Congratulations to the first challenge winners!
In the 6th grade orchestras, the following students defined fermata correctly in at least one of three ways:
Michelle Yu, Carrie Rose Mulligan, Jo Ann Mulligan, Lucas Laing, Marko Crnkovic, Alana Lake, Matthew Darby, Sara Kogelmann, Bill Dong, Libbie Reedy, Matt Lurie, Gloria Zhao, Ahna Pearson, Michael Zhu, Britany Nauman, Bridget Bellanger, and Eva Mazzella, and Alex Beams
A fermata (I did not accept "hold," "pause," "bird's eye," or "corona" as these are colloquial) is an element of musical notation indicating that the note should be sustained for longer than its note value would indicate. Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is not unusual. Occasionally holds are also printed above rests or barlines, indicating a pause of indefinite duration.
The next 6th grade challenge is to define another symbol that is found in the same measure of Carmen, Carmela that the fermata is found in. Just like the last challenge, I will ask:
1. The official name of the symbol (hint: "double pipes," "train tracks," or "railroad tracks" will not be accepted).
2. What the symbol actually means/why you would find it in the music.
3. What you, as the performer, should do when you come across this symbol.
I also have to commend the 6th grade for their excellent rehearsal today. We played the first movement of Miniature Symphony, and I was extremely impressed with the level of focus, cooperation, and enthusiasm that the students maintained in their exploration of new music.
The 7th grade challenge is a bit more difficult than their last challenge.* This is the challenge:
A ground is a short melody which is performed over and over again by a bass instrument or voice. Above the theme, a string of continuous variations are unfolded. In the case of Variations on a Ground however, the ground melody moves from one instrument to another.
What is the word for a variations on a short melody in which the melody moves from one instrument to another?
Hint: In 1894, a Norwegian violinist, composer, and conductor (Johan Halvorsen) wrote a demanding work based on the 7th Harpsichord Suite by George Friedrich Handel in this type of variation form. The form he used is from the Baroque era and is said to derive from a Spanish dance. It unfolds as a continuous theme, usually in moderately slow triple meter (instead of double, like Variations on a Ground), with slow harmonic rhythm changing generally with the measure. Searching on youtube for "Handel-Halvorsen" will bring you to many great videos, both recent and vintage. Here's a newer recording. Here's an older one. Halvorsen's piece was written for violin & cello, but it has become more common to find the violin & viola version performed.
Hint: In 1894, a Norwegian violinist, composer, and conductor (Johan Halvorsen) wrote a demanding work based on the 7th Harpsichord Suite by George Friedrich Handel in this type of variation form. The form he used is from the Baroque era and is said to derive from a Spanish dance. It unfolds as a continuous theme, usually in moderately slow triple meter (instead of double, like Variations on a Ground), with slow harmonic rhythm changing generally with the measure. Searching on youtube for "Handel-Halvorsen" will bring you to many great videos, both recent and vintage. Here's a newer recording. Here's an older one. Halvorsen's piece was written for violin & cello, but it has become more common to find the violin & viola version performed.
Good Luck!
*For those interested, the answer to the 7th grade challenge (Name the famous piece quoted in measure 42 of Saturday at the Symphony) was Symphony No. 1, movement IV, by Johannes Brahms. This famous excerpt is played by the string section of the orchestra. The answer to this challenge could be found in the post "7th Grade Fall Repertoire" on this blog.Did any 8th grade violinists miss their lessons today? Here's what was assigned for next week from the Rhythmic Training packet:
Bb Major Scale - know the key signature and be able to play a 2-octave scale for me
Robert Starer: p20 review lines 1 & 2; p21 review line 1
Sitt Studies: p2 (#41) lines 1 & 2
