on strings and accessories purchased through Stammell, and an equity program is available for trade-ins.
Johnson String Instrument's rental program is similar to that of Stammell, and they are also based in Massachusetts. I have been to their workshop a couple of times over the past 7 years, and I've always been impressed with the care they show their customers.
Have an old instrument that you think might be worth something? Most shops offer apprasials for a small fee. Was your instrument appraised with a post-repair value? Joseph Regh restores and repairs instruments from his home in Wappingers Falls, NY. If your appraisal value was significant enough to require much more detailed, expert attention, check out Reuning & Sons Violins in Boston or David Michie Violins in Philadelphia. Reuning might cost you a bit more, but they'll do a good job. David Michie is trusted for instrument repairs for students of the Curtis Institute of Music, The Philadelphia Orchestra, and the Philadelphia Youth Orchestras.
John Keal Music Company, Inc. The FMS music department conducts a lot of business with this company, and Chris Trombley (a representative) visits our school on a weekly basis to deliver orders and pick up instruments for repair. Ordering online with your credit card is easy; otherwise, you can fill out a blue form and submit your payment in school for delivery on Wednesdays.
Shar Music has an extensive online cataloge of accessories and sheet music. You can also purchase instruments from their website.
Southwest Strings often has good deals on student instrument outfits (instrument, bow, and case).
I've known many friends and colleagues who have had positive experiences with Stammell Stringed Instruments (with workshops in Amherst, MA and Poughkeepsie, NY). They offer high-quality instrument rentals for advancing students. Renters receive discounts on strings and accessories purchased through Stammell, and an equity program is available for trade-ins.
Johnson String Instrument's rental program is similar to that of Stammell, and they are also based in Massachusetts. I have been to their workshop a couple of times over the past 7 years, and I've always been impressed with the care they show their customers.
Have an old instrument that you think might be worth something? Most shops offer apprasials for a small fee. Was your instrument appraised with a post-repair value? Joseph Regh restores and repairs instruments from his home in Wappingers Falls, NY. If your appraisal value was significant enough to require much more detailed, expert attention, check out Reuning & Sons Violins in Boston or David Michie Violins in Philadelphia. Reuning might cost you a bit more, but they'll do a good job. David Michie is trusted for instrument repairs for students of the Curtis Institute of Music, The Philadelphia Orchestra, and the Philadelphia Youth Orchestras.
Lesson Groups: 8th Grade
Lessons for 6th Grade will be on Monday/Tuesday, Thursday, and Friday. Each lesson group will be assigned a day, and lessons will operate on a rotation so that students don't miss the same class each week. Students are required to pick up their lesson card the morning of their lesson. Lesson cards function as passes out of the regularly scheduled class. Have your classroom teacher initial your lesson card to give you permission to go to lessons.
If you study privately and do not plan on attending school lessons, you must come see me to obtain a private lesson form. This form is to be filled out by your private teacher and submitted to me at the end of the year. Your private teacher will be asked to record the number of lessons you attended throughout the year as well as the repertoire, both solo and etude, that you worked on. Students who study privately are encouraged to participate in school lessons.
Students may miss lessons only if there is a test during the class they would miss OR if they are failing that class.
Missed lessons must be made up within 2 weeks, during an activity period.
Missed lessons must be made up within 2 weeks, during an activity period.
If you study privately and do not plan on attending school lessons, you must come see me to obtain a private lesson form. This form is to be filled out by your private teacher and submitted to me at the end of the year. Your private teacher will be asked to record the number of lessons you attended throughout the year as well as the repertoire, both solo and etude, that you worked on. Students who study privately are encouraged to participate in school lessons.
Tuesdays & Fridays with Miss Ellis
Kang, Michelle
Crusado, Jessalyn
Garcia, Miguel
Randorf, Katie
Van Oort, Courtney
Gingrich, Rachel
Albert, Kristen
Kannan, Pranav
Kester, Aaron
Lamb, Josh
Saucedo-Arenas, Michelle
Woods, Kristen
Warren, Mathilde
Gohlke-Schermer, Ali
Mulligan, Mary Jean
Sipzner, Joe
Tenenini, Naomi
Toscano, Amy
Xu, Andrew
Hill, Jake
Ingraham, Cody
Kedik, Abigail
Ko, Asaph
Long, Andrea
Byerly, Sarah
Campbell, Sydney
Xiong, Michelle
Chong, Julia
Martin, Delaney
Olson, Morgan
Burby, Elise
Chevalier, Laura
Ramesh, Karthik
Rau-Sirios, Victor
Trichilo, Michael
Pearson, Emma
Kang, Michelle
Crusado, Jessalyn
Garcia, Miguel
Randorf, Katie
Van Oort, Courtney
Gingrich, Rachel
Albert, Kristen
Kannan, Pranav
Kester, Aaron
Lamb, Josh
Saucedo-Arenas, Michelle
Woods, Kristen
Warren, Mathilde
Gohlke-Schermer, Ali
Mulligan, Mary Jean
Sipzner, Joe
Tenenini, Naomi
Toscano, Amy
Xu, Andrew
Hill, Jake
Ingraham, Cody
Kedik, Abigail
Ko, Asaph
Long, Andrea
Byerly, Sarah
Campbell, Sydney
Xiong, Michelle
Chong, Julia
Martin, Delaney
Olson, Morgan
Burby, Elise
Chevalier, Laura
Ramesh, Karthik
Rau-Sirios, Victor
Trichilo, Michael
Pearson, Emma
If anyone is interested in learning the bass, Mr. Herchenroder (the high school orchestra teacher) has generously offered to provide free lessons. You can choose to have lessons outside of school, or you may join another beginning bassist in the 6th grade lesson rotation. See me for details.
Lesson Groups: 7th Grade
Lessons for 6th Grade will be on Monday/Tuesday, Thursday, and Friday. Each lesson group will be assigned a day, and lessons will operate on a rotation so that students don't miss the same class each week. Students are required to pick up their lesson card the morning of their lesson. Lesson cards function as passes out of the regularly scheduled class. Have your classroom teacher initial your lesson card to give you permission to go to lessons.
Students may miss lessons only if there is a test during the class they would miss OR if they are failing that class.
Missed lessons must be made up within 2 weeks, during an activity period.
If you study privately and do not plan on attending school lessons, you must come see me to obtain a private lesson form. This form is to be filled out by your private teacher and submitted to me at the end of the year. Your private teacher will be asked to record the number of lessons you attended throughout the year as well as the repertoire, both solo and etude, that you worked on. Students who study privately are encouraged to participate in school lessons.
Mondays & Wednesdays with Miss Ellis
Fridays with Mr. Herchenroder
Lower string players in 6th, 7th, and 8th grade have a special treat this year! Mr. Herchenroder, the high school orchestra teacher, is a bassist and will be coming to FMS each week to teach bass (and some cello) lessons. He'll be able to answer many questions you might have regarding cello and bass technique, performance, and equipment.
Although your lessons are scheduled for Fridays during Mod. 11, 12, and 13, you may also find a Mod. 1 lesson on your schedule every few weeks. We'll have it written down ahead of time so that you'll know to pick up your cards.
Cardiff, Rachel
Jewell, Winsor
Students may miss lessons only if there is a test during the class they would miss OR if they are failing that class.
Missed lessons must be made up within 2 weeks, during an activity period.
If you study privately and do not plan on attending school lessons, you must come see me to obtain a private lesson form. This form is to be filled out by your private teacher and submitted to me at the end of the year. Your private teacher will be asked to record the number of lessons you attended throughout the year as well as the repertoire, both solo and etude, that you worked on. Students who study privately are encouraged to participate in school lessons.
Mondays & Wednesdays with Miss Ellis
Barnum, Arianna
Chen, Alicia
Dai, Vivian
Templeton, Erin
Blackwood, Victoria
Chen, Alicia
Dai, Vivian
Templeton, Erin
Blackwood, Victoria
Zeng, Kevin
Abebe, Markos
Lennard, David
Nyangaga, Walter
Abebe, Markos
Lennard, David
Nyangaga, Walter
McAuliffe, Allyson
Mulligan, Jo Ann
Yu, Michelle
Farry, Madeline
Permaul, Natasha
Mulligan, Jo Ann
Yu, Michelle
Farry, Madeline
Permaul, Natasha
Henry, Shaddai
Morawski, Christina
Mulligan, Carrie Rose
Swyer, Rachel
Marinopoulos, Kristina
Morawski, Christina
Mulligan, Carrie Rose
Swyer, Rachel
Marinopoulos, Kristina
Zervos, Alana
Salazar, Gerardo
Sklar, Mitchell
Cummings, Andrew
Salazar, Gerardo
Sklar, Mitchell
Cummings, Andrew
Huq, Sazeed
Clemente, Elijah
Pabba, Nihaal
Rastegar, Amir
Russo, Gianluca
Clemente, Elijah
Pabba, Nihaal
Rastegar, Amir
Russo, Gianluca
Anand, Asha
Krofft, Heather
Wolanski, Rebekah
Krofft, Heather
Wolanski, Rebekah
Leicht, Rosemary
Rosenberg, Jacob
Schermerhorn, Sophia
Toffenetti, Emily
Ericson, Curtis
Rosenberg, Jacob
Schermerhorn, Sophia
Toffenetti, Emily
Ericson, Curtis
Chaikowski, Celia
Sanford, Julia
Brown, Naila
Hernandez, Hannah
Hoffmann, Jennifer
Sanford, Julia
Brown, Naila
Hernandez, Hannah
Hoffmann, Jennifer
Fridays with Mr. Herchenroder
Lower string players in 6th, 7th, and 8th grade have a special treat this year! Mr. Herchenroder, the high school orchestra teacher, is a bassist and will be coming to FMS each week to teach bass (and some cello) lessons. He'll be able to answer many questions you might have regarding cello and bass technique, performance, and equipment.
Although your lessons are scheduled for Fridays during Mod. 11, 12, and 13, you may also find a Mod. 1 lesson on your schedule every few weeks. We'll have it written down ahead of time so that you'll know to pick up your cards.
Cardiff, Rachel
Jewell, Winsor
Lesson Groups: 6th Grade
Lessons for 6th Grade will be on Monday/Tuesday, Thursday, and Friday. Each lesson group will be assigned a day, and lessons will operate on a rotation so that students don't miss the same class each week. Students are required to pick up their lesson card the morning of their lesson. Lesson cards function as passes out of the regularly scheduled class. Have your classroom teacher initial your lesson card to give you permission to go to lessons.
Students may miss lessons only if there is a test during the class they would miss OR if they are failing that class.
Missed lessons must be made up within 2 weeks, during an activity period.
If you study privately and do not plan on attending school lessons, you must come see me to obtain a private lesson form. This form is to be filled out by your private teacher and submitted to me at the end of the year. Your private teacher will be asked to record the number of lessons you attended throughout the year as well as the repertoire, both solo and etude, that you worked on. Students who study privately are encouraged to participate in school lessons.
Thursdays with Mrs. Dame:
Students may miss lessons only if there is a test during the class they would miss OR if they are failing that class.
Missed lessons must be made up within 2 weeks, during an activity period.
If you study privately and do not plan on attending school lessons, you must come see me to obtain a private lesson form. This form is to be filled out by your private teacher and submitted to me at the end of the year. Your private teacher will be asked to record the number of lessons you attended throughout the year as well as the repertoire, both solo and etude, that you worked on. Students who study privately are encouraged to participate in school lessons.
Thursdays with Mrs. Dame:
Arnold, Rachel
Callahan, Erin
Kim, So Yeon
Caruso, Paul
Dillon, Ryan
Long, Gretchen
Santos, Elaine
Seita, Catherine
Mondays/Tuesdays* with Ms. Norman
AC
Logiudice, Daniel
Lurie, Matthew
Nauman, Britany
Reedy, Elizabeth
Zhao, Gloria
Kernozek, Gabrielle
BD
Hastings, Karly
Conklin, Amanda
Green, Natalie
Lake, Alana
Crnkovic, Marko
Sanza, Gabrielle
*The day of your lesson (Monday or Tuesday) will depend on the type of day it is (A, B, C, or D). You will have your lesson on the day that you have orchestra.
Example:
Next Monday, September 14th is a D day. The 6th grade students who have orchestra on B/D days will have a lesson this Monday, September 14th. (Your lesson happens to be during Mod. 1 on Monday: 8:50-9:30am)
Next Tuesday, September 15th is an A day. The 6th grade students who have orchestra on A/C days will have a lesson this Tuesday, September 15th. Your lesson period will be posted and/or recorded on your lesson card. Tuesday morning, come to the orchestra room to pick up your lesson card.
Fridays with Mr. Herchenroder
Lower string players in 6th, 7th, and 8th grade have a special treat this year! Mr. Herchenroder, the high school orchestra teacher, is a bassist and will be coming to FMS each week to teach bass (and some cello) lessons. He'll be able to answer many questions you might have regarding cello and bass technique, performance, and equipment.
Although your lessons are scheduled for Fridays during Mod. 11, 12, and 13, you may also find a Mod. 1 lesson on your schedule every few weeks. We'll have it written down ahead of time so that you'll know to pick up your cards.
Callahan, Erin
Kim, So Yeon
Dombroski, Mackenna
Lin, Anne
Stevens, Nora
Yankowski, Bridget
Lin, Anne
Stevens, Nora
Yankowski, Bridget
Dillon, Ryan
Long, Gretchen
Santos, Elaine
Seita, Catherine
Darby, Matthew
Cartwright, Madeline
Piechowiak, John
Bellanger, Bridget
Manchur, Naomi
Huber, Nataleigh
Govin, Megan
Hanlon, Sarah
Jahn, Michael
Kelley, Jacob
Laing, Lucas
Magnan, Alex
Mazzeo, Michaela
Trainor, Aurora
Gonick, Katie
Nadella, Lohitha
Thursdays with Miss Ellis
Burmistrova, Michelle
Parker, Cory
Reiner, Allison
Schaffer, Gabrielle
Rafferty, Catherine
Meier, Shannon
Salazar, Alfredo
Slingerland, Quinn
Krieg, Matthew
Selsley, Alexander
Tucker, Rebecca
Myers, Christine
Pinto, Andre
Guntert, Delaney
Hill, Claire
Rosenblum, Ari
Rowe, Eliana
Petitti, Joseph
Ford, Breanne
Cartwright, Madeline
Piechowiak, John
Bellanger, Bridget
Manchur, Naomi
Huber, Nataleigh
Govin, Megan
Hanlon, Sarah
Jahn, Michael
Kelley, Jacob
Laing, Lucas
Magnan, Alex
Mazzeo, Michaela
Trainor, Aurora
Gonick, Katie
Nadella, Lohitha
Thursdays with Miss Ellis
Burmistrova, Michelle
Parker, Cory
Reiner, Allison
Schaffer, Gabrielle
Rafferty, Catherine
Meier, Shannon
Salazar, Alfredo
Slingerland, Quinn
Krieg, Matthew
Selsley, Alexander
Tucker, Rebecca
Myers, Christine
Pinto, Andre
Guntert, Delaney
Hill, Claire
Rosenblum, Ari
Rowe, Eliana
Petitti, Joseph
Ford, Breanne
Mondays/Tuesdays* with Ms. Norman
AC
Logiudice, Daniel
Lurie, Matthew
Nauman, Britany
Reedy, Elizabeth
Zhao, Gloria
Kernozek, Gabrielle
BD
Hastings, Karly
Conklin, Amanda
Green, Natalie
Lake, Alana
Crnkovic, Marko
Sanza, Gabrielle
*The day of your lesson (Monday or Tuesday) will depend on the type of day it is (A, B, C, or D). You will have your lesson on the day that you have orchestra.
Example:
Next Monday, September 14th is a D day. The 6th grade students who have orchestra on B/D days will have a lesson this Monday, September 14th. (Your lesson happens to be during Mod. 1 on Monday: 8:50-9:30am)
Next Tuesday, September 15th is an A day. The 6th grade students who have orchestra on A/C days will have a lesson this Tuesday, September 15th. Your lesson period will be posted and/or recorded on your lesson card. Tuesday morning, come to the orchestra room to pick up your lesson card.
Fridays with Mr. Herchenroder
Lower string players in 6th, 7th, and 8th grade have a special treat this year! Mr. Herchenroder, the high school orchestra teacher, is a bassist and will be coming to FMS each week to teach bass (and some cello) lessons. He'll be able to answer many questions you might have regarding cello and bass technique, performance, and equipment.
Although your lessons are scheduled for Fridays during Mod. 11, 12, and 13, you may also find a Mod. 1 lesson on your schedule every few weeks. We'll have it written down ahead of time so that you'll know to pick up your cards.
Adkison, Ryan
Beams, Alex
Kogelmann, Sara
Mazzella, Eva
Yang, Katie
Balzer, Sophie
Marotta, Sydney
Miller, Leo
Beams, Alex
Kogelmann, Sara
Mazzella, Eva
Yang, Katie
Balzer, Sophie
Marotta, Sydney
Miller, Leo
Teams: 8th Grade
The 8th grade has the following teams:
B.T.S: Kristen Albert, Sarah Byerly, Jessalynn Crusado, Asaph Ko, Michael Trichilo, Courtney Van Oort
Esquila: Elise Burby, Sydney Campbell, Miguel Garcia, Amy Toscano, Andrew Xu
Stringlings: Laura Chevalier, Julia Chong, Ali Gohlke-Schermer, Naomi Tenenini, Kristen Woods, Michelle Xiong
Awesome People: Jacob Hill, Pranav Kannan, Aaron Kester, Andrea Long, Emma Pearson, Michelle Saucedo
Super Strings: Courtland Ingraham, Joshua Lamb, Mary Jean Mulligan, Karthik Ramesh, Katie Randorf
Awkward Turtles: Rachel Gingrich, Michelle Kang, Joe Sipzner, Abigail Kedik, Morgan Olson, Victor Rau-Sirois, Mathilde Warren
B.T.S: Kristen Albert, Sarah Byerly, Jessalynn Crusado, Asaph Ko, Michael Trichilo, Courtney Van Oort
Esquila: Elise Burby, Sydney Campbell, Miguel Garcia, Amy Toscano, Andrew Xu
Stringlings: Laura Chevalier, Julia Chong, Ali Gohlke-Schermer, Naomi Tenenini, Kristen Woods, Michelle Xiong
Awesome People: Jacob Hill, Pranav Kannan, Aaron Kester, Andrea Long, Emma Pearson, Michelle Saucedo
Super Strings: Courtland Ingraham, Joshua Lamb, Mary Jean Mulligan, Karthik Ramesh, Katie Randorf
Awkward Turtles: Rachel Gingrich, Michelle Kang, Joe Sipzner, Abigail Kedik, Morgan Olson, Victor Rau-Sirois, Mathilde Warren
Teams: 7th Grade
The 7th grade has the following teams:
The Nobodies: Markos Abebe, Naila Brown, Rebekah Wolanski, Alana Zervos
Electric Purple Pandas: Asha Anand, Victoria Blackwood, Nihaal Pabba, Erin Templeton, Emily Toffenetti
The Unknowns: Celia Chaikowski, Alicia Chen, Heather Krofft, Walter Nyangaga, Michelle Yu
Firepeople: Elijah Clemente, Curtis Ericson, Thomas Fortune, Christina Morawski, Rachel Swyer
Gruesome Threesome: Vivian Dai, Emily Gunther, Sabrina Milks
Four Musicians: Madeline Farry, Jennifer Hoffmann, Natasha Permaul
Magnificant Music Makers: Rosemary Leicht, David Lennard, Jo Ann Mulligan
String Rockstars: Arianna Barnum, Kristina Marinopoulos, Gianluca Russo
9: Andrew Cummings, Carrie Rose Mulligan, Amir Rastegar, Jacob Rosenberg
Strawberries: Shaddai Henry, Sazeed Huq, Julia Manobianco, Allyson McAuliffe
Team 11: Hannah Hernandez, Gerardo Salazar, Mitchell Sklar, Kevin Zeng
The Nobodies: Markos Abebe, Naila Brown, Rebekah Wolanski, Alana Zervos
Electric Purple Pandas: Asha Anand, Victoria Blackwood, Nihaal Pabba, Erin Templeton, Emily Toffenetti
The Unknowns: Celia Chaikowski, Alicia Chen, Heather Krofft, Walter Nyangaga, Michelle Yu
Firepeople: Elijah Clemente, Curtis Ericson, Thomas Fortune, Christina Morawski, Rachel Swyer
Gruesome Threesome: Vivian Dai, Emily Gunther, Sabrina Milks
Four Musicians: Madeline Farry, Jennifer Hoffmann, Natasha Permaul
Magnificant Music Makers: Rosemary Leicht, David Lennard, Jo Ann Mulligan
String Rockstars: Arianna Barnum, Kristina Marinopoulos, Gianluca Russo
9: Andrew Cummings, Carrie Rose Mulligan, Amir Rastegar, Jacob Rosenberg
Strawberries: Shaddai Henry, Sazeed Huq, Julia Manobianco, Allyson McAuliffe
Team 11: Hannah Hernandez, Gerardo Salazar, Mitchell Sklar, Kevin Zeng
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