DOCSLIB.ORG

Download Thumb Position for Cello, Bk 2: Thumbs of Steel Free Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Thumb Position for Cello, Bk 2: Thumbs of Steel Free Ebook THUMB POSITION FOR CELLO, BK 2: THUMBS OF STEEL DOWNLOAD FREE BOOK Rick Mooney | 80 pages | 01 Dec 1999 | Suzuki Method International | 9780874877649 | English | United States Mooney, Thumb Position for Cello Book 1 Plus the fact that I'm double jointed. Go to Top. Javascript is not enabled in your browser. Now there will be Thumb Position for Cello cases where that's impossible, but those cases are few and far between. Translation: The Beginner Guitarist - Book 3. Gentle Breeze. How to Deal with Rosin. Email Address. It is especially important for the left hand thumb to be under the second finger in extensions. Lay your thumb across, I generally use closer to the actual pad here, I use that spot. So that's why again that exercise of just tapping around the thumb is a really, really a good idea. Thumb Position For Cello Method. Instruments Instruments. No, show me a free preview title. It maximizes the grip and enables power and strength from the arm to manipulate a tool. Piano Town. Add to Wishlist. The only movement is the initial one from First to Third Position. In Dr. If the instrument is too large then you will find yourself in severe pain when practising or performing. Mooney specially composed to address specific technical points. These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at There Bk 2: Thumbs of Steel talented musicians right across the country. SKU: God Save The Queen Satb. Position Pieces For Cello. Book 1 includes only the Bk 2: Thumbs of Steel basic fingering patterns used in thumb position. Google Play. How to Tune the Cello. String Quartet Tango. Translation: Acoustic guitar. This page is currently closed for new comments or questions. How to Trill on the Cello. We'll notify you when this product is available. The "Gavotte" by Popper, I'm not sure if that one's on this website or not, maybe it will be soon. Video Transcription Hello, everyone. Gillian Lubach. Gradually, they are introduced to stretches and crossovers, key signatures up to three flats, and time signatures other than 4. There's a variety of things like that. Should i be playing any Bk 2: Thumbs of Steel the notes with my thumb? See our Special Teacher Audit Package! Released on November 4, What you do is you leave that second finger down, which puts the string down, which makes it a lot easier to do this and you just practice just tapping the thumb at various spots, any kinds of spots. Thumb Position for Cello 2 continues where Book 1 left off and includes classical music, folk tunes, and original pieces by Rick Mooney such as "Around the Gypsy Campfire," "Harry the Hirsute Housefly," "Petite Partita" and much more. Cello Thumb Position for Cello Position. Whereas as right here, the skin is much tougher and it's much easier to build a callus on that part of the thumb, just right Bk 2: Thumbs of Steel right next to the joint. Now getting back to what I said about the lever system, a problem that a lot of people have with thumb position is once they get out of this kind of position. Time Zone or School Conflicts? Position Pieces for Cello - Book 2 It maximizes the grip and enables power and strength from the arm to manipulate a tool. Lucia in the Caribbean. I am an older person who took up Thumb Position for Cello cello in my 70s. The reason for this is that when the thumb is Thumb Position for Cello inward it is designed to grab onto something like a hammer or other tool. Back and forth on the cello because the distance between the notes gets smaller as we get higher. Cello First Position. Thumb Position for Cello specially composed to address specific technical Bk 2: Thumbs of Steel. Added to. Piano Solo. Thumb Position Repertoire. I apologize for that. Related Searches. Share With Your Friends! What you do is, you do all the open strings, you play instead as harmonics and then you just have to kind of slightly adjust the fingerings. I am an amateur and have been doing it the hard way for years. Thank you for watching this video. Gillian Lubach. So thumb position, really there's almost 2 types. More Festive Strings is a collection of well- known Christmas and Chanukah melodies arranged to meet Home 1 Books 2. I Accept. Comments, Questions, Requests:. Translation: Cello Method. But I wonder whether you have worked with older adults who face such issues as they learn the cello. That's basically all I have to say about thumb position. It also takes a brief look at an alternative tuning and introduces the idea of shifting position. Sign in to Purchase Instantly. Email me when this product is available. Do you already have a SmartMusic subscription? The Vanishing Villain. It turns out that the thumb has more nerve connections to the brain than any other part of the body — except the tongue. Sample Pages. Classical Guitar. I haven't tried yet! Latest Videos by Joseph. The student should be seated at the edge of a chair such that the knees are bent at a ninety-degree angle feet flat on the floor. Double Stops for Cello. Your browser needs Bk 2: Thumbs of Steel have Javascript enabled in order to display this page correctly. Whilst we always check sizing when you purchase an instrument, it is also important to talk to your teacher first about their thoughts on the appropriate size instrument. Notify Me. SKU: The entire arm moves up when going from the A-string to the C-string, and the thumb moves around the back Bk 2: Thumbs of Steel the fingerboard so that the whole mechanism works together as a unit. Cello, Cello. Thumb Position for Cello , Bk 2: Thumbs of Steel Javascript is not enabled in your browser. Similar requests Thumb Position. I Can Read Music is designed as a first note-reading book for students of string instruments who Home 1 Books 2. Directions for Measuring: Sizing cellos is slightly more complicated than sizing Bk 2: Thumbs of Steel and violas. If the instrument is too large then you will find yourself in severe pain when practising or performing. Polly Waterfield. To help strengthen the thumb you can use isometric exercises, as described in an earlier blog. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are Translation: This book contains a selection of exercises for hand moving and notably thumb moving on cello. Get it Now! SKU: Chat to us any time. Chasing Sheep. Thumb Position on the Cello Learn the secrets of the left hand thumb for cello playing In this video, Prof. The optional bass parts also allow for use in the high school, university or community orchestra. Thumb Position. Accelerando Book 4. View Product. Bk 2: Thumbs of Steel in Book 1, all of the pieces have been arranged as duets, Thumb Position for Cello a second cello part for the teacher or other Bk 2: Thumbs of Steel in a group class to play. Piano Solo. String Quartet. Maybe some of you remember that video. Giovanni Battista Sammartini. The chart below shows approximate sizing by age. Shifting Positions. So that's why again, we have to be really aware of our ability to use and operate just from here. Translation: Use of Thumb Position for Cello thumb is also covered briefly. How to Tune the Cello. Now when I say lever, I mean the way we put the thumb down is we operate from this joint right here. Thumb Position For Beginners. https://cdn-cms.f-static.net/uploads/4567326/normal_5fc21d79ac97b.pdf https://cdn-cms.f-static.net/uploads/4565829/normal_5fbf9fe640f27.pdf https://cdn.sqhk.co/jamiemurphynm/hihhlij/foundations-in-applied-nuclear-engineering-analysis-2nd-edition-100.pdf https://cdn-cms.f-static.net/uploads/4567780/normal_5fc230a23fa33.pdf https://cdn-cms.f-static.net/uploads/4565920/normal_5fc2678422591.pdf https://cdn-cms.f-static.net/uploads/4566268/normal_5fc0256bde393.pdf.
Load more

Recommended publications
  • The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2014 The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire Eric Hilgenstieler University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Education Commons, Music Pedagogy Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hilgenstieler, Eric, "The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire" (2014). Dissertations. 269. https://aquila.usm.edu/dissertations/269 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi THE APPLICATION OF CONTEMPORARY DOUBLE BASS LEFT HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2014 ABSTRACT THE APLICATION OF CONTEMPORARY DOUBLE BASS LEFT-HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler May 2014 The uses of contemporary left hand techniques are related to solo playing in many ways. In fact, most of these techniques were arguably developed for this kind of repertoire. Generally the original solo repertoire is idiomatic for the double bass. The same cannot be said for the orchestral repertoire, which presents many technical problems too difficult to solve using the traditional technique.
    [Show full text]
  • Bachâ•Žs Fifth Cello Suite, Double Bass and Scordatura: Practical and Historical Solutions
    Southern Illinois University Carbondale OpenSIUC Graduate Student Work School of Music 3-2021 BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS Thomas Willhoit Southern Illinois University Carbondale Follow this and additional works at: https://opensiuc.lib.siu.edu/music_gradworks Recommended Citation Willhoit, Thomas. "BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS." (Mar 2021). This Article is brought to you for free and open access by the School of Music at OpenSIUC. It has been accepted for inclusion in Graduate Student Work by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS by Thomas Willhoit B.A., Fort Lewis College, 2019 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree Department of Music in the Graduate School Southern Illinois University Carbondale March 2021 Copyright by Tom Willhoit, 2021 All Rights Reserved THESIS APPROVAL BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS by Thomas Willhoit A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music Theory and Composition Approved by: Dr. Walczak, Chair Graduate School Southern Illinois University Carbondale March 20, 2021 AN ABSTRACT OF THE THESIS OF Thomas Willhoit, for the Master of Music degree in Music Theory and Composition, presented on March 20, 2021, at Southern Illinois University Carbondale. TITLE: BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS MAJOR PROFESSOR: Dr.
    [Show full text]
  • Seth Gamba Elkins Pointe Middle School Orchestra, Fulton County
    Seth Gamba Elkins Pointe Middle School Orchestra, Fulton County, Georgia ASTA Conference 2018, Thursday 3/8 9:45am www.gambamusic.com [email protected] or [email protected] Sitting/standing o Advantages of Standing . Better initial posture . More expressive playing due to freedom of motion o Common problems with standing . Bow can torque instrument if not properly supported . Students support instrument with thumb if not properly balanced o Advantages of Sitting . Instrument is held securely . Feet don’t get tired o Common problems with sitting . Slouching . Having a stool that is the proper height . Carrying a stool everywhere you go How to approach instrument sitting & standing o Standing . Height should be set so that eye level is between the nut and the 1st finger Height is sometimes a compromise between having to reach up with left hand vs. having to reach down with bow arm. Bass should be balanced – players should be able to support the instrument comfortably with no hands . Bass should be tilted slightly in towards the player . Bass should make a slightly obtuse angle against the players body . The left knee should make contact with the back edge of the lower bout to keep the instrument from twisting due to bow friction . When playing, the bass should be tilted forward to create equilibrium between the forces applied by the bow and the fingers This gives a little gravity assistance for holding the strings down and creates bow weight o Sitting . Height should be set so that eye level is between the nut and the 1st finger when seated .
    [Show full text]
  • The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
    Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No.
    [Show full text]
  • The Rise and Fall of the Cellist-Composer of the Nineteenth Century
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Rise and Fall of the Cellist- Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions Katherine Ann Geeseman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE RISE AND FALL OF THE CELLIST-COMPOSER OF THE NINETEENTH CENTURY: A COMPREHENSIVE STUDY OF THE LIFE AND WORKS OF GEORG GOLTERMANN INCLUDING A COMPLETE CATALOG OF HIS CELLO COMPOSITIONS By KATHERINE ANN GEESEMAN A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2011 Katherine Geeeseman defended this treatise on October 20th, 2011. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my dad iii ACKNOWLEDGEMENTS This treatise would not have been possible without the gracious support of my family, colleagues and professors. I would like to thank Gregory Sauer for his support as a teacher and mentor over our many years working together. I would also like to thank Dr. Alexander Jiménez for his faith, encouragement and guidance. Without the support of these professors and others such as Dr.
    [Show full text]
  • Teaching the Three T's of Clarinet Playing: Tone, Technique and Tonguing Dr
    Teaching The Three T's of Clarinet Playing: Tone, Technique and Tonguing Dr. Gail Lehto Zugger OMEA Professional Development Conference February 1, 2019 This clinic will provide practical tips to improve your clarinet students, focusing on visual and aural cues to diagnose common problems. Basic fundamentals of technique, tone production and articulation will be discussed, giving effective strategies to teach these concepts to beginning, intermediate and advanced clarinetists. Simple exercises to develop good hand and finger position and improve transitions between registers will be demonstrated. Effective equipment options will be included. I. Assembly, Posture and Hold Position: A. Press D key on upper stack while gently twisting together with lower stack so as to not bend the bridge mechanism. B. When adding bell to the lower stack, grip the lower stack where there are no keys, on the bore only. Don’t bend the long metal rods associated with the pinky keys. C. Use cork grease regularly to reduce bending/breaking mechanisms. D. Place ligature on mouthpiece first, then insert reed from above so reed is less likely to become chipped during assembly. Just a shadow of the mouthpiece should be visible at the tip behind the reed. E. Head and neck should be in a natural-looking position while sitting tall. “Bring the instrument to you, not you to the instrument.” F. Clarinet angle to the body of 30-35 degrees. Right elbow should not rest on right thigh. Clarinet neck straps can relieve some weight off the right wrist. II. Tone A. Air—volume, air speed and support all keys to success.
    [Show full text]
  • Sound and Phrase the Importance of Developing a Refined, Balanced Technique to Communicate a Nuanced Musical Line on the Double Bass
    Teaching & Playing TECHNIQUE Sound and phrase The importance of developing a refined, balanced technique to communicate a nuanced musical line on the double bass CHRISTINE HOOCK Professor of double bass at the Mozarteum University Salzburg, Austria; president of International Sperger Society for Double Bass o play the double bass today is very different from what it was a few decades ago. While once we hid away in orchestras, now we also need to perform as soloists, using the same spectrum of tone colour, intensity and articulation as violinists, Tviolists and cellists. To be able to coax our mile-long strings into vibrating in the truly focused way that is needed to produce a musical phrase, we need an incredibly sophisticated technique. To many double bassists, players who produce a beautiful sound while projecting in a soloistic way seem like magicians. To create a nuanced phrase with a full, articulate sound that is rich in colour requires us to find a balance between body and instrument, combining power with a supple and BORN refined technique by working on our bowing, vibrato, sound imagination and sense of Mainz, Germany musical direction. The body must be balanced and elastic, to enable good use of weight, STUDIED WITH pressure and momentum in the bow arm; the vibrato must be varied using arm weight and Günter Klaus, different pivot points; and our breath and sense of line must guide every phrase. We need Franco Petracchi to shape the music with the whole body, using all the technical possibilities at our disposal. TEACHES University students aged 18+ EXERCISES I recommend standing up to play solo repertoire, so arm should lead every phrase, while the left hand that you are free to move your body to create a full, articulates clearly, with all fingers pressing down broad sound filled with creative possibility.
    [Show full text]
  • A Survey of Youtube Video Resources for Helping Beginner Clarinetists Cross the Register Break Flora Newberry University of Texas at El Paso, [email protected]
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 A Survey Of Youtube Video Resources For Helping Beginner Clarinetists Cross The Register Break Flora Newberry University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Music Pedagogy Commons Recommended Citation Newberry, Flora, "A Survey Of Youtube Video Resources For Helping Beginner Clarinetists Cross The Register Break" (2018). Open Access Theses & Dissertations. 1499. https://digitalcommons.utep.edu/open_etd/1499 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. A SURVEY OF YOUTUBE VIDEO RESOURCES FOR HELPING BEGINNER CLARINETISTS CROSS THE REGISTER BREAK FLORA E. NEWBERRY Master’s Program in Music in Education APPROVED: Curtis Tredway. Ph.D., Chair David Ross, D.M.A. Bradley Genevro, D.M.A. Lindsey Macchiarella, Ph.D. Kim Bauer, M.F.A. Charles Ambler, Ph.D. Dean of the Graduate School i Copyright © by Flora Newberry 2018 ii Dedication I would like to dedicate this work to my parents, Nancy Gibbs and Tom Herriman, my daughter Elizabeth Newberry, and my partner Michael Riley for their enthusiastic support of my decision to return to school for my graduate degree, and their constant encouragement and support throughout my years of study and through the process of researching and writing this thesis. I would also like to thank trumpet professor Nancy Taylor, who first encouraged me to apply to the University of Texas at El Paso, and in doing so began this process.
    [Show full text]
  • A Modern Physiological Approach to Piano Technique in Historical Context
    ABSTRACT Title of Document: SUMIKO MIKIMOTO’S PIANO METHOD: A MODERN PHYSIOLOGICAL APPROACH TO PIANO TECHNIQUE IN HISTORICAL CONTEXT Yoshinori Hosaka, Doctor of Musical Arts, 2009 Directed By: Professor Bradford Gowen, School of Music The purpose of this dissertation is to introduce Sumiko Mikimoto’s piano method, The Correct Piano Technique (2004), which represents a modern approach to piano technique based on physiological and neurological study. The author places Mikimoto’s method within a historical context, and shows how it offers a unique approach to piano playing with its anatomical–based awareness of localized muscle structures. Mikimoto not only describes different hand types, along with their accompanying strengths and weaknesses, but also presents a comprehensive picture of the development of piano technique through numerous exercises that are arranged incrementally. In addition to her various exercises, Mikimoto patented a finger–board in 1980 that helps the pianist stretch tendons and trains the small muscles of the hand and fingers. The strength of this method lies in its ability to address a broad range of technical challenges faced at many different levels from the beginner up through the advanced level pianist, as well as to help prevent tension–related injury. Broadly speaking, the historical context of piano technique shows a gradually increasing awareness of the body. Since the turn of the twentieth century and continuing up to the present day, the fields of physiology, neurology, and wellness have informed the teachings of many pedagogues such as Tobias Matthay, Otto Ortmann, George Kochevitsky, Gyorgy Sandor, and Seymour Bernstein. In this stream of studies of piano techniques and methods, Mikimoto’s method may be viewed as an extension of the work of Otto Ortmann (who conducted extensive scientific studies on physiological mechanics of piano technique) and George Kochevitsky (who incorporated an understanding of the neurology of motor skills into his teaching).
    [Show full text]
  • Carnal Musicology in a New Edition of Luigi Boccherini's ​Cello Concerto
    Carnal Musicology in a New Edition of Luigi Boccherini’s Cello Concerto in D major G. 478 ​ D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Samuel Converse Johnson, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Committee: Professor Mark Rudoff, Advisor Dr. Kristina MacMullen Dr. Juliet White-Smith Dr. David Clampitt Copyright by Samuel Converse Johnson 2020 Abstract The music of Luigi Boccherini has experienced a slow and steady revival over the last half century, yet few of his twelve cello concertos are widely published. This document presents a newly engraved edition of Boccherini’s Cello Concerto in D major G. 478, including solo parts ​ ​ and full score. I use carnal musicology to support a historically informed editorship of the cello part. In doing so I critique the anachronistic ways in which Boccherini’s music has been edited and published, particularly by Friedrich Grützmacher in his late 19th century Boccherini concerto mash-up. Grützmacher’s widely accepted version compromises the techniques that would have been implicit in Boccherini’s music, such that these inventions are lost in modern cello pedagogy and performance. My approach offers a new way of teaching and historicizing music that is faithful to Boccherini and caring toward the cello playing body. This project provides resources for the well-being of musicians and their bodies through a musicology that re-centers practice as community rather than isolation. The primary historical contributions I make to what we know of Boccherini are embodied and transcribed into the performance edition itself.
    [Show full text]
  • Orchestra & Honors Program
    Randolph Township Schools Department of Visual and Performing Arts INSTRUMENTAL MUSIC (STRINGS) Grades 9 - 12 Curriculum Department of Visual and Performing Arts Frank Perrone, Supervisor Curriculum Committee Kim Chiesa Sherry Griggs Eric Schaberg Curriculum Developed: Summer 2014 Curriculum Revised: Summer 2016 Date of Board Approval: October 18, 2016 1 Randolph Township Schools Music Department Instrumental Music: Grade 9 - 12 Strings Table of Contents Mission Statement and Education Goals – District 3 Affirmative Action Compliance Statement 3 Educational Goals – District 4 Introduction 5 Pacing 6 Tone Production 7 Rhythm 12 Music Theory 14 Music Expression 17 Knowledge and Maintenance of Instruments 19 Listening and Analysis 22 Advanced Solo Literature 24 Research and Writing 27 Appendix A - Smartmusic 30 Appendix B – Honors Booklet 31 2 Randolph Township Schools Mission Statement We commit to inspiring and empowering all students in Randolph schools to reach their full potential as unique, responsible and educated members of a global society. Randolph Township Schools Affirmative Action Statement Equality and Equity in Curriculum The Randolph Township School district ensures that the district’s curriculum and instruction are aligned to the state’s standards. The curriculum provides equity in instruction, educational programs and provides all students the opportunity to interact positively with others regardless of race, creed, color, national origin, ancestry, age, marital status, affectional or sexual orientation, gender, religion, disability or socioeconomic status. N.J.A.C. 6A:7-1.7(b): Section 504, Rehabilitation Act of 1973; N.J.S.A. 10:5; Title IX, Education Amendments of 1972 3 Randolph Township Board Of Education Educational Goals Values in Education The statements represent the beliefs and values regarding our educational system.
    [Show full text]
  • Setting the Left-Hand Position on Upper String Instruments
    acquires the left-hand frame, the second and third fingers (on exercise called Each and Every Ant, playing the bass line of Setting the Left-Hand Position violin and viola) need to function within the frame, sometimes Hot Cross Buns transposed into four keys (teacher or more assuming square position (for lower pitches) and sometimes advanced students play the melody and beginning students assuming extended position (for higher pitches), without first pluck open strings with fourth finger starting from lowest on Upper String Instruments and fourth finger abandoning the shape and feel of the frame. string) is also an efficient exercise to develop the fourth finger’s A Brief Survey of Related Literature and Jacobson (2016) argued that the entire left-hand needs to be strength while simultaneously developing an understanding of balanced on the fourth finger because “[that] opens the hand, rest and coordination between the upper and lower part of the Rote Exercises with Teaching Tips [and] the fingers of the left hand form an imaginary line with body while stomping on quarter rests. Dijana Ihas, PhD the line of the right arm when bowing” (p. 209). At the intermediate level, a useful rote exercise to strengthen Pacific University, OMEA Orchestra Area Chair There are two considerations that need a teacher’s attention the fourth finger is playing the Twinkle Theme with the fourth when developing left-hand frame. The first consideration is the finger placed on the adjacent string - either lower or higher. “A discussion on the doctrines on the position position but, when needed, as Galamian suggested, they can natural weakness of the fourth finger, which, as Havas (1961) Caution needs to be in place to not overdo this exercise as the explained, may make players “find more difficult to sense the fourth finger is “fragile.” of [left} arm, hand and fingers is attended by assume “elongated position, depending upon the note being played” (p.
    [Show full text]