Lesson Number (select link) |
Country of Melodies | Genre of Melodies | Techniques or Concepts | Excerpts (Various Countries) |
1 | Various | Drones, Long tone, 7-Drive with Dynamics | Ravel, Pictures at an Exhibition, Promenade | |
2 | Various | Articulation 5-drive, Compound Time | Tchaikovsky, Symphony No. 6, opening | |
3 | USA | Shaker Music | Compound
Time and Mixed Meter |
Ravel, Pictures at an Exhibition, II; Gershwin, Piano Concerto in F |
4 | Argentina | Practice
Methods: Components; Slow-Fast-Accurate |
Tchaikovsky, Romeo and Juliet Overture | |
5 | Guatemala | Counting Rests | Schumann, Symphony 3; Quiroz, Una escuela de muchachos | |
6 | USA | Native American | Monotones for Practicing Phrasing | Dukas, Sorcerer’s Apprentice |
7 | Various | Advent & Christmas | Rhythmic and Melodic Studies in 6/8 | Corelli,
Weihnachtsmusik:
Concerto grosso No. 8; Bach, Weihnachtsoratorium, BWV 248/2
Sinfonia |
8 | Mexico | Practice Method: Rhythms | Beethoven, Symphony No. 6, I | |
9 | Venezuela | Rubato Drives | Villena, 3 Valses venezolanos de concierto, II | |
10 | Mexico | Practicing
Rubato with Articulation and Monotones |
Respighi, Antiche danze et arie per liuto, Suite No. 2. | |
11 | USA | Practice Method: Fragmentation-Concatenation | Sousa, Semper Fidelis March | |
12 | Brazil | Sixteenth-Note Rhythms with and without Time Signatures | Santo e Oliveira, Responses for the Festivals | |
13 | USA | Spirituals | Syncopation | Sousa, "El Capitan" March; Price, The Oak |
14 | Various | 2-5 Articulation Patterns | Sousa, Washington Post March | |
15 | Various | 3-4-5 Articulation | Garcia, Sinfonia Fúnebre | |
16 | Mexico | Triplets | Ponce, Estampas Nocturnas; Dukas, Sorcerer’s Apprentice | |
17 | Suriname | Portamento length (4) given by Weissenborn, Subdivisions of 2 and 3 | Strauss, Death and Transfiguration | |
18 | Various | Grace Notes, Mixed Meter | Haydn, Smphony No. 85, Trio | |
19 | USA | Hymns | Two Against Three | Mahler, Symphony No. 1, I |
20 | Cuba | Varied Articulations 3, 4, and 5 | Mozart, Serenade No. 12, III |
Copyright 2023-24 by Terry B. Ewell.