Embedding NYS “Create” Standards into Ensemble Rehearsals

Procedure

Invite students to imagine ways to add musical interest to the “Adagio” from Concerto Grosso, Op. 6 #4 by Antonio Corelli.
• Melodic Ideas: Add dynamics to shape phrases (Interpretation)
• Melodic Ideas: Add embellishments (think “Winter” from Four Seasons); Add upper neighbor on ascent of phrase and lower neighbor on descent of phrase (Technique)
• Rhythmic Ideas: Add 16th notes preceding peak of phrase
• Timbral: Add bowings/articulations; Vary bow placement, weight and speed; Learn/use upper positions (Technique)

Invite students to plan the performance parameters for the Adagio.
• From the "imagine" ideas, select and develop those that will be used during the performance of the Adagio.

Invite students to develop the performance parameters for the Adagio.
• Ask students to add dynamic markings, articulations, etc., to their parts, indicating the shapes of phrases and other critical performance parameters.

Invite students to evaluate and refine their performance parameters for the Adagio.
• Ask students to compare and contrast the interpretive decisions reflected in three professional recordings of the Adagio.
• Ask students to use the compare/contrast data to evaluate and refine their interpretative decisions.

CREATE
After students have developed familiarity with Corelli's Adagio,
• Invite students to improvise a melody over the Corelli chord progression, using half, quarter, eighth and sixteenth notes.
• Invite students to notate their improvised melodies and add dynamic markings, articulations, and other interpretive guidance.

Provide students with a digitally notated copy of the Adagio, leaving a blank staff at the top of the score.
• Invite students to import their melody into the score, add dynamics to balance the parts and shape the melody.
• Perform the resulting compositions.

Differentiate
Invite students with limited experience to create a cadenza for the final cadence of the Adagio.

Standards Code

• MU:Cr1.1.E.HSII

• MU:Cr2.1.E.HSII

• MU:Cr3.1.E.HSII

• MU:Cr3.2.E.HSII

Suggested Assessment

3-2-1 peer and teacher feedback on composition drafts and final classroom/digital/"live" performance.
• Three ways in which the shape of the melody reflects the ensemble's decision about the dynamic levels with which Corelli's harmonies should be performed.
• Two rhythmic motifs used in the melody
• One suggestion for improving the melody

Enduring Understanding

• The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources.

• Musicians’ creative choices are influenced by their expertise, context, and expressive intent.

• Musicians evaluate and refine their work through openness to new ideas, persistence, and the application of appropriate criteria.

• Musicians’ presentation of creative work is the culmination of a process of creation and communication.

Essential Question

• How do musicians generate creative ideas?

• How do musicians make creative decisions?

• How do musicians improve the quality of their creative work?

• When is creative work ready to share?

Notes/Resources/Accommodations

https://drive.google.com/open?id=1vH8h2RGqHiK-_5jSm7HBRgC1G39jMUYX

Additional Instructional Ideas

• Invite students to go to chordchord.com, select a chord progression (four chords), and copy the names of the chords and pitches within each chord of their progressions.
• Invite students to create a four-part, string orchestra arrangement of the progression in the style of the Adagio (i.e. repeated eighth notes). Instruct students to: a) Use the clef that is most familiar to them, b) Double the root of each chord, c) Avoid second inversion triads unless they have a theory background and understand their function.
• Invite students to create a melody for their instrument that is compatible with the harmony that they selected.

Rehearsal Ideas for Developing Composition Skills
• Use “Twinkle” variations (or similar tune) to teach upper positions, bow placement, challenging/new finger patterns, etc., to one section of the orchestra. While this section works on technique, the remainder of the orchestra provides a supportive primary triad accompaniment. Ask a student to lead the sections providing the accompaniment, indicating with hand signals, which of the primary triads should be used to harmonize the melody.

• Find a challenging rhythm pattern/bowing in music being prepared for performance. Create a new melody for the composition using dice to select the pitches. Practice the melody. Discuss how the new pitches impact the difficulty of the rhythm/bowing, and what would need to be changed in order to create a compelling melody.

• Create variations on a simple melody by systematically replacing the second pitch in each measure with a rest.

• Create variations on a simple melody using “SCAMPER” (substitute, combine, adapt, modify, put to another use, eliminate, reverse)

• Compose rhythmic palindromes (sound the same played forward and backward)

• Compose rhythms that are exactly 5 (or another number) notes