Instrumental Music - Strings Objectives by Grade Component Objective Grade 10 1 Students will be able to perform the following bowing techniques: spiccato and col légno bowstroke.
2 Students will be able to perform by memory major scales in the keys of C, G, D, A, E, F, Bb, Eb, and Ab using the PMEA audition scale pattern. 3 Students will be able to perform by memory a one octave chromatic scale. Students will be able to perform by memory a chromatic scale. Violins: G-G, Viola/Cello: C-C, String Bass: E-E 4 Students will be able to count and clap rhythms in simple, compound and asymmetrical meters (2/4, 3/4, 4/4, 6/4, 3/8, 6/8, 9/8, 12/8, 5/4, 7/4, 5/8, 7/8) up to and including eighth notes. 5 Students will demonstrate an understanding of note and rest values from whole notes through thirty-second notes through verbal and written responses and performance. 7 The student will correctly define forty of the "Principal Terms Used In Music."
8 Student will perform ensemble literature using appropriate clefs in the concert keys of Bb, F, C, G, D and A in 2/4, 3/4, 4/4, 5/4, cut time, and 6/8 meters 9 Student will demonstrate balance, blend, and intonation within section and between sections
10 Student will perform ensemble literature with note/pitch accuracy, rhythmic accuracy and stability, appropriate style, accurate phrasing, with dynamic contrast 11 Sightread ensemble literature using appropriate clefs in the concert keys of Bb, F, C, G, D and A in 2/4, 3/4, 4/4, 5/4, cut time, and 6/8 meters. Instrumental Music - Strings Objectives by Grade Component Objective Grade 11 1 Students will demonstrate the mechanics involved in executing a relaxed, unrestricted vibrato (wrist or arm).
2 Students will be able to perform the following bowing techniques: portimento, and hooked bow strokes.
3 Students will be able to perform by memory major scales in the keys of C, G, D, A, E, F, Bb, Eb, and Ab using the PMEA audition scale pattern. Violins: Two octaves, Viola/Cello: Two Octaves, String Bass: Two Octaves Except Eb & D major & e & d minor. 4 Students will be able to perform by memory a chromatic scale. Violins: Two octaves G-G, Viola/Cello: Two Octaves C-C, String Bass: Two Octaves E-E
5 Students will be able to count and clap rhythms in simple, compound and asymmetrical meters (2/4, 3/4, 4/4, 6/4, 3/8, 6/8, 9/8, 12/8, 5/4, 7/4, 5/8, 7/8) up to and including sixteenth notes. 6 Students will continue to demonstrate an understanding of notes and rest values through verbal and written responses and performance.
7 The student will correctly define fifty of the "Principal Terms Used In Music."
8 Student will develop and apply a list of musical (tone, precision, intonation, balance, style, dynamics, etc.) and extra-musical (appearance, performance demeanor, etc.) criteria for evaluating the accuracy and effectiveness of individual and group performances
9 Student will make judgments of quality regarding: ensemble clarity, tone, intonation, balance, blend, technical skill and facility, musicality and structure. 11 Sightread literature using appropriate clefs in all modes of the concert keys of Eb, Bb, F, C, G, D and A in 2/4, 3/4, 4/4, 5/4, cut time, and 6/8 meters. Instrumental Music - Strings Objectives by Grade Component Objective Grade 12 1 Students will be able to perform the following bowing techniques: richochet, trémelo and sulponticello bow strokes.
2 Students will be able to perform by memory major scales in the keys of C, G, D, A, E, F, Bb, Eb, and Ab using the PMEA audition scale pattern. Violins: Three octaves, Viola/Cello: Three Octaves Except Eb & D major & e & d minor, String Bass: Two Octaves Except Eb, G & D major & e, g, & d minor. 3 Students will be able to perform by memory a chromatic scale. Violins: Three octaves G-G, Viola/Cello: Three Octaves C-C, String Bass: Two Octaves E-E 5 The student will correctly define sixty of the "Principal Terms Used In Music."
6 Students will demonstrate an understanding of note and rest values from whole notes through thirty-second notes through verbal and written responses and performance. 11 Sightread literature using appropriate clefs in all modes of the concert keys of Eb, Bb, F, C, G, D and A in 2/4, 3/4, 4/4, 5/4, cut time, and 6/8 meters. 12 Compose instrumental or vocal four, eight, twelve and sixteen-measure melodic and rhythmic material utilizing sixteenth, eighth, quarter, half, whole, or dotted notes with corresponding rests. PRINCIPAL TERMS USED IN MUSIC 1 A ...... To, in, or at: a tempo, in time Accelerando (accel.) . . Gradually increasing the speed Accent ...... Emphasis on certain parts of the measure Adagio ...... Slowly; leisurely Ad libitum (ad lib.). . . At pleasure; not in strict time A due (a 2)...... To be played by both instruments Affettuoso ...... With feeling Agitato ...... Restless, with agitation All or Alla ...... In the style of Alla Marcia ...... In the style of a march Allegretto ...... Diminutive of allegro; moderately fast, lively; faster than andante, slower than allegro Allegro (All° ) . . . . . Lively; brisk; rapid Allegro assai ...... Very rapidly Amoroso ...... Affectionately Andante ...... A slow movement; moderately slow Andantino ...... Diminutive of andante; strictly, slower than andante, but often used in the reverse sense Anima, con } . . . . With animation Animato A piacere ...... At pleasure; equivalent to ad libitum Appassionato (Appass) Impassioned Arpeggio ...... A broken chord Assai ...... Very; Allegro assai, very rapidly A tempo ...... In the original tempo Attacca ...... Attack or begin what follows without pausing
Ben ...... Well; rather Bis ...... Twice; repeat the passage Brillante ...... Showy, sparkling; brilliant Brio, con ...... With much spirit
Cadenza (cad.) . . . . An elaborate florid passage introduced as an embellishment Cantabile ...... In a singing style Capriccio a ...... At pleasure; ad libitum Coda ...... A supplement at the end of a composition Col or con ...... With Con fuoco ...... With fire Crescendo (cresc.) . . Swelling; increasing in loudness
Da or dal ...... From Da Capo (D. C.) . . . From the beginning Dal Signo (D. S.) . . . From the sign Decrescendo (decresc.) Decreasing in strength Diminuendo (dim.) . . Gradually softer Divisi (div.) ...... Divided. Each part to be played by a separate instrument. Dolce (dol.) ...... Softly; sweetly Dolcissimo ...... Very sweetly and softly Duet or Duo . . . . . A composition for two performers
E ...... And Elegante ...... Elegant; graceful Energico ...... With energy; vigorously Enharmonic . . . . . Alike in pitch, but different in notation Espressivo (Espress) . With expression Fine ...... The end PRINCIPAL TERMS USED IN MUSIC 2 Forte (f) ...... Loud Forte-piano (fp) . . . . Accent strongly, diminishing instantly to piano Fortissimo (ff) . . . . . Very loud Forzando (fz >) . . . . Indicates that a note or chord is to be strongly accented Forza ...... Force of tone
Glocoso ...... Joyously; playfully Giusto ...... Exact; in strict time Grandioso ...... Grand; pompous; majestic Grave ...... Very slow and solemn Grazioso ...... Gracefully
Key note ...... The first degree of the scale, the tonic Largamente . . . . . Very broad in style Larghetto ...... Slow, but not so slow as Largo; nearly like Andantino Largo ...... Broad and slow; the slowest tempo-mark Ledger-line...... A small added line above or below the staff Legato ...... Smoothly; the reverse of staccato Leggiero ...... Lightly Lento ...... Slow, between Andante and Largo L’istesso tempo . . . In the same time (or tempo) Loco ...... In place; play as written, no longer an octave higher or lower
Ma ...... But Ma non troppo . . . . But not too much so Maestoso ...... Majestically; dignified Maggiore ...... Major key Marcato ...... Marked Meno ...... Less Meno mosso . . . . . Less quickly Mezzo ...... Half; moderately Mezzo-piano (mp) . . Moderately soft Minore ...... Minor key Moderato ...... Moderately - Allegro moderato, moderately fast Molto ...... Much; very Morendo ...... Dying away Mosso ...... Equivalent to rapid; piu mosso, quicker
Non ...... Not Notation ...... The art of representing musical sounds by means of written characters
Obbligato...... An indispensable part Opus (Op.) ...... A work Ossia ...... Or; or else - generally indicating an easier method Ottava (8va) . . . . . To be played an octave higher
Pause ( ) ...... The sign indicating a pause or rest Perdendosi ...... Dying away gradually Piacere, a ...... At pleasure Pianissimo (pp) . . . Very softly Piano (p) ...... Softly Piu ...... More Piu Allegro...... More quickly Poco or un poco . . . A little Poco a poco . . . . . Gradually; by degrees; little by little PRINCIPAL TERMS USED IN MUSIC 3 Poco piu mosso. . . . A little faster Poco meno ...... A little slower Poco piu ...... A little faster Pomposo ...... Pompous; grand Prestissimo ...... As quickly as possible Presto ...... Very quick; faster than Allegro Primo (1 mo) . . . . The first
Quasi ...... As if; in the style of
Rallentando (rall.) . . Gradually slower Replica ...... Repetition; Senza replica, without repeats Rinforzando (rfz.) . . With special emphasis Ritardando (rit.) . . . Gradually slower and slower Risoluto ...... Resolutely; bold; energetic Ritenuto ...... In slower time - not gradually slower
Scherzando . . . . . Playfully; sportively Segue ...... Follow on; in similar style Semplice ...... Simply; unaffectedly Senza ...... Without. Senza sordino, without mute Sforzando (sf.) . . . Forcibly; with sudden emphasis Simile ...... In like manner Smorzando (smorz.) . Diminishing in sound. Equivalent to Morendo Solo ...... For one performer only. Soli, for all Sostenuto ...... Sustained; prolonged Sotto ...... Below; under. Sotto voce, in a subdued tone Spirito ...... Spirit. Con Spirito, with spirit Staccato ...... Detached; separate Stentando ...... Dragging or retarding the tempo Stretto or stretta . . . An increase of speed. Piu stretto, faster Stringendo . . . . . Gradually faster
Tacet ...... “Is silent.” Signifies that an instrument or vocal part, so marked, is omitted during the movement or number in question. Tempo ...... Movement; rate of speed Tempo primo . . . . . Return to the original tempo Tenuto (ten.) . . . . . Held for the full value Tonic ...... The key-note of any scale Traquillo ...... Quietly Tremolando, Tremolo . A tremulous fluctuation of tone Trio ...... A piece of music for three performers Triplet ...... A group of three notes to be performed in the time of two of equal value in the regular rhythm Troppo ...... Too; too much. Allegro, ma non troppo, not too quickly Tutti ...... All; all the instruments
Un ...... A; one; an
Variatione ...... The transformation of a melody by means of harmonic, rhythmic and melodic changes and embellishments Veloce ...... Quick; rapid; swift Vivace ...... With vivacity; bright; spirited Vivo ...... Lively; spirited Volti Subito (V.S.) . . . Turn over quickly
All Instruments: Feet flat on floor. Back off chair, sitting forward on front edge of seat. Fingers slightly curved and relaxed. Bring instrument to you for playing. Wrists aligned with forearm. Head erect. VIOLIN & VIOLA
Posture of Body and Instrument
1 Instrument: a. Feet flat on floor, left foot slightly forward, right foot behind. b. Head and Back erect; Sit forward on chair. c. Instrument placed on left shoulder, about 45° to the left of a straightforward position. d. End pin button touches neck. e. Shoulder pad rests on the collarbone and the inner part of the shoulder. Do not raise shoulder to meet instrument. f. Head should be turned so that the side of the jaw touches the chin rest and pushes down slightly for support. g. Fingerboard should be about parallel with the floor.
2 Left hand and arm position: a. Hold the neck between the thumb and the base of the first finger. i. Thumb – on side of neck, tip slightly above neck. The amount of thumb depends on the length of the fingers. Thumb should face up to ceiling. ii. Fingers – curved, tips on strings. b. Wrist should be kept straight down. c. Hand turned in so that palm is close to and nearly parallel to neck. d. Arm is well under the violin – elbow is pointing down.
3 Right Hand-bow and arm: a. Tip of the thumb is placed on the underside of the stick between the frog and grip. The joint of the thumb is bent outward. b. The first three fingers curve over the top of the bow and slant toward the tip. First joint of the first finger rests on the grip. The second and third fingers curve over the stick and touch the frog. The little finger curves with the tip on top of the bow just ahead of the screw. 4 Second and third fingers touch. Small spaces between first and second fingers and third and fourth fingers. 5 Right Wrist should be flexible.
11 CELLO
Posture of Body and Instrument
1. Instrument: a. Feet flat on floor. Both feet drawn back slightly. Back off the back of chair. b. Head and Back erect: sit forward on chair. c. End pin is set so the cello is at about 55° to 60° angle and lower bouts are at knee level. C peg is next to left ear. Top right side of the back of the cello contacts the body at the chest at about the lower center of the rib cage. 2. Left hand and arm position: a. Thumb behind the neck; behind 2nd finger placement on fingerboard. b. Fingers slightly curved in “sandwich” grip; forming the letter ”c.” c. Fingers to wrist to elbow make a straight line; elbow out to the side. 3. Cello Bow: a. Fourth finger on the pearl, third finger on the metal “half” ring, second finger on the hair, first finger on the grip. b. Fourth, third, and second fingers should point straight down with slight space between fingers. First finger slightly curved on grip. c. Thumb is on the back of stick between grip and frog.
12 STRING BASS
Posture of Body and Instrument
1. Instrument: a. Stand with right side of the back of the bass leaning into the chest/stomach; feet separated with “L” shape – right foot parallel to the side, left foot parallel to back of bass. b. Player’s body leans slightly forward over the bass. 2. Left hand and arm position: a. Thumb and fingers from “sandwich” grip. Thumb has contact with the neck toward the back. b. Elbow out to side, away from ribcage. 3. Bass Bow: a. Fourth finger on the pearl; third finger on the metal “half” ring, second finger on the hair, first finger on the grip. b. Fourth, third, and second fingers should point straight down with slight space between fingers. First finger slightly curved on grip. Thumb is on the back of the stick between grip and frog. A Assembly of String Instruments
1. General Information: a. Bow should be tightened when taken out to use; loosened when put away. In tightened position, wood of the bow should curve slightly in toward the hair. b. Rosin should be used sparingly, and rosin dust should be removed from all wood surfaces (including bow) with a soft cloth after use. c. Beginning students should not attempt to tune the instrument. 2. Cello Information: a. Endpin must be extended so that the level of the “C” peg is next to the left ear. (This will vary from student to student, and also with different sized instruments). b. Student should not lean on the cello, as this will damage the endpin. c. Endpin must be pushed in gently. Student should not push down on the cello to replace the endpin after playing. d. Endpin thumbscrew must be retightened to secure the endpin inside the cello.
B Care of String Instruments/Case – Soft Bag – Packing and Unpacking 1. Instruments should be kept out of heavy traffic areas in the student’s home or classroom. 2. Instruments should be stored at home at room temperature. Extreme heat and cold sources such as heating vents, air conditioning ducts, and radiators should be avoided. 3. Students should not let anyone else play their instrument unless it is someone who is experienced in playing that instrument. 4. Rosin dust should be removed after each use with a soft cloth, preferably a shammy or cloth diaper, so as not to damage the finish of the instrument. 5. Cases must be latched before the student picks up the instrument so that the instrument will not fall out of the case. 6. Cellos & basses should never be left against a chair unattended. If it is necessary to leave the classroom or playing area, then the instrument must be placed on its side on the floor.
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