creative warm-ups · 2017. 9. 21. · composition skills. the rhythm and melodic riff examples...
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STRINGS
Multimedia Resources forTEACHERSSTUDENTSPARENTS
CREATIVE WARM-UPSExercises for Intonation, Rhythm, Bowing, and Creativity
INTERMEDIATE STRING ORCHESTRA
Bob PHILLIPS | Kirk MOSS | Matt TURNER | Stephen BENHAM
Level 1: Sound IntonationThese innovative intonation exercises in the most common keys will develop high-level listening skills through practicing intervals, chord tones and balance, major/minor/diminished/augmented chord qualities, drones, extended hand patterns—including cello extension pedagogy—and Bach chorales.
Level 2: Sound Rhythms The structured rhythmic patterns in Level 2 provide opportunities to analyze, audiate, compose, notate, and perform rhythms that emphasize rhythmic independence and develop rhythmic ensemble playing in large-group settings.
Level 3: Sound Bowing Fluency and ChoreographyBowing fluency and choreography will refine technique, leading to a characteristic, beautiful sound. These warm-ups focus on playing in all parts of the bow, starting in different points of the bow, using expressive bow strokes, and executing fluid string crossings.
Level 4: Sound CreativityThis groundbreaking sequence of exercises and repertoire, ranging from a 17th-century chaconne to an Arabic/Turkish taqsim, helps develop improvisation and composition skills. The rhythm and melodic riff examples provide a toolbox of material to use while improvising in distinct styles—like classical, jazz, Latin, and rock— or over a drone accompaniment.
The levels of this book focus on four important aspects of string performance and can be used in any order as either warm-ups or structured units. This material is an ideal complement to SI Sound Development for Intermediate String Orchestra. Video and audio demonstrations of key skills, along with additional supplemental material, can be accessed at alfred.com/CreativeWarmUps.
Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003
alfred.com
Copyright © 2017 by Alfred MusicAll rights reserved. Printed in USA.
No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for
such written permission and/or license by contacting the publisher at alfred.com/permissions.
Multimedia Resources forTEACHERSSTUDENTSPARENTS
Supplemental content and additional repertoire for practice and reinforcement are available to download at the SI Online website below.
Audio demonstration and practice tracks are included for select lines of music. Look for the audio icon throughout this book.
Video demonstrations of exercises and key skills are included. Look for the video icon throughout this book.
Visit the SI Online resource site to stay up to date with newly added content.alfred.com/CreativeWarmUps
Secondary Instrument InfoIf Any Available
VIOLA
ISBN-10: 1-4706-3870-3 (Book & Online Media)ISBN-13: 978-1-4706-3870-2 (Book & Online Media)
Level 1: Sound IntonationC Major
B
B
44
44
..
..
..
..
A
B
œ≥ œUœ œU
œ≥ œU œ œUP5 P4
œ œUœ œU
œ œU œ œUM6 M3
œœU
œ œU
œ œU œ œUM7 M6
œ œU œœU
œ œU œ œUM2 P8
INTERVALS IN C MAJOR—Listen for the interval that occurs at each fermata. Adjust to remove any “beats” in the sound. An intervalis the distance from a root (first note) pitch to another pitch. Intervals in this exercise include a Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th, Major 7th, and Perfect 8th/Octave. Evaluate and refine your performance. Write out each interval starting on C using music notation. Switch parts on the repeat.
B wwwC
Major
wwwbCmMinor
wwwbbCdim
Diminished
www#CaugAugmented
- perfect 5th- major 3rd- root
- perfect 5th- minor 3rd- root
- diminished 5th- minor 3rd- root
- augmented 5th- major 3rd- root
CHORDS—A chord is three or more pitches sounding simultaneously. The chord symbol indicates the structure of the chord. The capital letter indicates the root of the chord, with # or b where applicable.
Symbol:Name:
Structure:
Compare and contrast the chord symbols and structure of the various chords. Apply the same formulas using different roots.
B
B
44
44
..
..
..
..
A
B
≥̇ ˙
˙≥
˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙U
˙ ˙U
MOVING CHORD TONES IN C MAJOR—Listen to each C major chord and analyze which part of the chord (root, third, fifth, or octave) you are playing. Switch parts on the repeat.
B
B
43
43
..
..
..
..
A
B
ΠΠϳ
ΠΠϳ
.U̇
.˙U
C
Œ ˙
Œ˙
.U̇
.˙U
F
Œ Œœ
Œ Œ œ
.U̇
.˙U
G
.˙
.˙
.U̇
.U̇
C
LAYERED TUNING AND BALANCE IN C MAJOR—Listen, evaluate, and adjust the balance (relative volume of each instrument) and intonation as you enter. Switch parts on the repeat.
B
B
42
42
..
..
..
..
A
B
œ≥œU
œ≥ œU
C
f
f
œœU
œ œU
F
œœU
œ œU
G7
œU œU
œU œU
C
œœU
œ œU
Am
œœU
œ œU
D m
œœU
œ œU
G7
U̇
U̇
C
DIATONIC (SCALE) HARMONY IN C MAJOR—Listen for the harmony (chord) that occurs at each fermata. Compare and contrast the difference between major and minor chords. Analyze whether you are playing the root, third, fifth, or octave in each chord. Switch parts on the repeat.
1
2
3
4
*
* The audio tracks for each exercise in Level 1 are a combination of all the string parts. Play along with the tracks to practice and refine your intonation.
2
4
4
4
4
4
4œ œ œ œ
1 2 3 4
A
Œ œ Œ œ
1 2 3 4
Œ œ œ œ
1 2 3 4
B
œ Œ Œ œ
1 2 3 4
œ œ œ Œ
1 2 3 4
C
Œ œ œ Œ
1 2 3 4
QUARTER NOTES AND RESTS—Say, clap, and play each two-bar pattern using the pitch, tempo, and dynamic given by your teacher while others play drone A or B. Play patterns A, B & C continuously as directed by your teacher.
4
4
4
4
4
4œ œ ˙
1 2 3 4
A
˙ ˙
1 2 3 4
˙ œ œ
1 2 3 4
B
Ó ˙
1 2 3 4
œ œ Ó
1 2 3 4
C
˙ ˙
1 2 3 4
HALF NOTES AND RESTS—Say, clap, and play each two-bar pattern using the pitch, tempo, and dynamic given by your teacher while others play drone A or B. Play patterns A, B & C in a three-part round as directed by your teacher.
4
4
4
4
4
4œ œ œ œ
1 2 3 4
A
w
1 2 3 4
˙ ˙
1 2 3 4
B
∑
1 2 3 4
œ œ ˙
1 2 3 4
C
w
1 2 3 4
WHOLE NOTES AND RESTS—Say, clap, and play each two-bar pattern using the pitch, tempo, and dynamic given by your teacher while others play drone A or B. Play patterns A, B & C while your stand partner plays patterns A, B & C from the previous line.
4
4
4
4
4
4œ œ œ œ
1 2 3 4
A
œ œ œ œ œ œ œ œ
1 + 2 + 3 + 4 +
œ œ œ œ œ œ
1 2 + 3 4 +
B
œ œ ‰
j
œ œ œ œ
1 + 2 + 3 4 +
œ œ œ œ ‰
j
œ
1 + 2 3 4 +
C
œ œ œ œ œ œ
1 + 2 3 + 4
EIGHTH NOTES AND RESTS—Say, clap, and play each two-bar pattern using the pitch, tempo, and dynamic given by your teacher while others play drone A or B. Play patterns A, B & C from the rst four lines of the page continuously as directed by your teacher.
44 œ ‰ jœ œ œ œ œ ‰ jœ ‰ jœ œ œ ˙ Œ œ Ó œ œ ‰ jœ
RHYTHM EVALUATION—Write in the rhythm syllables; then say, clap, and play the four-bar pattern using a pitch, tempo, and dynamic given by your teacher. Evaluate your performance using criteria developed with your teacher.
Compose and notate new two-bar patterns using the rhythms above; then say, clap, and play them expressively.
Musicians use different systems to teach, learn, and practice rhythm patterns. Some systems, such as Counting, are based on counting the beats and their divisions and elongations. Other systems, such as Gordon and Takadimi, are based on how music feels and functions. In the drone examples, Counting, Gordon, and Takadimi systems are shown, and your teacher will determine which system to use. When counting aloud, numbers in bold are spoken and numbers in grey are spoken silently.
44 44œ œ œ œ
TakadimiGordon
CountingDuTa
1 2duta
3duta
4duta
œ œ œ œ œ œ œ œ1
DuTa
+dedi
2duta
+dedi
3duta
+dedi
4duta
+dedi
A. PULSE/MACRO-BEAT DRONEQuarter notes are the unit of pulse in time.
B. SUBDIVISION/MICRO-BEAT DRONEEighth notes are the unit of subdivision in time.44 444
4
= Four beats, pulses, or macro-beats to a measure.
= A quarter note receives one beat, pulse, or macro-beat.
69
70
71
72
73
Level 2: Sound Rhythms Sound Rhythms in Whole notes/rests, half notes/rests, quarter notes/rests, eighth notes/rests
4
4
69–73
* The audio track for each rhythm page in Level 2 consists of an extended drum pattern. Play along with the track to practice the rhythms on each page.
*
20
Slurs, Louré/Portato Bowings (play in various tempos)
B # 44 ϳ
ϲ
ϳ
ϲ
ϳ
ϲ
œ œ œ œ œ œ
M3Part of BowStart Point ⅓ ⅔ ⅔ ⅓
œ œ œ œ œ œ œ œ œ œ œ œ
B # œ œ œ œ œ œ œ œ œ œ œ œM3
œ œ œ œ œ œ œ œ œ œ œ œ œ≥ œ œ œ œ œ œ# œ œ œ œ œ
B # œ œ œ œ œ œ œ œ œ œ œ œM3
œ œ œ œ œ œ œ# œ œ œ œ œ œŒ Ó
“Z BOWINGS” IN A FAST TEMPO—Play “Praeludium” from Holberg Suite by Edvard Grieg in the middle third of the bow going from the ⅓ to ⅔ starting points.
( ½) ( ⅓) ( ⅔)
⅓ ⅔
B ## 44 .œ≥ œ≤ .œ œ .œ œ .œ œM3Part of Bow
Start Point ⅓ .œ œ .œ œ .œ œ .œ œ .œ œ .œ œ .œ œ .œ œ
œ Œ œ Œ
⅓ ⅔
B ## .œ≥ œ≤ .œ œ .œ œ .œ œM3⅓ .œ œ .œ œ .œ œ .œ œ .œ œ .œ
œ œ œ
⅓ ⅔
.˙ Œ
“Z BOWINGS” IN A MODERATE TEMPO—Play Humoreske by Antonín Dvořák in the middle third of the bow. Move the bow slowly on the dotted eighth notes and quickly on the sixteenth notes.
( ½) ( ) ( )
B # 86 .œ≥ œ œ .œ≤L2Part of Bow
Start Point F ⅓ ½.œ œ œ .œF ⅓ ½ .œ œ œ .œ
F ⅓ ½
.˙
WB FineF
B # .œ≤ œ œ .œ≥U2T ⅓ ½
.œ œ œ .œT ⅓ ½
.œ œ œ .œ
T ⅓ ½
.˙
WB
D.C. al FineT
“Z BOWINGS” IN A SLOW TEMPO—Play Skye Boat Song using the lower half, upper half, and whole bow.
( ½) ( ⅓) ( ⅔)
B ## 44 œ≥ œ œ œ
L3F ⅓
Part of BowStart Point
œ œ œ œ œ œ œ œ
F ⅓
œ≥ œ œ œ
M3⅓ ⅔
œ œ œ œ œ œ œ œ
⅓ ⅔
œ≥ œ œ œ
U3⅔ T
œ œ œ œ œ œ œ
⅔ T
SLURS IN THE LOWER, MIDDLE, AND UPPER THIRD OF THE BOW—Play slurred eighth notes in the lower, middle, and upper third of the bow.
( ½) ( ) ( )
B ## 44≥̇ ˙
L2Part of BowStart Point F ½
œ œ œ œ
F ½≥̇ ˙
U2½ T
œ œ œ œ
½ T
SLURS IN THE LOWER AND UPPER HALF OF THE BOW—Play slurred quarter notes in lower and upper half of the bow.
( ½) ( ⅓) ( ⅔)
B ## 44 w≥WBPart of Bow
Start Point F
wT
˙ ˙F
˙ ˙
T
SLURS USING THE WHOLE BOW—Play slurred half notes using the whole bow.
( ½) ( ⅓) ( ⅔)
B ## 44≥̇ ≤̇L2Part of Bow
Start Point F ⅓
œ-≥
œ-≥
œ-≤
œ-≤
F ⅓
≥̇ ≤̇M3⅓ ⅔
œ-≥
œ-≥
œ-≤
œ-≤
½ ⅔
≥̇ ≤̇U3⅔ T
œ-≥
œ-≥
œ-≤
œ-≤
⅔ T
LOURÉ/PORTATO BOWING IN TWOS—Play in the lower, middle, and upper third of the bow. In the second bar of each example, “gently pulse” each note by leaning into the bow with the right-hand index finger.
( ½) ( ⅓) ( ⅔)
B ## 43 .≥̇L2Part of Bow
Start Point F
.≤̇½
œ≥- œ
≥- œ
≥-F
œ≤- œ
≤- œ
≤-
½
.≥̇U2½
.≤̇T
œ≥- œ
≥- œ
≥-½
œ≤- œ
≤- œ
≤-
T
LOURÉ/PORTATO BOWING IN THREES—Play in the lower and upper half of the bow. In the second two bars of each example, “gently pulse” each note by leaning into the bow with the right-hand index finger.
( ½) ( ⅓) ( ⅔)
B ## 44 w≥WBPart of Bow
Start Point F
w≤T
œ-≥
œ-≥
œ-≥
œ-≥F
œ-≤
œ-≤
œ-≤
œ-≤
T
LOURÉ/PORTATO BOWING IN FOURS—Use the whole bow. In bar 3 and 4, “gently pulse” each note by leaning into the bow with the right-hand index finger.
( ½) ( ) ( )
153
154
155
156
157
158
F
Middle Third(M3)
Upper Third(U3)
Lower Third(L3)
T
Whole Bow (WB)
T F
Whole Bow (WB)
T F
F
Middle Third(M3)
Upper Third(U3)
Lower Third(L3)
T
Lower Half (L2)
F
Upper Half (U2)
T
Lower Half (L2)
F
Upper Half (U2)
T
37