Ontario Conservatory of MusicTeacher Training Assignment – Level 3

1. The Carousel:

a) The first 2 lines present 3 challenges for the student. Describe them.

The first of the three challenges I see in the first two lines is the timing of the eighth notes in the right hand, and getting the correct tempo. Secondly, the left hand being in the treble clef for the first line and then switching to the bass clef in the second line, and lastly, the tie in the in the last measure of line one in the left hand and in the last measure of line two in the right hand.

b) There are 2 distinct sections in the Carousel. Where does each section begin and how would you label them.

The first section begins at the beginning of the piece until the fine at the end of four on the second page, and the second section starts after the fine on line five until the da capo at the end. I would label them as ‘A’ and ‘B’.

c) Describe the necessary tone balance. Where’s the melody? Where is the accompaniment?

The necessary tone balance requires the right hand to be played louder than the left handbecause it has the melody, while the left hand is the accompaniment.

2. Arkansas Traveler:

a) What is the purpose of the first line of the piece? Where does the “song” begin?

The purpose of the first line of the piece is to act as a thesis, or an introduction to the song, because in the conclusion, or outro, the ‘thesis’ is restated. The song truly begins in the first measure of the second line.

b) Suggest ideas on how to practice staccato vs. legato when each hand is faced with different articulation, e.g. mm. (measure) 7.

Some ideas on how to practice different articulation with each hand is to start off hands separately. Start with whichever one found more difficult to the student, whether it be the staccato or legato. Once the student has mastered each hand, begin putting it back together and playing it very slowly and gradually increasing the speed.

c) Describe a possible story-line behind Arkansas Traveler to enhance your students’ imagination. A man looking for adventure, set out to travel the hot sands of Arkansas deserts with his cowboy

hat and lasso, encountering smooth and bumpy roads on his long journey, but by the end found the adventure he was hoping for.

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d) This piece is an excellent festival or exam choice. What musical concepts are presented that demonstrate a students ability to the best advantage.

3. The Marines’ Hymn:

a) Your student may have trouble playing “ ” measure 7. Come up with an idea to help them. Is there a song in level 2 that is particularly useful in teaching this rhythm? (Hint: Technic)b) The Introduction and The Coda require a gradual crescendo and diminuendo. It is hard for a student to focus on making such gradual changes. Think of a way to help them visualize it.c) Mm. 6 calls for legato on a repeated “C”. How can you teach the student to achieve this? (It is possible)

4. The Holly and the Ivy:

a) What is the significance of the 3 notes in the left hand in mm. 6 (measure 6)? How will you tell your student about it?b) The phrasing in this piece is irregular due to the upbeat. Compare the phrases/slurs to something more familiar so the student can better play and understand them. (Hint: read the words)c) In the first two phrases, B is the high point. Can you suggest a way for the student to bring it out, without “pumping” it out?

5. Little Brown Jug:

a) Explain the purpose of the first line.b) Discuss the challenge in mm.5 and mm.6. c) The editor gives a helping hand in the first and last lines of “Little Brown Jug”

by pointing out the left and right hand. How else do you know which hand plays which notes?

Ontario Conservatory of MusicTeacher Training Assignment – Level 3

6. Hound Dog Blues:

a) Can you suggest other words which fit a triplet beat, other than ones already mentioned on page 14? Did you use such a word in your lv. 3 study?

b) Glover and Stewart marked the tempo slowly. What else points to the song being slow and sad?

c) How will you count the quarter notes vs. the triplet? Can you find a universal way to account for both? Explain.

d) What unwritten rule do students readily forget in this piece?

7. Song of the Desert:

a) The song is written with F#, which implies G+ or e-. It is not e -, because the

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7th note is not raised. Play the piece. What key is being implied here? Explain to your student how this discovery will influence the mood of the song. (answer: g-)

b) How many phrases/musical thoughts are in this piece? How can you make each one different, using dynamics for example?

c) What is the mood change between line one and the rest of the piece?

8. Space Chase:

a) Define “Allegro” and the importance eof this tempo marking to the song.b) Observe mm 2. What are two very important things happening in the right

hand? Discuss them.c) Explain D.C. al fine, fine, sfz.

9. First Inversion March:

a) Explain the feeling a march should have. e.g. fast/slow/med/energetic/mellow. How can your student achieve such feeling?b) Explain the significance of the first two measures and the last two measures.c) Discuss with your student where else you have seen this type of chords?

10. Taps:

a) What does it mean when a song is “Traditional”?b) What kind of instrument can you expect to play this piece? How can you tell?c) Discuss the slurs used here. What is the significance and how do the slurs relate to he instrument you chose in question 2?

11. Snake in a Basket:

a) What is the main reason for practicing this song?b) Why is the student asked to play slowly? (Hint: look at the title)c) Arrange the following in proper order: p, mf, f , mp (from softest to loudest)

Ontario Conservatory of MusicTeacher Training Assignment – Level 3

12. Harvest Dance:

a) Examine mm 3. What is the difficulty here? How can you help your student overcome it?b) What is the difference between the first and second ending?c) What is the difficulty a student may experience in the last two measures of the

song? What kind of counting can you suggest?

13. Greensleeves:

a) Suggest a story-line behind the piece.b) How many phrases can you locate in the song? How can you tell?c) There are at least three places in the first phrase where a student may have

trouble with fingering. Name these spots by giving a bar and beat reference 3

e.g. bar one, beat two.

14. The Lonely Shepherd:

a) Trace the melody line in the “Lonely Shepherd”. Where does it appear in each line? (RH or LH)b) Explain Adagio.c) Explain Rit. and A Tempo

15. Oh! Susanna:

a) Locate any fingering difficulties in the first phrase of the song.b) Where does the melody transfer into the left hand? How can you tell?

c) Every phrase begins with an upbeat, except one. Which one? Give a measure reference.

16. Sarasponda:

a) Play the song. Where do you suspect your student may have trouble playing hands together?

b) Suggest a 10 min. teaching plan for “Sarasponda”. It is your students’ first lesson with the piece.

c) Follow the melody. Is it all in the right hand?

17. Compute-A-Boogie:

a) The tempo is fast and mechanically. Can you suggest a story or a thing which may help visualize and play this song?b) What positions are used in this song?c) What is an alternate way (suggested) to play this song?

Can you think of any other ways?

Ontario Conservatory of MusicTeacher Training Assignment – Level 3

18. Looby-Loo:

a) Explain Allegretto.b) With six beats per measure, which two beats are more important?c) What significant change happens at the end of line 2? Line 4?

19. When Johnny Comes Marching Home:

a) Name the first note in the left hand.b) Explain “ “ rests to your student. Compare it to a specific note value.c) After the first ending, where should your student return to?

20. Song of the Nile:

a) What scale is being explored here?b) Think of a story behind this song.

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c) How many beats should the last note recieve?

21. Video Game:

a) How does the left hand in the last two lines relate to the right hand in the first two lines?

b) How will you and your student count this song?c) Can you locate any difficult passages (fingering)?

22. Minka:

a) What is a folk song? Can you remember other examples?b) How does mm. 1-16 relate to mm. 17-32? Melodically? Rhythmically?c) Locate at least three difficulties in Minka. (Always play the song first)

23. Etude:

a) What is an etude?b) What is the main purpose of this etude?c) Is there pedal in the last line?

24. Spanish Guitar:

a) Explain the mood of the first two lines: (tempo, dynamics) Now compare it to the second half of the piece. What changes?

b) Explain the term “ritardando” as fully as you can. (I am a space mutant who knows nothing about music!)

c) Let’s review staccato. How will you encourage your student to play detached? Give as many ideas as possible.

Ontario Conservatory of Music

Teacher Training Assignment – Level 3

25. Syncopated Rag:

a) Explain syncopation. (Yes, I am still a space mutant!)b) Find 2 challenges in this song.c) Find one composer famous for his rags.

26. The Entertainer:

a) This version is not like the one commonly heard. Can you find a rhythmic pattern where you and your student may have to be extra careful?

b) What is the challenge presented in the first line of the Entertainer?c) What is the challenge presented in mm. 11?d) Bonus question: What’s wrong with the first measure of the last line?

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27. Joshua Fought the Battle of Jericho:

a) Explain sfz.b) What kind of scale can you find in the last two measures?

28. The Secret Sea:

a) Explain Adagio.

b) What is the main interval being played here?

c) Explain common time.

29. Auld Lang Syne:

You are a famous musician, giving a speech on “Auld Lang Syne”. After doing a brief research, write about the origin of this song. Add interesting information you come across.

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