Repertoire list for first year:
Violin REpertoire:
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GDG/DAD/AEA and Ants song:
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See Saw:
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See a Little Monkey
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TWINKLE TWINKLE VARIATIONS
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Stringpedagogy.com
Much of our violin repertoire and teaching procedures come directly from Mimi Zwieg's free and informative website about string education. Here is an excerpt from her website that we have found especially useful in training violin teachers:
As the teacher begins to teach the repertoire, the following four points are always to be considered in lessons and practice time. These four points, summarized as bow, fingers, form, & practice become the teaching/learning rainbow leading to fine violin playing with musical understanding.
1. Bow strokes and bow division:
Awareness of the bow division and bow strokes to be used in each piece.
2. Use of the Fingers:
Awareness of finger placement, i.e. which fingers stay down, when to lift the fingers, and how the fingers become independent.
3. Form and the Music:
Awareness of form is the first step to understanding music in the beginning stages of violin playing. Other musical concepts such as dynamics, tempo markings, ritards, etc. are incorporated into learning the form. Thus each musical idea becomes a part of the total musical expression.
4. Practice and Isolation of Difficulties:
Isolate and practice the technical difficulties. At every level of violin playing, practicing is a matter of both discernment and informed repetition. This begins with the first lesson.
As the teacher begins to teach the repertoire, the following four points are always to be considered in lessons and practice time. These four points, summarized as bow, fingers, form, & practice become the teaching/learning rainbow leading to fine violin playing with musical understanding.
1. Bow strokes and bow division:
Awareness of the bow division and bow strokes to be used in each piece.
2. Use of the Fingers:
Awareness of finger placement, i.e. which fingers stay down, when to lift the fingers, and how the fingers become independent.
3. Form and the Music:
Awareness of form is the first step to understanding music in the beginning stages of violin playing. Other musical concepts such as dynamics, tempo markings, ritards, etc. are incorporated into learning the form. Thus each musical idea becomes a part of the total musical expression.
4. Practice and Isolation of Difficulties:
Isolate and practice the technical difficulties. At every level of violin playing, practicing is a matter of both discernment and informed repetition. This begins with the first lesson.
Vocal Repertoire:
Lift Every Voice and Sing-J.Rosamond Johnson and James Weldon Johnson
- Cultural connections to social justice through music
- Every class will learn and know this song that it can be sung together
- Discuss the significance of choral music in America and specifically Mississippi
Ode to Joy- Ludwig Van Beethoven
- Introduction to Symphony Orchestra
- Discuss families of instruments
- Make connections with Beethoven's difficult life
- Explore reframing handicaps in our society
- Discuss form ABA form
- This will set us up for future conversations about George Bridgetower and history of Black classical musicians
We're Gonna Make it- Little Milton Campbell
- Discuss blues history in Jackson
- Explore relationship between perseverance and joy
- Little Milton was a Mississippian and a world renowned vocalist and instrumentalist
- Re write some lyrics to represent our personal hardships and what it means to overcome them
- Analyze strophic form with a vamp at the end
- Practice call and response
COMMITMENT TO EQUITABLE REPERTOIRE
We value the traditional western classical cannon (Mozart, Beethoven, Bach).
A large part of our repertoire will be based on this tradition. We intend to help preserve this tradition through a modern lens.
We will not preserve the myth that European composers had a monopoly on masterworks. We will vigilantly pursue repertoire that represents our students, their interests, their cultures and their musical futures.
A large part of our repertoire will be based on this tradition. We intend to help preserve this tradition through a modern lens.
We will not preserve the myth that European composers had a monopoly on masterworks. We will vigilantly pursue repertoire that represents our students, their interests, their cultures and their musical futures.
