Download rhythm and bowing - Ponca City Public Schools

TONE QUALITY
RHYTHM AND BOWING
FINGER PATTERNS AND SCALES
Demonstrates:
correct left hand position
correct bow hold
ability to draw straight bow
proper contact point between
bridge and fingerboard
proper tone production on all
four strings
Refines tone production with greater
control of bow speed and distribution
Demonstrates the relationships between
bow weight, bow speed, and bow
placement, and their individual
effects on tone
Demonstrates basic vibrato motion
and increased use of vibrato
Plays forte and piano dynamic levels
with good tone and broadens
dynamic range to include pp to ff
Demonstrates the following bowing techniques:
legato, staccato, and spiccato (near frog)
multi-note slurs
bow lifts
hooked bowing and detached slurs
good right-hand pizzicato and knowledge
of left-hand pizzicato (+)
accents/martele
tremolos and trills
double stops
Understand applications of basic bow strokes
to various musical styles
Demonstrates rhythms using:
dotted quarters, 8th and 16th notes
triplets
6/8 meter
Understands Eastman Counting System
Can play all major 2-octave scales
Can play the following major 3-octave scales:
violin/viola/cello—C, G, D, A, E,
F, Bb, Eb, Ab
bass—continue to refine 2-octave scales
Understands all ½-step and whole-step finger
patterns on all strings in all keys played in
Cellos understand extended hand position
fingering
Become familiar with 1 and 2-octave minor
Scales
Play well in positions:
all instruments--second, third, fourth
bass--fifth
Basic understanding of other positions:
all instruments--fifth
bass—sixth
Develop successful shifting between positions
Plays octave harmonics on each string
Demonstrates all of the above Chamber Strings
class skills
Varies vibrato speed and width
Maintains given dynamic levels with
varied bow speeds
Changes tone quality and dynamic
levels by varying bow speed,
weight, and placement
Demonstrates all of the above Chamber Strings
class skills
Demonstrates additional bow techniques:
rapid string crossings with separate bows
spiccato (at middle)
sul tasto
ponticello
triple stops (chords)
sautille and ricochet (advanced work)
Selects appropriate bowings
Plays appropriate bowing styles for different
periods
Able to handle intricate rhythm patterns
Demonstrates all of the above Chamber Strings
class skills
Can play all three octave major and minor
scales (bass 2-octave only)
Understands 1-octave chromatic scale
Play in positions fifth and higher
Cello and bass use thumb position
Continue to develop successful shifting habits
between positions
Understands fingered and false harmonics
Selects appropriate fingerings
Demonstrates refined bow control and
vibrato, resulting in a high degree
of musicality
MUSIC READING AND
VOCABULARY
EAR TRAINING
MUSIC THEORY AND HISTORY
Can read and name notes in all scales played
Sightread examples in 2/4, 3/4, 4/4, and 6/8
meters using rhythms learned
Conduct beat pattern for above meters
(6/8 in two and in six)
Sightreads music in simple and compound
meter
Play syncopated rhythms
Defines vocabulary in music being learned
Imitates simple and more complex rhythm
patterns
Imitate and sing simple and more complex
melodic patterns
Imitate more complex bowing motions,
including string crossings
Tunes instrument
Violin/viola using fifths
Cello/bass matching harmonics
Distinguishes major and minor triad (aurally)
Identifies melodic interval
Begin to improvise simple melodies
Play simple double stops in tune
Names notes in scales being played
Places notes on staff with correct clef
Write major scales
Recognizes key signature of music being
played
Describes relative major and minor
Identify written intervals, unison through fifth
Identifies simple forms (ABA)
Demonstrates all of the above Chamber Strings
class skills
Can read and name notes in all scales played
(including 3-octave scales)
Sightreads more difficult music and complex
rhythms, including syncopation
Viola reads treble clef
Cello reads tenor clef
All instruments can read 8va
Cello reads treble clef in later years
Bass reads tenor clef in later years
Defines vocabulary in music being learned
Conduct a group from simple orchestral score
in later years
Demonstrates all of the above Chamber Strings
class skills
Tunes instrument in ensemble setting using
fifths and/or harmonics
Sing some of the instrumental music being
performed
Improvise more difficult melodies
Identifies harmonic intervals
Imitates melodic lines within range of an
octave
Identifies melodic intervals within range of an
octave
Identifies by ear all orchestra instruments
Identifies changes of key
Demonstrates all of the above Chamber Strings
class skills
Describe parallel major and minor
Identify all key signatures
Identifies written intervals, unison through
octave
Hears repertoire representative of major period
in orchestral literature
Identifies stylistic characteristics of musical
periods
Identifies composers by period
Identifies musical periods of music heard
Names periods/dates of music history
PONCA CITY HIGH SCHOOL ORCHESTRA CURRICULUM MAP
String class teaching is composed of many different aspects. The chart on the next two pages classifies the string curriculum into six main components:

Tone Quality
The teacher at all levels of instruction must emphasize production of a beautiful tone. Good tone quality, including control of
dynamics, depends on correct use of the bow. This is a function of three factors: (1) bow speed, (2) point of contact (sound point), and (3) bow
weight/pressure.

Rhythm and bowing
An effective rhythm counting system should be used consistently. As students learn to read rhythmic notation, they should count and
recite orally. Physical movement such as shadow bowing and open string bowing can be used.
One successful way to introduce new bowing skills is through teacher demonstration, followed by informal exploration by the
students. Good tone quality should always be stressed. The skills of “saving” bow (slowing it down) and “spending” bow (speeding it
up), without sacrificing tone quality or changing dynamic level, need to be specifically taught in order to perform more advanced literature.

Finger Patterns and Scales
Finger patterns and scales need to be part of a daily warm-up routine. This is the beginning of achieving outstanding intonation. For
variety, different bowings and rhythms can be used. Scales also can be played in rounds or with tonic pitch being held throughout.

Music Reading and Vocabulary
Pitch recognition by note name is strongly recommended. Reading by finger number has serious limitations. Singing should also be
incorporated in the process of learning to read music.
Students should be reminded to respond to all symbols on the page—not just the notes, but also tempo and style terms, repeats signs,
dynamics, articulation marks, and bowings. By observing all markings, students learn that the expressive character of the music is an
integral part of the music, not something added as performance approaches.

Ear Training
Ear training is of the utmost importance in string playing. The skills of listening to a pitch and adjusting it to play in tune must be
systematically taught. Singing can be helpful as the students learn to play their instruments.

Music Theory and Music History
A basic knowledge of music theory and music history is essential for musicianship. Theory and history information related to the
music being studied has greater meaning than does isolated information.
In preparing this curriculum map, every effort has been made to include each of the content areas of the National Standards for Music into the development.
SKILLS
A quality string education program is one in which students develop basic musicianship as well as performance skills. A quality program emphasizes
musicianship at every level of learning. All students should be taught to play musically and to listen for expressive elements in music.
The skills for each of the content areas are developed through a variety of musical techniques. Some are discussed in the content areas on the previous
two pages. Others include, but are not limited to, scale and arpeggio exercises, rhythmic exercises, advanced method books to develop upper position skills,
various media resources, string teacher specialists around the country, and numerous works from orchestral literature (one of the primary areas). These skills
are developed both in class and through the student’s own practice time. Participation in solos and small ensembles can also be a valuable asset in developing
basic musicianship and performance skills.
ASSESSMENT FOR CONTENT AND SKILLS
1)
2)
3)
4)
5)
6)
7)
Direct observation during class/rehearsal each day and after class instruction
Playing grades over specific content areas and music literature
Written work using the six main components
Exams, both written and playing
Guest clinician and artist evaluations
Concert and contest performances, both group and individual
Individual students own evaluation skills are also important in the development of their musicianship skills