Lesson Plan for Week 7

 

This post is the seventh in a series of beginning-of-the-year lesson plans.  For previous weeks, please see:

• Lesson Plan for Week 1
• Lesson Plan for Week 2
• Lesson Plan for Week 3
• Lesson Plan for Week 4
• Lesson Plan for Week 5
• Lesson Plan for Week 6

Week 7!  I like how each week of teaching is different for me; while I do more or less the same thing during the day and throughout the week in my position, one week to another is quite different.  Week 7 is no exception.  Students are writing their second composition of the year, this time using the notes on the D string (pizzicato) as well as doing their first big playing checkup of the year.  My goal is to get through the directions for the composition quickly to leave enough time to get to all of the students in the small group for their bowing checkup.  Ideally there will be a few minutes at the end to play something together, but that may or may not happen for each group.

Again, the format for this lesson plan is a 30-minute small group, with three to four students in a small group.  The most students I have been able to get through on a playing checkup/composition day is six, but that is really pushing it and doesn't allow me to give each student the individual time I would like to spend conferencing, going through their comments together and checking for understanding.

NEED:

• Extra Composition #2 worksheets
• Bowing checkup slips already labeled with student name and instrument, in order by small group schedule
• Pencil for me

ON THE BOARD:

• Agenda on screen
• The five D string notes written on the staff (D, E, F#, G, A), already labeled with finger number (above) and letter name (underneath)

ALSO NEEDED:

• Have spare folders and Orchestra Expressions books handy in case students forgot theirs
• Spare instrument for me
• iPad/phone/camera to scan playing checkup rubric sheets before returning to students (in Notes app)
• 1-page Google Doc condensed version of this lesson plan (includes lesson plan for full orchestra too)

COMPOSITION #2:

We have been pressing down our fingers on the D string to play different notes, so today we get to write a composition using our new D string notes!  I'll take a volunteer to read the paragraph at the top.

[Student reads]

Thanks [name].  Let's look at my composition, "A Walk Down the D String."  Before playing, let's say the letter names. 

[I play on piano while everyone is saying the letter names]

Let's play "A Walk Down the D String."  Playing position, all four fingers on the D string, L shape, plant the thumb.  Ready, play.

[Play while I'm saying letter names/finger numbers]

Let's set instruments gently in cases, grab your pencil, and let's go through the check list together.

As usual, we'll need a title.  I named my piece "A Walk Down the D String"; you can name your piece whatever you like.  Next, we need the name of the composer, so go ahead and write your name on the "by" line.  

We need a treble clef at the beginning so we know it's violin music--that's been done for us already!  We can check off "treble clef."

Next, we need a time signature after the treble clef so we know how many beats go in each measure.  Your choices are 3 beats or 4 beats in a measure.  I chose 4 beats in a measure for my composition, so I wrote the 4/4 time signature after the treble clef.  If you'd rather have 3 beats in a measure, write the 3/4 time signature after the treble clef.

We need bar lines between each measure--that's been done for us, so we can check off "bar lines."

At the end we need a...double bar line.  That's been done for us too, so you can check that off.

For rhythms, we'll use quarter notes and quarter rests, which each count as one beat.

Then, you can use any of the D string notes, so D, E, F#, G, A.

When we draw the notes, we start with the note head, the oval part, color it in, and then all these notes get up-stems, up to the right.  [Draw sample note next to the labeled D string notes] If you want to include a rest, you can draw a zig-zag or lightning bolt shape.

Any questions before we begin composing?

We also have our bowing checkup to do today too.  Who would like to play first?  Who would like to play second?  Third?  [Get comment slips in order of student volunteers; if there's not a volunteer, sometimes I do Rock, Paper, Scissors, with winner going first]

[If students want to try out different sounds on their instrument to get ideas of what to write, that's fine.  If students are done composing while I'm still listening to playing checkups, they can play the pieces on p. 16--all pizz.  If they finish those, then they can move on to p. 17, but those are arco so it's harder to hear whoever is doing their playing checkup.  In-between checkups, while the next person is getting their bow and getting set up, I quickly glance at other students' compositions and help get them on track if they need help with number of beats in a measure or how to draw the notes or that you only need the sharp sign in front of the first F# in a measure, etc.]

[For each student doing the bowing checkup, I open their book to p. 13 while they're grabbing their bow and instrument]

We're going to play "G String Level" today.  Think about how you're sitting in your chair and holding your instrument and bow, and whenever you're ready you can begin.

[Student plays; I'm circling numbers and jotting comments for Proper Playing Position and Bow Hold, maybe comments for Bowing]

Now we're going to play "Cross Bows."  Remember we play the first half two times and the second half two times. [Pointing in the music how the roadmap works]

[Circle numbers and finish jotting comments for the remaining categories]

Thanks, Name.  I'm just finishing scribbling...  Okay, let's go through my picky comments together.

[Walk through each category together, starting with a positive comment.  Have student find bow hold again and make adjustments as needed.  Try out bowing the open strings with the comments/suggestions I wrote]

Any questions for me?  Okay, thanks for playing and happy composing!

[Once I'm done with everyone, I set all their comment sheets on my desk and use my iPad to scan them using the Notes app.  I'll return the comment sheets to each student so they can take them home.  Then, I'll see how students are doing with their composition or collect those that are finished and guide students to practice the piece on p. 16 and then 17 when they're ready for something else to do.  If everyone is done with some time to spare, we will play some of the bow lift pieces on p. 17 together]

It is time to start packing up.  For practicing this week, we have the pieces on p. 14-17 in the book, our green sheet with the D string notes, and then Serenata.  I'll get your pieces typed up this week so we can play everyone's next time.

---

Before the following week, I write comments on compositions (which may just mean starring each of the check boxes, starring the composition itself, and correcting errors in notation with a colored pencil), type them up and put them in a Google Doc by instrument, print out one copy on colored paper to post on the STAR musician wall, and record grades for Rhythm and Music Literacy.  For the bowing checkups, I have the scans of the paper slips to use when recording grades into the grade book.  I also need to make copies of the note-reading pre-test, Version A.

Lesson Plan for Week 6

 

This post is the sixth in a series of beginning-of-the-year lesson plans.  For previous weeks, please see:

• Lesson Plan for Week 1
• Lesson Plan for Week 2
• Lesson Plan for Week 3
• Lesson Plan for Week 4
• Lesson Plan for Week 5

Week 6!  Last week we had played the A, D, and G strings with the bow out of the book.  I don't want to leave out the C/E string, so this week we play similar kind of pieces as the book but in the Orchestra Expressions Supplement packet.  We are also prepping for our first playing checkup, which will be the following week.  While the playing checkup will be on the pieces from the Orchestra Expressions book, p. 13 and 15 (string levels and string crossings), there's not time to play them in small groups this week.  Instead, I make sure to review those all in full orchestra this week and focus on the C/E strings in small groups.  This is also the week we begin Serenata, from Concert Tunes for Beginning Strings by Dale Brubaker.

Again for this lesson plan's sample script, I will assume this is a violin group.  This lesson plan is for a 30-minute small group, designed for groups of about 3-4 students all on the same instrument.

NEED:

• Serenata (should already be in folders)

ON THE BOARD:

• Agenda on screen
• The five D string notes written on the staff (D, E, F#, G, A), not labeled yet

ALSO NEEDED:

• Have spare folders and Orchestra Expressions books handy in case students forgot theirs
• Spare instrument for me
• Phone/camera to take picture of bow holds for Admire These Beautiful Bow Holds bulletin board
• Link to Orchestra Expression Supplement Packet audio files
• Link to bowing checkup rubric
• 1-page Google Doc condensed version of this lesson plan (includes lesson plan for full orchestra too)

UNPACKING:

Welcome!  Go ahead and unpack instruments.  Sponge or shoulder pad on.

LEFT-HAND PLAYING POSITION/D STRING NOTES:

We know that as the notes get higher on the staff, we add a finger and we get a higher sounding note.  On the staff, we recognize this note below the staff.  It's...open D, no fingers.  Open D is a space note, then we go up to the line and add a finger.  This note is...E, one finger.  From the line we go to the first space...F#, 2 fingers.  Then 3rd finger makes...G and then all 4 fingers on the D string makes...A, sounds the same as open A.

We filled out our handy-dandy fingering charts last week, right? [Glance quickly at each in case someone didn't have their folder last week and needs to fill it in real quick]

Let's find our left-hand playing position.  Playing position, arm swing, straight left wrist, balance on the knobby pointer finger bone, thumb touches lightly across, by the red tape.  [Make some individual adjustments, as needed]

I'll point, you pluck. [Point to the notes on the staff and talk through how to play them while students pluck.  I like to go up and down the five notes]

Let's say the musical alphabet [I point to the poster of the keyboard with the notes labeled]--A, B, C, D, E, F, G, then we start over again with A, B, C, D, E, F, G, then we start over again with A, B, C [and then I start pointing to the D string notes as we say D, E, F(#), G, A]

I'll point again, you pluck.  Maybe you'll recognize this melody. [Point to the melody notes for Barcarolle]

Did anyone recognize it?  It's on our green sheet. [I play it if no one recognized it and help pull out green sheets]--Barcarolle.  Let's try out _____ [pick a piece on the green sheet].  [This part seems to work best if everyone just works at their own pace and I go around and help out.  Students work through the first song, and if they get it okay, they can go on to another song]

These are all great pieces to keep playing at home this week as you're practicing.  We want to get really comfortable recognizing the different notes on the D string--what they look like on the staff and how many fingers to play each.  Remember we have flashcards on Canvas that will help with this.  We played the Matching game last week.

BOWING:

Let's take the bow out of the case.  The first thing we do is...tighten the bow.  It's been about two weeks since we last rosined our bows together, so sometime at home this week would be a good time to rosin your bow again.  I don't want to take class time to rosin our bows now.

Find your bow hold and let me know when you're ready for me to check out your bow hold.  Today is our bow hold check. [Make adjustments as needed, give specific verbal comments as adjusting and then write down number in grade book--4, 3, 2]

I'd love to get a picture of all of you showing your bow holds. [Take picture for Admire These Beautiful Bow Holds bulletin board]

Now I have a silly poem to teach you.  Do what I do with your bow and keep a beautiful bow hold no matter what you're doing with the bow:

"Up like a rocket, down like the rain,

Back and forth like a choo-choo train.

Round and round like the great big sun,

Now land on your hand, curved pinkie, bent thumb." [For cello/bass, I'll say "curved fingers, bent thumb."

You can tap, tap, tap the pinkie on the bow when we get to the "curved pinkie" part.  How are our bow hands still looking?  Is the thumb still bent?  Fingers over the frog?  Pinkie on its tip?

While you're picking up your instruments with your left hand and finding rest position, I'm going to open our white packets to p. 3.  From rest position find playing position.

We're going to play "E String Level."  We know we need the bow because...it says arco--the Italian word that tells us to play with the bow.  We also have what bowing direction over the first note?  Down-bow, starting by the frog and pulling the bow "out."

Let's set the bow near the frog on the E string, between the bridge and the end of the fingerboard.  Low elbow level for E string, almost touching our side

[Play "E String Level" with audio file--I have the slow tempo of each of these pieces open in different tabs on my computer ahead of time]

Look at "Crossword Puzzle."  Which two open strings do we need in this piece?  E and A.  Remember we play the first half two times and then the second half, Circle B, two times.

[Play "Crossword Puzzle" with audio file]

Rest position.  Next week during small groups, we're going to do our first playing checkup.  This is a chance for you to play by yourself for me, and I will be able to give you some comments and feedback as we're all working to become stronger on our new bowing skills.  You'll get to play one piece on p. 13, string levels, and one piece on p. 15, string crossings.  Let's look at the kind of things I'll be grading you on and giving you comments on.

[Pull up playing checkup rubric on screen; model each of these as I talk about each of them--students will often model these as I'm going through them too]

I'll be grading and commenting on playing position, looking for sitting tall in the chair, feet flat on the floor.  Proper playing position--instrument way up on the shoulder, jaw bone on the chin rest, instrument even with the floor.

Bow hold--we just worked on that--looking for bent thumb, at the edge of the frog, fingers curved, over the frog, pinkie curved and on its tip.

Bowing--we'll get a cleaner sound with bow between the bridge and the end of the fingerboard, open/close from the right elbow, so not the whole arm moving, but the upper arm staying still and the elbow opening/closing so the bow travels parallel to the bridge.  Proper bow direction--starting down-bow, near the frog, pulling the bow "out" to start.

String level--adjusting the elbow level for the different strings so we get the sound of the string that we want.

And then music literacy--playing the correct notes and rhythms that are in the music.  

So, our bowing checkup will be next week during small groups.  Any questions about our bowing checkups?

[If time, also play Crisscross.  This one is tricky with the 3/4 and the string crossings and rests and repeats--after playing with the audio file, it helps to slow it down even more and trying it again]

Okay, one more piece for today.  Say hello to your longest orchestra piece so far--Serenata!

[Pass out "Serenata" or pull out of folders]

We rest for two measures at the beginning, then what are the open strings that we see?  A, D, A.  Are we arco or pizzicato?  How do we know?  Do we start down-bow or up-bow?

Let's go up into playing position, find the bow hold, set the bow near the frog between the bridge and the end of the fingerboard on the A string and we'll play...A, D, A.  FREEZE.  Which bow direction is our bow ready to do next? Right, up-bow.  Which bow direction does the music say we're going to do next?  Right, down-bow.  So, we need to pick up the bow and set it down back by the frog so we're ready to do another down-bow.  We just did a "bow lift."  Do you see the apostrophe/comma looking thing over the rest?  [Which I penciled into my master copies]  That is called a bow lift, where we pick up the bow and set it down back by the frog.  

Back to the beginning, let's play again.

[I play violin with the students, saying the letter names and bow lifts.  We get to Circle 2 and stop]

Let's play that much again, and I'll play piano this time.  Here's the introduction, ready, play.

[Play up to Circle 2]

You are ready to play the whole song at home this week!

PACKING UP/PRACTICE ASSIGNMENT:

We had tightened our bow before, so now we...loosen.  Lefty-loosy, counterclockwise.  You'll notice the stick and hair getting closer together; you may see some individual hairs start to separate.  Gently slide the tip end of the bow back into the case.

Sponge/shoulder pad off, instrument flat in the case.  

For practicing this week, we have p. 12-15 in the book, getting ready for our bowing checkup next week during small groups.  We have the white packet, p. 3, that we played from today.  Keep practicing the green sheet with our different D string notes.  We started "Serenata" today.  Then we have the flashcards on Canvas.  We want to get really comfortable naming and playing these different D string notes.  And then we talked about rosining bows at home this week and keep looking for a cloth if you're still looking for a cloth to keep in your case to wipe the rosin dust off.

Next week I'll see you at ___.  Instruments back on the rack.  Next up is ___, so you can send them on in.  Have a wonderful rest of the day!

---

For the following week, I will need to print off the bowing checkup comment sheets ahead of time.  They print three to a page.  I use a colored pencil to fill out the student name and instrument in the order I will be seeing them for small groups that week in advance, just to save a little time in the moment.

I will also need to print off a couple extra Composition #2 worksheets to have ready in case anyone forgets to bring their folder next week.

• Lesson plan for Week 7

Lesson Plan for Week 5

 

This post is the fifth in a series of beginning-of-the-year lesson plans.  For previous weeks, please see:

• Lesson Plan for Week 1
• Lesson Plan for Week 2
• Lesson Plan for Week 3
• Lesson Plan for Week 4

Week 5!  We are really moving along!

We've had two weeks of full orchestra at this point, and I am starting to get tired of sorting the name cards twice a week, once before full orchestra, and once for small groups, so this is usually the week when I stop putting them out for small groups.  Students can choose where they sit, and I can usually figure out the names of all the students that I haven't learned yet either by using the small group schedule and process of elimination, or I can peak at the label on their folder or case, or just ask if I'm struggling :)  I use name cards on stands the whole year for full orchestra, but stop during small groups at about this time of the year.

In full orchestra this week, students count the distance between the notes of the open strings and learn that violins/violas/cellos are tuned in perfect 5ths, while the bass is tuned in perfect 4ths.  We play some student compositions that I have chosen in advance, and we air-bow our different bowing pages (without bows out--we'll save that for the next week!).

Again for this lesson plan's sample script, I will assume this is a violin group.  This lesson plan is for a 30-minute small group, designed for groups of about 3-4 students all on the same instrument.

ON THE BOARD:

• Agenda on screen
• The five D string notes written on the staff (D, E, F#, G, A), not labeled yet

ALSO NEEDED:

• Pile of student compositions from last week, in order of the order I will be seeing students that week
• Grade/attendance sheet ready to write down marks for Three-Point Shot for anyone who was absent
• Have spare folders and Orchestra Expressions books handy in case students forgot theirs
• CD player with Orchestra Expressions CD
• Spare instrument for me
• Link to flashcards on Quizlet
• 1-page Google Doc condensed version of this lesson plan (includes lesson plan for full orchestra too)

UNPACKING:

Welcome!  Go ahead and unpack instruments.  Sponge or shoulder pad on.

p. 10--THREE POINT SHOT:

[If anyone was absent last week, I have them play #11 "Three Point Shot" quickly while the others are unpacking.  We do not play it all together afterwards, but rather move on right away.]

INSTRUMENTS PARTS:

While you're unpacking instruments today, I bet you already know the names of a lot of instrument parts.  For example, we pick up the violin by its...neck.  We have four [pluck strings]...strings.  We put our jaw on the...chin rest.  (I think it should be called the "jaw rest" but it's really called the chin rest.)  The most delicate part of the instrument that we are careful to protect is the...bridge.  This long black thing is...we put our fingers on the...it's the board where we put our fingers...yes, fingerboard.  At the end here we have the...end button.  Did anyone catch the name of this wooden part here that shows off the craftsmanship of the violin maker?  Have you ever seen ancient papers that are all rolled up?  They are called...scrolls.  And this is the scroll; it looks like a scroll would, all rolled up.  What about these?  I'm not sure if I've mentioned this to you yet.  These are the pegs.  We do not touch the pegs.  I use the pegs to help tune the instruments.  I don't want you to turn them yet because I don't want anyone to accidentally break a string.  

ECHO:

[If the small group is starting late or I know this is a group that needs extra support I may skip this part and move right to the D string notes to save time]

From rest position, let's find playing position.  L shape, plant the thumb.  Please echo what you hear. [Pluck a 4-beat pattern using different open strings]

[Name], could you play 4 beats for us to echo?  Any open string is fine.  [I help prompt the others which string they started on when we echo]

[Let each student lead a pattern]

Nice job improvising and using your ears to know what to echo!

LEFT-HAND PLAYING POSITION/D STRING NOTES:

Let's find our new left-hand playing position.  Last week we found that when we press fingers on the D string, we get new notes.  As we add fingers, we get higher sounding notes.

Playing position.  Left hand underneath, way up high, jawbone on chin rest.  Now, instead of making an L shape, let the right hand hang on to whatever is comfortable for you so that the left arm can do an arm swing.  Swing all the way up to look at the palm.  Notice wrist is straight, fingers are curvy.  Balance the neck of the violin on the knobby pointer finger bone, thumb touches lightly across (by the red tape).  [Make some individual adjustments, as needed]

Right hand, L shape, plant the thumb.  Pluck open D, no fingers.  Now, we're going to add first finger, pointer finger, on the D string to cover the red tape.  Give that a pluck.  This is called..."E," not open E, but E on the D string. [I'm helping getting the right finger on the right tape and pressed down enough to get a clear sound]

I did not give you a tape for the second finger.  There's going to be a space between 1 and 2, so 2nd finger falls just under the black tape.  Press down the 2nd finger on the D string, just behind the black tape and give that a pluck.  2nd finger is called..."F#."

Third finger is best friends with 2.  Set 3rd finger, ring finger, on the black tape, on the D string, right next to the second finger.  3rd finger makes "G."  Not open G, but high G.

Stretch 4th finger, pinkie, all the way up to the blue tape on the D string.  4th finger makes "A."  It sounds the same as open A.  Press all the way down to the fingerboard for a clear sound.  Rest position.

What we just played sounds like "Do, Re, Mi, Fa, Sol."  Let's see what these notes look like on the staff.  [look to dry erase board with notes already on the staff].  We've seen this note before.  This is open D, no fingers.  Now the note gets higher so we're on the bottom line and this is...E.  Good, how many fingers?  1.  Does this look like open E?  No, open E would be way up here on the top space, so this E is E on the D string.  Next we go from the line to the space.  This is 2nd finger to make...F#.  After F# we go to the line for...G.  How many fingers?  3.  Does this G look like open G?  No, open G would be way down low, below the two ledger lines, so now you know two different Gs too.  And then this note we've seen before.  This on is...A.  We could play open A or on the D string we could play all 4 fingers to make A.  They sound the same.

In your folder you have a handy dandy fingering chart.  Open your folder and grab your pencil.  Let's fill out the fingering chart.  Find the D string, 1st finger.  1st finger makes...E.  Write a capital E in the first finger bubble.  [Walk around and point to the D string 1st finger bubble so students know where to write]  2nd finger on the D string makes...F#.  Write a capital F plus the sharp sign--looks like a hashtag--in the 2nd finger bubble.  Third finger is...G.  Write a capital G in the 3rd finger bubble.  And then fourth finger makes...A.  Yes, write A in the fourth finger bubble.  Great.

Let's open books to p. 14 now.  "New Note F#"  Which note are we playing?  Notice only the first F# in a measure gets the sharp sign; the sharp sign is good for the whole measure so this next note is automatically still F#.

[Play with the CD, track 24--press pause at the end of the line and skip the repeat--"You can play with the repeat at home"]

"New Note E."  How many fingers does it say we need for E?  Good, first finger covering red tape.

[Play with the CD, track 25; again I skip the repeat]

Rest position.  Take a little break.  Before playing "Shuffle Back and Forth," let's say the letter names first.  "F#, F#, E, E, F#, F#, E, rest..." [while I play on the piano and say letters with the students].  Now say finger numbers.  "2, 2, 1, 1..."  Do you see why it is called "Shuffle Back and Forth"?  That was a lot of back and forth between F# and E!

Playing position, let's play "Shuffle Back and Forth."  Starts with 2nd finger F#, so first finger covers red tape, big space for second finger, just under the black tape.

[I accompany on the piano--I go a little slower than the CD does]

Now go ahead and try "Mary Lee" on your own.  See if it sounds familiar to you.

[I go around and help students as needed]

Did you recognize it?  [If not, I may play a little and that's usually enough to recognize it as "Mary Had a Little Lamb."]

Let's flip back a page now, to p. 12.  Look at "Pumping Iron #1."  Which notes do we need in this piece?  How many fingers?

We'll start all four fingers, blue tape, for A, and then for G, 3 fingers, all we do is pick up the pinkie finger, the 4th finger.  The only movement for this piece is the pinkie pressing down for A and picking up for G.

[Play with the CD, track 19]

Okay, that's all we're going to do with the left hand fingers today.  Are you noticing little grooves in your fingers?  Yup, that's normal; they'll go away soon.

BOWING:

Let's take the bow out of the case.  The first thing we do is...tighten the bow.

Find your bow hold.  Next week I'm going to go around and look at everyone's bow hold to make sure everyone is comfortable with pinkie on its tip, middle fingers hug the frog, little space for pointer, thumb is bent. [Make adjustments as needed]

Now, with your left hand, pick up your instrument by its neck and find rest position.

Let's play #21, "A String Level."  I see the word arco which tells us to play with...the bow.  Do we start down-bow or up-bow?  Yes, down-bow, from the frog, pull the bow out.

Set the bow near the frog on the A string, between the bridge and the end of the fingerboard.  

[Play with the CD, track 21; I go around and spend about 2 measures per student helping pull the bow straight while they are playing each of these bow level pieces]

Raise the elbow a little to play "D String Level"

[CD track 22]

Raise the elbow even more for "G String Level."  Start down-bow, near the frog.

[CD track 23]

Rest position and turn the page.

Let's talk through "Cross Bows" on the top.  Let's say the letter names: D, D, rest, rest, A, A, rest, rest.  We've just run into a...repeat sign, which sends us back to...the beginning.  So again we will play: D, D, rest, rest, A, A, rest, rest.  Now we're at...Circle B and we keep playing: D, D, D, D, A, A, A, A.  Now we've run into another...repeat sign, which sends us back to...do you see the backwards repeat sign at Circle B?  We go back to Circle B and play again: D, D, D, D, A, A, A, A.

Did you notice there are different open strings in this piece?  We'll have to adjust our elbow level for the different strings.  Let's try "Cross Bows" [slowly, no CD or accompaniment, not really in time].  Up into playing position, find your bow hold, set the bow near the frog, between the bridge and the end of the fingerboard on the D string so we can pull the bow down.  

Ready, play. D, D, rest, lower the elbow for A, A, rest repeat/raise the elbow D, D, rest, lower the elbow for A, A.  Now we're at Circle B.  Raise the elbow to find the D string level, and we play: D, D, D, D, lower for A, A, A, A, repeat back to Circle B, D, D, D, D, A, A, A, A.  Now you're ready to play this whole page at home with the bow this week.

PACKING UP/CLOTH/FLASH CARDS

We had tightened our bow before, so now we...loosen.  Lefty-loosy, counterclockwise.  You'll notice the stick and hair getting closer together; you may see some individual hairs start to separate.  Gently slide the tip end of the bow back into the case.

[I run my finger over the strings on my violin]

Has anyone noticed some white rosin dust on their strings or instrument?  If you have a cloth in your case, go ahead and take it out.  If you don't, I'm going to throw a cloth at you.  Just a heads up, I'm not a very good thrower :) [It would probably be better to just hand students a cloth, but it is entertaining to see how bad my aim is even from a short distance]

Wipe the rosin dust of the strings of the instrument (no, not the bow hairs, the strings of the instrument) [there are always a few students who start wiping the bow hairs...], the body of the instrument, the fingerboard...anywhere you might see the white rosin dust building up.  It is a good idea to wipe the rosin dust off the instrument every time you pack up so the rosin dust doesn't build up and get caked on.

If you don't already have a cloth for your case, this would be a good time to find one at home that you can use.  If you have a clean, dry washcloth, that would work.  Or if you have a sock at home that doesn't have a match, you could put a clean sock in your case and use that.  Or if you have an old T-shirt at home and you get permission to cut it up, you could put a piece of fabric in your case to use as a cloth.

Okay, sponge/shoulder pad off, instrument flat in the case.  Go ahead and zip up or clasp up the case.

Let's go through the practice assignment for this week.

This week you're ready to play the pieces on p. 12, 13, 14, and 15 in the book.  We have the green sheet from last week that has "Barcarolle" on it.  In the white packet, we're ready for p. 3, that starts "Pumping Iron #3."  I'll show you flashcards on Canvas in a minute, and then we already talked about finding a cloth at home.

On Canvas, to find the flashcards, click on "Modules," then scroll all the way down to the bottom.  There you will find "Flashcards."  I'll click on that.  There are flashcards for the open string notes and D string notes.  Let's do D string notes.  We're violins in here, so I'll click on "Violins" and then let's play the Matching game.  Which note is this?  How many fingers? [Go through the Matching game; I click on a note and the correct answer once someone has said it]  That was ___ seconds.  There are some fast times on here!  I wonder how fast of a time you will get when you practice these at home!  If you get a record, you'll have to take a screen shot and share it with me!

Okay, let's check the schedule to see when I'll be seeing you for small groups next week.  And next up should be ____, so you can send them on down if you don't see them in the hallway on their way down yet.  Instruments back on the rack.  See you at the end of the day when you come to grab your instrument!

• Go to Lesson Plan for Week 6

Lesson Plan for Week 4

 

This post is the fourth in a series of beginning-of-the-year lesson plans.  For previous weeks, please see:

• Lesson Plan for Week 1
• Lesson Plan for Week 2
• Lesson Plan for Week 3

It's Week 4!  Again, a bit of context.  I see students for 30-minute small groups once a week and full orchestra for 30 minutes once a week.  At this point, it is the end of September/beginning of October, and my elementary schools have a winter band/orchestra/choir concert coming up the first or second week of December.  Ideally, I would like to spend more time on technique and review and refining, but realistically, I know all the skills we need to get to by the winter concert and then January's String Fest and how little time we have before then, so we press ahead.  Although I would like everyone's set-up to look great from the beginning (and some do!), I have to trust that, even if students aren't all there yet, we will do enough review as we go on that they will keep getting more and more.  I also know that many students have tried playing with the bow at home even though we haven't gotten there yet at school, so I might as well show students sooner rather than later before everyone teaches themselves bad habits at home :)

In preparation for Week 4, I have typed up everyone's compositions onto a Google Doc (see Week 3's post for templates) and shared the link for each instrument's document on our Canvas page.  I've printed out one copy of everyone's compositions on colored paper and taped those up on our STAR Musician wall too.  I have also created a "Green Sheet" that includes a reference of the D string notes as well as three melodies typed using Alpha notation.  One is always the melody of "Barcarolle" that I have been playing, and then the other two preview String Fest pieces that students will be learning later in the semester.  Ideally, I'd like to use the book to start with the D string notes (which I have in past years), but I also have future concert repertoire in mind and have started using this green sheet the first week with fingers instead (we'll get to the book the next week).

Again for this lesson plan's sample script, I will assume this is a violin group.  This lesson plan is for a 30-minute small group, designed for groups of about 3-4 students all on the same instrument.

ON THE BOARD:

• Agenda on screen

ON MUSIC STANDS:

• Name card for each student

ALSO NEEDED:

• Pile of student compositions from last week, in order of the order I will be seeing students that week
• Grade/attendance sheet ready to write down marks for Three-Point Shot
• Have spare folders and Orchestra Expressions books handy in case students forgot theirs
• "Green sheet"--this sample has "Au Clair de la Lune," "Bile 'em Cabbage Down," and "Barcarolle"
• Google Doc
• PDF
• CD player with Orchestra Expressions CD
• Spare instrument for me
• 1-page Google Doc condensed version of this lesson plan (includes lesson plan for full orchestra too)

AS STUDENTS ARE ENTERING:

Welcome!  Cases on the left-hand side, little end in the back.

UNPACKING:

Instruments out, sponge or shoulder pad on.  [While students are getting settled in, I am opening books to p. 10]

p. 10--THREE POINT SHOT:

We have been reading and plucking the open strings for a couple weeks now, so we should be pretty comfortable reading and playing the pieces on p. 10.  Today, we are going to take turns playing "Three Point Shot" so I can see that we are able to find playing position, sitting tall in the chair with feet flat on the floor and jawbone on the chin rest, and so I can see that we are comfortable reading and plucking the different notes.  Who would like to play first?

[I write down a quick mark on my grade sheet for body format and for music literacy.  My district uses 4, 3, 2--4=exceeds expectations, 3=meets expectations, 2=basic]

    [4= with confidence
    3= with hesitation or corrected notes on own
    2= with assistance]

Thanks [name].  Who would like to play next?  [Name], you look ready to go. [I give brief individual feedback as needed but the pace moving]

[Once everyone has played] Now let's play it everyone together, with the repeat and with the recording.

[CD track 11]

[I finish jotting down numbers if needed]

LEFT-HAND PLAYING POSITION/D STRING NOTES

Rest position.  Last week we found our new left-hand playing position.  In rest position, let's do our left arm swing.  On one of these swings, come all the way up to look at the palm.  Notice the wrist is naturally straight and the fingers are naturally curvy. 

Playing position.  Left hand underneath, way up high, jawbone on chin rest.  Now, instead of making an L shape, let the right hand hang on to whatever is comfortable for you so that the left arm can do an arm swing.  Let's do another left arm swing.  Notice wrist is straight, fingers are curvy.

At the base of our pointer finger is a knobby bone.  We're going to balance the neck of the violin on that knobby bone, thumb touches lightly across (by the red tape).  This is left-hand playing position. [Make some individual adjustments, as needed]

Great.  Rest position.

Now, when we've been plucking the open string, the whole string vibrates, from the nut to the bridge.  Today, we're going to press fingers down on the string to get different notes.  When we press fingers down, now a shorter length of string is vibrating, from the finger to the bridge.  [I'm demonstrating]  Do you think we'll get a higher or lower note when we press down our fingers?

[Take some guesses, then pluck the open D string, followed by all 4 fingers down to make A]  Was that higher or lower?  Right, higher sounding.  Shorter, smaller things make higher sounds.  Just like the violin is the smallest of the string instruments and has the highest pitched open strings while the bass is the biggest of the string instruments and has the lowest sounding strings.

Our fingers have numbers.  The thumb does not get a number.  Pointer is 1, middle is 2, ring is 3, pinkie is 4 [wiggle corresponding fingers]

Let's go back to playing position.  Left arm swing, look at the palm, notice wrist is straight, fingers are curvy.  Balance the neck of the violin on the base of the knobby pointer finger bone, thumb lightly across, by the red tape.

Right hand, L shape, plant the thumb.  Pluck open D, no fingers.  Now, we're going to add first finger, pointer finger, on the D string to cover the red tape.  Give that a pluck.  This is called "E," not open E, but E on the D string. [I'm helping getting the right finger on the right tape and pressed down enough to get a clear sound]

I did not give you a tape for the second finger.  There's going to be a space between 1 and 2, so 2nd finger falls just under the black tape.  Press down the 2nd finger on the D string, just behind the black tape and give that a pluck.  2nd finger is called "F#."

Third finger is best friends with 2.  Set 3rd finger, ring finger, on the black tape, on the D string, right next to the second finger.  3rd finger makes "G."  Not open G, but high G.

Stretch 4th finger, pinkie, all the way up to the blue tape on the D string.  4th finger makes "A."  It sounds the same as open A--why don't you try it out and compare?  4 on D and open A.  Take all the fingers off the string for open A.  Press all the way down to the fingerboard for a clear sound.

[As much as I'd like to talk about "tabletop" fingers, I find that I don't on this day, though as I'm helping students, I do make sure fingers are curved.  If students have long fingernails, I will say individually to that student, "Oh, this will be easier to do once you trim your fingernails" and show them what we're trying to do with the fingers on their tips.  I'm also taking out the "Green Sheet" from folders]

What we just played sounds like "Do, Re, Mi, Fa, Sol."  On the green sheet is a handy reference off all the notes we just played and what they look like on the staff.  Notice that as the notes get higher on the staff, we add a finger.

Let's try ______ (one of the pieces on the green sheet).  First note is....which is how many fingers on the D string?  Good, next note is... [walk through the line giving no thought to rhythm, just getting the fingers down and plucking]  You are ready to try all of these at home this week.

Keeping the sponge or shoulder rest on, set the instrument in its case for a bit.

[For cello/bass, I talk about forming a "C" shape in the left hand, like they are about to pick up a water bottle, fingers open wide, thumb touching lightly in the back across from red tape for cello (2nd finger tape), thumb pointed to the side--not up, left elbow up.  Basses shift already--1 and 4 in 1st position are red tapes; 1 and 4 in 3rd position are black tapes; thumb across from middle finger]

ROSIN:

Let's take the bow out of the case.  The first thing we do is...tighten the bow.  Righty-tighty, clockwise.  You'll notice the stick and hair are getting farther apart.  Keep tightening until you can fit about a pinkie or pencil between the stick and the hair.

In your case you have some rosin.  Go ahead and take the rosin out of your case.  It might be in a little pocket in your case.  Take it out of its packaging.  Rosin is made out of hardened tree sap.  We need it in order to get sound with the bow in a moment.  To rosin the bow, one hand holds the frog of the bow, thumb covers the little metal part, so we're not making a bow hold right now, we're just covering the little metal part so that when we rosin the bow, we run into our thumb down by the frog rather than the rosin running into the metal and possibly chipping the rosin.

We rub the rosin on the bow hair [I'm demonstrating while students follow my lead].  What's happening is little bits of rosin dust are sticking to the hairs of the bow and putting little bumps of rosin dust on the bow, even though we can't see it.  Then, when we play with the bow in a moment, the bumps of rosin dust pull the string of the instrument and make it vibrate.  Without the rosin, we wouldn't get any sound when we play.  We don't need to rosin our bow every day; about once every-other week or so is fine.  Be careful not to drop your rosin because it can break; it can shatter [show a broken rosin].  Okay, that should be good.  Rosin goes back in the packaging, and set it gently back in the case.

BOWING:

Find your bow hold.  Shake, flop, back of hand in toward nose.  Pinkie on its tip, middle fingers hug the frog, little space for pointer, thumb is bent.

Now, with your left hand, can you pick up your instrument by its neck and find rest position?  Great.

In a moment, we are going to go into playing position.  In a moment, we are going to set the bow near the frog, on the A string, between the bridge and the end of the fingerboard.  Then, in a moment, we are going to pull the bow down and up [I'm demonstrating each step].  Okay, let's go up into playing position.  Set the bow near the frog on the A string, between the bridge and the end of the fingerboard.  Play down, up, down up. [I'm going around and helping to pull bows parallel to the bridge with elbows opening/closing for a straight bow]

Raise the elbow a little bit to find the D string level and play open D, down, up, down up.

Raise the elbow even more for the G string.

Now lower the elbow a lot to find the E string.

[I'm opening books to p. 13]

Great.  Rest position, relax a bit.  Let's look at "A String Level."  I see the word arco which tells us to play with...the bow.  Above the first note I see what looks like a staple.  This is called a...down-bow, where we start from the frog and pull the bow down.  And after it is the V-shape, which is called an...up-bow.

[I have the symbols for down-bow and up-bow on the board and draw little arrows on their ends to show how the arrows on the down-bow point down and the arrows on the up-bow point up]

Okay, let's play "A String Level."  Find the bow hold in the right hand.  Now playing position.  Set the bow near the frog on the A string, between the bridge and the end of the fingerboard.  Ready, play.  "Down, up, down, up, rest rest rest rest, down, up rest rest, down, up, rest repeat" [No CD, I'm walking around helping each student bow for a measure or two, saying the bow directions]

You are ready to play all of p. 13 at home this week.

We had tightened the bow before, so now we need to...loosen.  Lefty-loosy, counter-clockwise.  You'll notice the stick and hair are getting closer together.  Keep loosening until the stick and hair are just about touching.  You might see some individual hairs start to separate.  

Holding on to the frog, gently slide the tip of the bow back in the case, then turn the knob or dial to hold the bow in place.

COMPOSITIONS:

[I return compositions]

Here are your compositions from last week.  Congratulations again on writing your first composition for the violin!  Do you know how I got to this page on Canvas?  Great, now I'm going to scroll down a bit, and there's the link for our violin compositions.  I'm going to click on the link, and here are all of our violin compositions. [I scroll through the entire document so students can skim the titles of each and find their name]  I think we have just enough time that you can play one composition on your own before we pack up [I try to find the compositions written by the students who are there in that small group so they can try their own or someone else in their small group]

PACKING UP:

Okay, now it's time to pack up.  Sponge or shoulder pad off, instrument flat in its case.  Let's go over the practice assignment.

PRACTICE ASSIGNMENT:

This week you're ready to be playing p. 10, 11, 13, and 14 in the book.  10 we've been doing, 11 is with the bow and the tube, 13 we just started with the bow, an 14 uses the left hand fingers.

We have the green sheet where we're pressing down the fingers on the D string to play the different notes.  You're ready to play all of those at home.

Then, we have p. 2 of the white packet, and you saw where you can find the link to everyone's violin compositions on our Canvas page.  Enjoy trying out everyone's compositions at home this week!

Again, on Canvas, there are bonus videos that go through everything that we did today, so if you want a refresher on anything, click here and that will take you to the video you can watch and play along with at home.

Let's check the schedule for when I'll see you next.

Cases and folders can go back on the racks.  See you at the end of the day when you come to pick up your instrument!  

--

The link to the condensed lesson plan also includes the lesson plan for full orchestra this week, our second full orchestra.  We do NOT use bows in full orchestra yet; students are not yet independent enough to try this out in the full orchestra setting.  Instead, we play p. 8 and 10 in the book and try out the open string pizz. harmony parts on p. 2 of the Orchestra Expressions Supplement Packet that were on last week's practice assignment.  These should be very doable even if students didn't practice those at home yet as they were supposed to :)

• Lesson Plan for Week 5

Lesson Plan for Week 3

 

This post is the third in a series of beginning-of-the-year lesson plans.  For previous weeks, please see:

• Lesson Plan for Week 1
• Lesson Plan for Week 2

Week 3!  Students keep asking "When are we using the bow?"  "Are we using the bow today?"  And my answer is ambiguous--"We're getting there" or "We're getting close, aren't we."  Or, "Look on the agenda on the screen to see what we're doing today."  In this third week, students are writing their own composition using the open strings.  We review the bow hold and add bowing with tubes (toilet paper tubes).  While the only piece students pluck this day is my sample composition (and perhaps their own), this is also their first week of full orchestra, and we play everything on p. 8 and 10 in Orchestra Expressions as well as much of p. 1 of the Orchestra Expressions Supplement packet, so I feel it balances out.

After students turn in their compositions, I will type them up over the next week, saved as Google Docs, so students can play everyone else's the following week.

Again for this lesson plan's script, I will assume this is a violin group.  For the other instruments, just substitute out the different sayings for the open string or instructions for how to draw the different open strings on the staff.  This lesson plan is for a 30-minute small group, designed for groups of about 3-4 students all on the same instrument.

ON THE BOARD:

• Agenda on screen

ON MUSIC STANDS:

• Name card for each student

ALSO NEEDED:

• Have spare folders and Orchestra Expressions books handy in case students forgot theirs
• Composition #1 worksheet (already in folders if prepped by semester--but have extras ready for students who forgot theirs or the rare student who already discovered it in their folder and already wrote a composition on their own)
• Pencils for students (already in folders attached with yarn)
• Basket of toilet paper tubes
• Dry erase marker/whiteboard
• CD player with Orchestra Expressions CD
• Camera/cell phone to take a few pictures of a few groups
• Spare instrument for me
• 1-page Google Doc condensed version of this lesson plan (includes lesson plan for first full orchestra rehearsal too)

AS STUDENTS ARE ENTERING:

Welcome!  Go ahead and grab your case off the rack.  Cases go on the left-hand side of the chair with the little end in the back.

UNPACKING:

Pull the handle in towards you to put the case flat on the floor.  Unzip or unlatch the case to open the top of the case.  Take the violin out of the case by holding on to the neck.  Sponge or shoulder pad goes on, then find rest position. [While they are getting settled in, I am pulling out their Composition #1 worksheet from their folders]

COMPOSITION #1:

So far this year, we've been playing lots of music that other people have composed.  Today, YOU get to be a composer.  You get to write your own music for the violin!  I'll take a volunteer to read the paragraph at the top.

[Student reads]

Thanks [name].  And we'll practice drawing the different open strings together in a moment, but first, do you see the composition that I wrote?  It's called "Falling Leaves."  I see the treble clef at the beginning, so I know it's violin music.  Next is the 4/4 time signature telling us 4 beats in a measure.  Up above I see pizz. with means...pizzicato, the Italian word telling us to pluck.  What's the first open string in my piece?  And then?

Let's play "Falling Leaves."  Playing position, left hand underneath, way up high, jawbone on chinrest.  L shape, thumb on the corner of the fingerboard, "Good Dogs Always."  Ready, play.

[If needed, may pause before m. 3 and regroup by figuring out the next open strings or go back and play the second half again]

Rest position.  Actually, leaving the sponge or shoulder rest on, gently set your instrument in its case.  In your folder you have a pencil.  Go ahead and take out the pencil, and let's go through the check list together.

First, we'll need a title.  I named my piece "Falling Leaves"; you can name your piece whatever you like.  Next, we need the name of the composer, so go ahead and write your name on the "by" line.  

We need a treble clef at the beginning so we know it's violin music--that's been done for us already!  We can check off "treble clef."

Next, we need a time signature after the treble clef so we know how many beats go in each measure.  Your choices are 3 beats or 4 beats in a measure.  I chose 4 beats in a measure for my composition, so I wrote the 4/4 time signature after the treble clef.  If you'd rather have 3 beats in a measure, write the 3/4 time signature after the treble clef.

We need bar lines between each measure--that's been done for us, so we can check off "bar lines."

Then, we need a double bar line at the very end.  That's been done for us too, so you can check that off.

For rhythms, we'll use quarter notes and quarter rests, which each count as one beat.

Then, you can use any of the open strings, G, D, A, E.

Do you see the picture of the pencil about halfway down on the paper?  That's where we're going to practice drawing the different open strings.

The G string is the lowest sounding string of the violin.  It is so low it doesn't fit on the staff, so first we are going to draw two ledger lines below the staff [I draw the two ledger lines on the board, after the treble clef that's already up there, then walk around and make sure everyone has drawn two ledger lines on theirs and that they know where on the page we are]

Next we draw the note head below the bottom ledger line.  The note head is this oval shape.  We color in the note head, then give G an up-stem, up to the right.  Go ahead and draw a couple of open Gs. [Walk around and look at papers to make sure everyone's following along]

The D string is a little higher sounding, so we'll find it a little higher on the staff, just below the staff.  Draw the note head, the oval part, just below the staff.  Color in the note head, then give D an up-stem, up to the right.

Are you ready for A?  The A string is a little higher sounding, so we draw it even higher on the staff, in the second space, between the lines.  Draw the note head between the second and third lines, on the space, and color it in.  A gets an up-stem, up to the right.

The E string is the highest sounding open string for the violin, so we'll find it way up high on the staff, on the top space.  Draw the note head for E between the top two lines, in the space, and color it in.  Now, E is a little bit different from the other open strings.  E gets a down-stem, down to the left.  [If someone asks why, I draw an E with an up-stem and show how the stem is hanging out in the white space outside of the staff and say we want the stems to mostly be in the staff area and just keep it at that]

You may want to include a rest in your composition too.  I like to draw a rest like a zig-zag or lightening bolt.  A rest counts as one beat too.

Okay, it looks like we're ready to write our first composition for the violin!  Congratulations!

[If students want to try out different sounds on their instrument to get ideas of what to write, that's fine, but I do try to keep things moving along so there's time for everything else I have planned.  I walk around and look over their shoulders and say things like "What time signature would you like?  Do you want 3 or 4 beats in a measure?  The 4/4 goes right after the treble clef.  There you go." Or "Which note would you like to start on?"  Or "Let's count how many beats we have going on in this measure.  The rest counts as one.  3/4 time signature says we have room for 3 beats in each measure and I see 5 beats, so decide which 3 you want to keep and then you can move 2 over to the next measure," etc.]

[I take a picture of one or two groups working to include in the weekly orchestra newsletter]

[As students are getting close to finishing, or in an effort to speed up their work, I'll say "Once you're done with your composition, I'll collect them so I can type them up on my computer this week so that next week you can play EVERYONE's violin composition" and possibly "I bet we can finish our compositions in the next two minutes so we can move on to the bow today."]

[If a student finishes well ahead of the others, I ask them if they want to try out their piece and see what it sounds like.  Then I collect their composition--quickly glance at it to make sure their name is on it and I can read their title--and that the title is school-appropriate--and then tell the student to take out their bow.  I work on their bow hand until another student is finished with their composition and ready to join us.]

BOWING WITH TUBES:

Go ahead and take the bow out of the case.  The first thing we do is...tighten the bow.  Righty-tighty, clockwise.  You'll notice the stick and hair are getting farther apart.  Keep tightening until you can fit about a pinkie or pencil between the stick and the hair.

Then find your bow hold.  Shake, flop, back of hand in toward nose. [I make individual corrections as quickly as I can while I am also opening their books to p. 11]

Okay, I have a present for each of you.  Don't get too excited. [Put a tube on their bow]

With the left hand, hold the tube on the left shoulder [left knee for cellos, left leg for bass].  You're going to have to hold the tube with your left hand so it stays put.  Find the bow hold, pinkie on its tip, middle fingers over frog, little space for pointer, thumb is bent. [I am modeling all of this too]

There are two directions we can pull the bow: Down and Up.  Down, up. [Students are copying my motions].  Notice the upper arm stays still.  The elbow opens and closes so we can go Down and Up.  [For cello/bass, I say "Out and In."  We call "Out" "Down" and "In" "Up."  I know we're not really going down and up, but the violins and violas do.]

The Italian word that tells us to play with the bow is arco.  Say "arco."  Then, there are symbols for down-bow and up-bow.  The symbol for the down-bow looks like a staple and tells us to pull the bow down.  The symbol for the up-bow is the V shape that tells us to pull the bow up, back towards the frog.

Let's play "Rhythm No. 1."  Do we start down-bow or up-bow?  Right, down-bow, so we need to start with our hand up by the tube, so the first direction we pull the bow is down.

[Play with CD track 13, do the repeat for each rhythm and then skip to the next rhythm.  The CD timing works out that it finishes right after the repeat of "Rhythm No. 4."]

[I take a picture of one or two groups--one violin/viola group, one cello or bass group--to include in the weekly orchestra newsletter]

Now, in "Rhythm No. 2," it told us to do "down, up, rest rest" but then there weren't any bowing markings in the second measure.  How did you all know which direction to pull the bow?  [Take some student ideas]  Well, we had just played "down, up, rest, rest"--what is our hand ready to do next, down or up?  Right, we keep going back and forth, down, then up.

Tubes can go back in the basket. [I'm bringing around the basket for tubes]  Do you think you can find a tube at home so you can practice this page 11 at home this week?

We had tightened the bow before, so now we need to...loosen.  Lefty-loosy, counter-clockwise.  You'll notice the stick and hair are getting closer together.  Keep loosening until the stick and hair are just about touching.  You might see some individual hairs start to separate.  

Holding on to the frog, gently slide the tip of the bow back in the case, then turn the knob or dial to hold the bow in place.

LEFT HAND PLAYING POSITION:

[Violin/viola only; cello/bass skip right to packing up]

Today I'm going to show you a new place for our left hand, left hand playing position.  Let's pick up our violins again and find rest position.  Now, with the left arm, do an arm swing.  On one of these swings, come all the way up to look at the palm.  Notice the wrist is naturally straight and the fingers are naturally curvy.  Let's do that again.

Now, let's go into playing position.  Left hand underneath, way up high, jawbone on chin rest.  Now, instead of making an L shape, let the right hand hang on to whatever is comfortable for you so that the left arm can do an arm swing.  [Nope, your other left.  Right hand is hanging on to the violin so left arm can swing.  It might feel kind of weird] Swing all the way up to look at the palm of the hand.  Notice wrist is straight, fingers are curvy.

At the base of our pointer finger is a knobby bone.  We're going to balance the neck of the violin on that knobby bone, thumb touches lightly across (by the red tape).  This is left-hand playing position.

[I go around adjust hands as needed]

One more thing today.  Let's bring the left elbow in towards the belly button so pinkie is over the G string.  Now, as the elbow swings out, let the pinkie drag across the strings to strum all the strings.  I'll come around and help.  After you've done it, sponge or shoulder rest comes off, time to pack up.

[I go around and help each student, then direct them to pack up]

PRACTICE ASSIGNMENT:

For practicing this week, we have p. 8 and 10 in the book again.  P. 11 is new; it's the page we did today with the bow and the tube, so you'll want to find a tube at home this week.

In the white packet, we've been playing p. 1; you're ready to play everything on p. 2.  There are harmony parts for songs like "Mary Lee" and "Ode to Joy."

On Canvas, there are bonus videos that go through everything that we did today, so if you want a refresher on how to bow with the tube or find that new left-hand playing position, click here and that will take you to the video you can watch and play along with at home.

Let's check the schedule for when I'll see you next.

Cases and folders can go back on the racks.  See you at the end of the day when you come to pick up your instrument!  Congratulations on writing your first composition today!

--

As compositions get turned in, I try to keep up each day with typing them up (and drawing two stars on each with colored pencil--one for drawing the different open strings and one for writing the composition--as well as writing any corrections or comments or "nice repeat" for those who thought to add the dots to turn the double bar line into a repeat sign).  I also scan a copy of the whole stack once finished, just for myself, and I get the composition sheets in order for the next week so it's easy to hand them back.  I also print one set of typed compositions on colored paper to tape up on the STAR Musician wall.

I also add a couple pictures to the weekly orchestra newsletter of students composing and bowing with tubes, so families get a visual too.

Go to: Lesson plan for Week 4

Lesson Plan for Week 2

[See Lesson Plan for Week 1 here]

It's now Week 2 of orchestra.  My plan is to review rest/playing position and plucking the different open strings while adding a few new elements--transposing Barcarolle, improvising a 4-beat pattern, and finding the bow hold for the first time.  There are lots of opportunities for students to fill in the blanks in what I'm saying, indicated by ..., which helps me see what they remember from the previous week.  For all the "Are we playing with the bows today?" questions, I just say that we're getting there and move on.  I try to answer student questions as briefly and quickly as I can so that there will be time to get through everything I had planned.  I'm also modeling everything I'm describing, and playing along/saying letter names as much as possible.

Again, my disclaimer is that I'm not saying this is the best or only way to approach beginning strings; this is just the format that I have been using and that works for my teaching situation.  Feel free to use as an example or to adapt and and use for yourself.  Again, at my schools, we have 30-minute small groups once a week with 3-4 students per small group, by instrument.  Full orchestra would begin the following week, which is 30 minutes, once a week, during recess.

For this more-or-less script, I will assume this is a violin group.  For the other instruments, just substitute out the different sayings for the open string or unpacking directions etc.

ON THE BOARD:

• Welcome to orchestra!
• [my name]
• Agenda on screen

ON MUSIC STANDS:

• Name card for each student

ALSO NEEDED:

• Phone/camera to take a picture (to be shared in weekly newsletter and printed for STAR musician wall)
• Open-string phrases poster
• Have spare folders and Orchestra Expressions books handy in case students forgot theirs
• Week 1 Getting Started handout
• Word document
• PDF
• Orchestra Expressions Supplement Packet (white packet)
• Sharpies/markers for students to write name in book who didn't the week before
• Keyboard
• CD player with Orchestra Expressions CD
• Spare instrument for me
• 1-page Google Doc condensed version of this lesson plan

AS STUDENTS ARE ENTERING:

Welcome!  Go ahead and grab your case off the rack.  Cases go on the left-hand side of the chair with the little end in the back.

UNPACKING:

Pull the handle in towards you to put the case flat on the floor.  Unzip or unlatch the case to open the top of the case.

We'll start today by taking the violin out of the case by holding on to the neck.  Sponge or shoulder pad goes on, then find rest position.

REST POSITION/PLAYING POSITION:

In rest position, the instrument is under the right elbow, the scroll is pointing up, and the bridge is pointing out, away from us.  In rest position, we're sitting tall in our chairs, with feet flat on the floor, about shoulder-width apart, so that at any moment, without moving our feet, we could....stand up

Let's stand up.  Playing position.  Left hand underneath, way up high, end button aimed in toward the neck, coming in for a landing on the left shoulder, jaw bone on chin rest.  L shape, thumb on the corner of the fingerboard, pointer finger reaching about an inch over the fingerboard to find the lowest, thickest string and give it a pluck.  This string is called...the G string.  Next is...D, then...A, and...E.  The sentence I like to help remember the open strings is..."Good Dogs Always Eat."  Let's do it: "Good Dogs Always Eat."  Did anyone come up with another sentence to remember G, D, A, E who would like to share? [If yes, I jot down their phrase on my poster while the students say and pluck the new sentence; if no, we move on]

OPEN STRINGS:

And rest position.  Have a seat.  In your folder you have your purple Getting Started sheet.  Let's take that out so we can play "Barcarolle," down on the bottom, by the French composer Jacques Offenbach.  The pattern was G, rest, D, rest, D, rest, G rest.  From rest position, let's find playing position.  Left hand underneath, way up high, end button in towards the neck, jaw bone on chin rest.  L shape, thumb on the corner of the fingerboard.  The first string we need in "Barcarolle" is...G, Good.  Ready, play. [I play melody with the bow while saying "G, rest, over to D, rest, D again, back to G, repeat..."]

There's a higher version of "Barcarolle" the we can play with the D and A strings.  This time our pattern will be D, A, A, D.  Find our L shape, thumb on the corner of the fingerboard, "Good Dogs," ready, play. [I play same melody but up a string, starting on F#]

There's even a higher version of "Barcarolle" we can play, this time using the...A and E strings.  Our pattern will be A, E, E, A.  "Good Dogs Always," ready, play. [Same melody, but starting on C#]

Rest position.  We just played three versions of "Barcarolle," a low version with G and D, a middle version with D and A, and a high version with A and E.  Which was your favorite of the three? [Ask each student their opinion]

Let's find playing position again.  L shape, thumb on the corner of the fingerboard.  Find the D string, "Good Dogs."  Please echo what you hear.  I'll play first. [pluck Ta, Ta, Ti-Ti, Ta, then cue for students to echo by saying "ready go," then pluck Ti-Ti-Ti-Ti Ta, Ta, students echo]

[Name the student sitting on one end], would you make up something on the D string please, and we'll echo you? [They pluck a 4-measure pattern, I say "ready go" to cue rest of students to echo] Thanks [Name].  [Next name], D string please.  [Each student takes a turn plucking a pattern for the others to echo]

Rest position.  Thanks everyone, and congratulations--you all just improvised!  Thanks for letting me put you on the spot--I didn't give you any time to think and you were able to make something up right in the moment.  That is called improvising.  Nice job, also, using your ears to know what to echo back.

Now let's open our books to p. 8, "Two String Salsa."  I see the treble clef at the beginning of the line showing us that this is violin music.  Next I see the 4/4 time signature telling us 4 beats in the measure.  Above that is the pizz. which stands for...pizzicato.  Say "pizzicato."  Pizzicato is the Italian word that tells us to...pluck.  The two strings we need are...D and A.  I see D just below the staff and A on the second space.  From rest position, let's find playing position.  Left hand underneath, way up high, jawbone on chin rest.  L shape, thumb on the corner of the fingerboard.  The first note is...D.  "Good Dogs." Your challenge is to say the letters while we play.  [While saying this, I am discretely taking off the name cards from the music stands and setting them aside as well as grabbing my phone so I can take a picture of the group playing this piece]

[Play #6 "Two String Salsa" while saying the letter names and taking a picture]

"Les Toreadors" by the French composer Georges Bizet.  First note is...D.  "Good Dogs."  Again, say the letters while we pluck [no CD yet--it goes too fast to start out with].  D, D, D, rest, D, D, A, rest, D, D, D, rest, D, D, A and pause--is this the end of the piece?  Why not?  Right--we haven't run into a double bar line or repeat sign yet, and there's a second line.  The second line begins on...ready play.

That was a lot of open As near the end.  How many As in a row did we have?  7? Wow, that's a lot!  Let's play with the recording now.  Just a heads up that it goes a little faster than we just did.

[Play #7 "Les Toreadors" while saying the letter names.  If running behind time-wise, skip the repeat]

Turn the page to p. 10.  Let's look at "Two String Reggae."  What are the two strings that we need in "Two String Reggae"?  Yes, G and D strings.  You'll remember that the G string is our lowest string and it's so low it doesn't fit on the staff and is found below the two ledger lines.  Playing position, L shape, first note is...G, "Good."  Again, your challenge is to say the letter names while we play.

[Play #10 "Two String Reggae" while saying letter names]

[If running behind on time, I will skip the white packet and go right to bows]

Rest position.  Let's take out our white packet so we can play "Waltzing Up High."  I see the treble clef, so I know this is violin music.  I see the 3/4 time signature which is telling us how many beats in a measure?  Yes, 3 beats, then the barline.  I see pizz. up above which stands for...yes, pizzicato, which is the Italian word telling us to...pluck.  The two strings that we need are...A and E, starting on...E.  Playing position, L shape, "Good Dogs Always Eat."  Again, your challenge is to say the letter names while we play.

[I play on the piano]

Holding the neck of the instrument, let's set it in the case.  You can keep the sponge or shoulder rest on for now; we might be coming back to it. [Or, if running tight on time, just take the sponge/shoulder rest off at this point]

BOW HOLD:

Let's take the bow out of the case by moving the flap or dial, hold on to the black frog part, and gently slide the bow out of the case.  The first thing we do is tighten the bow by turning the screw righty-tighty, clockwise.  You'll notice the stick and hair are getting farther apart.  Keep tightening until you can fit about a pinkie or pencil between the stick and the hair at its narrowest point.

There's a special way to hold the bow that looks like this.  I will show you how to find the bow hold today.  First, with the left hand, so not the bow hand, hold the stick of the bow out in front of you so that the frog end is on the right-hand side.  Now, with the right hand, the bow hand, shake shake shake, and let the hand flop.  Notice how the fingers are naturally curvy, and how they are loose and relaxed feeling.  Now turn the back of the hand in towards the nose [I bring my hand all the way to my nose].  Believe it or not, this is pretty much our bow hold.  Now we just add the bow to the hand.

We're looking for pinkie up on its tip, on top of the stick of the bow.  Middle two fingers hug the black frog.  If your bow has a white dot, that's a good place for the ring finger.  Or maybe you have an imaginary white dot for the ring finger.  We leave a little space for the pointer finger.  The thumb in back here is bent, and it's bumped up right against the edge of the frog, right where the frog meets the stick of the bow.

I'm going to come around and help as we're finding our first bow hold.

[I start with a student on an end, prompt them to "shake shake shake, flop, back of hand towards nose; is it okay if I touch your hand?" and walk them through finding their bow hold.  "Now, shake shake shake and do it again," as I move on to the next student.  Ideally I do two or three rounds with each student, but if short on time, sometimes just one round]

We had tightened our bow before, so now we need to...loosen the bow.  Turn the screw lefty-loosy, counterclockwise.  You'll notice the stick and hair are getting closer together.  Keep loosening until the stick and hair are just about touching.  You might even see some individual hairs start to separate.

Holding the frog of the bow, gently slide the tip of the bow back into the case.  Turn the flap or dial to hold the bow in place.

[If there happens to be an extra minute or two, I may take a request of something on p. 8 or 10 or on the first page of the white packet]

PACKING UP:

It's time to pack up the instrument.  Sponge or shoulder pad comes off, rubber band stays on.  Holding on to the neck of the instrument, set it flat in its case.  Sponge goes on top of the scroll or pocket area.  Close the top of the case and latch or zip it up.

PRACTICE ASSIGNMENT:

Let's talk about the practice assignment.  For practicing this week, you're ready to keep playing the different versions of "Barcarolle" on the purple sheet.  All the pieces on p. 8 and 10--remember the challenge is to say the letters while we play.   White packet, p. 1.  Then, this is new, find your bow hold 10 times every day--shake, flop, back of hand towards the nose--you can even use a pencil.  10 times every day to help this become more automatic.

If I scroll down on our Canvas page, you'll find our violin resources with what the open strings look like on the staff, and the links to our different audio files, so you can play along with our different pieces at home.  

Let's check the small group schedule.  We're the __ group, so the next time I'll see you is ___.  Next week we also start our first full orchestra rehearsal, so on [day of the week], be sure to bring your instrument to school.  When it's time for recess, everyone in orchestra will come to the orchestra room so we can play all together, with all the instruments.

Then, farther down on Canvas are the bonus videos for this week.  These are videos of everything we did today, so if you want a refresher at home, you can click on any of these videos, like how to find the bow hold.

Okay, it's time to put cases back on the rack.  Folders can go back on the rack, or you can put them right in your back pack.  See you at the end of the day when you come to grab your case!

--

At the end of the week, I tape up the open-string phrases posters near the instrument racks.  I also add the photos to the weekly orchestra newsletter and order prints to hang on the STAR musician wall.

[Go to Lesson Plan for Week 3]