This song includes the names of the children in your class, so depending on how many kids you have and how many syllables their names have, you may have to switch things around a little. You can always repeat names or add Latin endings to their names. That is permitted.
The tune is from an Irish tune called Fox Hunter's Jig but I play it in A. The first chord is like A major except you take your finger off the B string and play that open. My favorite recording of it is by Cherish the Ladies, Ballad of the Foxhunter. Cherish the Ladies lyrics are a W.B. Yeats poem, but mine are kind of an anthem for our Latin Club. This is the first song we learned, to go along with Chapter 1 in Primer Level A of Latin for Children from Classical Academic Press.
Ballad of Latin Verbs
Link to the video on YouTube.
Amo amas amat, amamis amatis amant
Do das dat, damis, datis, dant
Narro, narras narrat, narramis narratis narrant
Intro, intras intrat, intramis intratis intrant
Shira, conjugate!
Ben, make the nouns decline!
Adjective endings are our food,
Verb tense our wine!
Brayton, the ablative
tells where and when and how
Stephen the genetive
can classify a noun
Erro erras errat, erramis erratis errant
Specto, spectas, spectat, spectamis, spectatis, spectant
Sto stas stat, stamis statis stant
Paro paras parat, paramis paratis parant
Martina conjugate!
Nicholas decline!
Benny and Sarah
Let your vocabulary shine!
Dative tells us just for whom
the verb is done
Acccustive tells us who
the verb is done upon.
This is how homeschoolers really are.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Thursday, April 08, 2010
Saturday, April 03, 2010
Arma Virumque Cano: A Song to Teach The Aeneid in Latin
I Sing of Arms and the Man
Link to the video on YouTube.
Arma virumque cano, Troiae qui primus ab oris
Italiam, fato profugus,
I sing of arms and the man who came from Troy to Italy
Exiled by fate, that’s what I’m singing.
Laviniaque, venit litora, multum
ille et terris iactatus et alto Vi
superum saevae memorem Iunonis ob iram;
I sing of arms and the man who came from Troy to Italy
Exiled by fate, that’s what I’m singing.
Arma virumque cano, Troiae qui primus ab oris
Italiam fato profugus.
Multa quoque et bello passus, dum conderet urbem,
inferretque deos Latio, genus unde Latinum,
Albanique patres, atque altae moenia Romae.
I sing of arms and the man who came from Troy to Italy
exiled by fate, that’s what I’m singing
Arma virumque cano, Troiae qui primus ab oris
Italiam fato profugus
Musa, mihi causas memora, quo numine laeso,
quidve dolens, regina deum tot volvere casus
insignem pietate virum, tot adire labores
impulerit. Tantaene animis caelestibus irae?
I sing of arms and the man who came from Troy to Italy
exiled by fate, that’s what I’m singing
Arma virumque cano, Troiae qui primus ab oris
Italiam fato profugus
I use this song to teach the first twelve lines of the Aeneid in Latin to our Latin club and also to my Aeneid literature class. Who says The Aeneid can't be a country song? Italy is a country.
Link to the video on YouTube.
Arma virumque cano, Troiae qui primus ab oris
Italiam, fato profugus,
I sing of arms and the man who came from Troy to Italy
Exiled by fate, that’s what I’m singing.
Laviniaque, venit litora, multum
ille et terris iactatus et alto Vi
superum saevae memorem Iunonis ob iram;
I sing of arms and the man who came from Troy to Italy
Exiled by fate, that’s what I’m singing.
Arma virumque cano, Troiae qui primus ab oris
Italiam fato profugus.
Multa quoque et bello passus, dum conderet urbem,
inferretque deos Latio, genus unde Latinum,
Albanique patres, atque altae moenia Romae.
I sing of arms and the man who came from Troy to Italy
exiled by fate, that’s what I’m singing
Arma virumque cano, Troiae qui primus ab oris
Italiam fato profugus
Musa, mihi causas memora, quo numine laeso,
quidve dolens, regina deum tot volvere casus
insignem pietate virum, tot adire labores
impulerit. Tantaene animis caelestibus irae?
I sing of arms and the man who came from Troy to Italy
exiled by fate, that’s what I’m singing
Arma virumque cano, Troiae qui primus ab oris
Italiam fato profugus
I use this song to teach the first twelve lines of the Aeneid in Latin to our Latin club and also to my Aeneid literature class. Who says The Aeneid can't be a country song? Italy is a country.
Saturday, August 29, 2009
Fiddle Fever Summer Camp 2009
This year Benny and I tried something completely different, the Fiddle Fever camp hosted by the Academy of Music. The camp is taught by local music star Carol Thomas Downing, director of the Virginia Children's Chorus, Suzuki teacher, and fiddler!
Because of Benny's tendency to be an active participant, his constant need to express himself verbally and also by bow-jousting and playing his instrument out of turn, and because I too have really loved fiddling, in my day, I decided to be a student of the camp also.
It was a fantastic experience! Carol Downing is an incredibly gifted teacher -- fun, inspiring, and creative. She had a whole room full of children, aged 7 to 17 (and then me, age 107), some of whom could barely read a note of sheet music and some of whom were accomplished violinists, all on the same page, at the same tempo, with the same twinkle in their eyes. I was impressed and then amazed, watching her technique.
Benny had a fantastic time, constantly busy, happy with his instrument, and really learning not only new songs but new techniques and ornaments, a whole new feeling of playing the violin. For this child who has been working hard on Suzuki repertoire for many years, the fiddling tunes were a delightful break. No less beautiful, but more whimsical, more emotional, more fun! And he could go as fast as he wanted, in practice, I told him. This made it easier for him to tone it down during the performances.
I highly recommend Carol Thomas Downing's Fiddle Fever Camp. We will definitely be there next year -- maybe we'll see you too!
Here are a few pictures from our final performance at Conklin's Irish Rover, an Irish pub in Virginia Beach that hosts live Irish music every first and third Sunday. For more pictures and video, check out my Flickr set for our summer violin camps. The fiddle tunes/pictures are the first nine entries.
Morrison's Jig:
Fiddlers, youngest in front, including Amy Ferebee on guitar:
Other guest musicians included Martha Giles on hammer dulcimer player and singer Marsha Wallace:
The experience was great for Benny and for me too. We have been playing our fiddle tunes all summer, and I'm even working on polishing my tin whistle skills again. A good reminder that having fun with music is the best motivator, as we approach Suzuki Book 6 and all the hours of scales and arpeggios that implies.
Because of Benny's tendency to be an active participant, his constant need to express himself verbally and also by bow-jousting and playing his instrument out of turn, and because I too have really loved fiddling, in my day, I decided to be a student of the camp also.
It was a fantastic experience! Carol Downing is an incredibly gifted teacher -- fun, inspiring, and creative. She had a whole room full of children, aged 7 to 17 (and then me, age 107), some of whom could barely read a note of sheet music and some of whom were accomplished violinists, all on the same page, at the same tempo, with the same twinkle in their eyes. I was impressed and then amazed, watching her technique.
Benny had a fantastic time, constantly busy, happy with his instrument, and really learning not only new songs but new techniques and ornaments, a whole new feeling of playing the violin. For this child who has been working hard on Suzuki repertoire for many years, the fiddling tunes were a delightful break. No less beautiful, but more whimsical, more emotional, more fun! And he could go as fast as he wanted, in practice, I told him. This made it easier for him to tone it down during the performances.
I highly recommend Carol Thomas Downing's Fiddle Fever Camp. We will definitely be there next year -- maybe we'll see you too!
Here are a few pictures from our final performance at Conklin's Irish Rover, an Irish pub in Virginia Beach that hosts live Irish music every first and third Sunday. For more pictures and video, check out my Flickr set for our summer violin camps. The fiddle tunes/pictures are the first nine entries.
Morrison's Jig:
Fiddlers, youngest in front, including Amy Ferebee on guitar:
Other guest musicians included Martha Giles on hammer dulcimer player and singer Marsha Wallace:
The experience was great for Benny and for me too. We have been playing our fiddle tunes all summer, and I'm even working on polishing my tin whistle skills again. A good reminder that having fun with music is the best motivator, as we approach Suzuki Book 6 and all the hours of scales and arpeggios that implies.
Tuesday, April 21, 2009
Silly Suzuki: Silly Words for Go Tell Aunt Rhody
Princess Go Tell Aunt Rhody:
Go tell Aunt Rhody I'm a princess now
Go show her all my shoes and pretty clothes
Tell her I like to play the violin
Tell her I like to play the flute
Go tell Aunt Rhody I'm a princess now
Go show her all my shoes and pretty clothes.
Plant Cell Go Tell Aunt Rhody:
Go tell Aunt Rhody I'm a chloroplast
Go show her all my stacks of thylakoids
Tell her I'm green because of chlorophyll
Tell her I make light into food
Go tell Aunt Rhody how I make the food
Carbon Dioxide, water and the sun.
For those who are keeping score at home: When I'm done posting these, I will make a printer-friendly songbook as a PDF. Until then, you'll just have to cut and paste the words into notebook if you want to print.
Go tell Aunt Rhody I'm a princess now
Go show her all my shoes and pretty clothes
Tell her I like to play the violin
Tell her I like to play the flute
Go tell Aunt Rhody I'm a princess now
Go show her all my shoes and pretty clothes.
Plant Cell Go Tell Aunt Rhody:
Go tell Aunt Rhody I'm a chloroplast
Go show her all my stacks of thylakoids
Tell her I'm green because of chlorophyll
Tell her I make light into food
Go tell Aunt Rhody how I make the food
Carbon Dioxide, water and the sun.
For those who are keeping score at home: When I'm done posting these, I will make a printer-friendly songbook as a PDF. Until then, you'll just have to cut and paste the words into notebook if you want to print.
Saturday, April 18, 2009
Singing Suzuki: Silly Words for Lightly Row
Lightly Row Princess:
Princess says, "Play with me!
At the castle come and see!
We'll ride ponies in the woods
And give them sugar if they're good.
Diamond is my favorite one
Hop on up and have some fun
When we're tired maybe we can
Have some chocolate cake for tea!"
Lightly Row Plant Cell Parts:
Plant cell wall, nucleus
Endoplasmic Reticulum
Vacuoles give shape to cells
And these are all the organelles
Chloroplasts turn light to food
then the mitochondria
Change the food to energy so
Plants can grow up big like me!
Sunday, April 05, 2009
Not Very Suzuki At All: Confession of a Burned Out Violin Mom
The Suzuki method is a triangle: the student, the parent, the teacher. For six years of Suzuki I have been an active part of this triangle with Benny and his teachers. I practice with my child, I play my violin along with him, I sit there alert and engaged at the lessons, I drive to group, I take him to workshops, camps, etc. I have put endless hours into this child's music education.
Two weeks ago, I decided I had had enough.
Picture a horse hitched to a stagecoach. The horse's agenda is to go as fast as possible. Never mind the safety of the passengers, the integrity of the coach itself, the driving conditions, the possible turns in the road. Then there's a driver. Her sole purpose is hauling on the reins. That's all she does, just pull back on the reins, with varying levels of frustration and patience, frustration and patience, yank yank yank. Occasionally the driver brings the horse to a halt, climbs down off the coach, and has a heart to heart talk with the horse. She explains all the logical reasons why this breakneck pace is not healthy or conducive to personal growth. During this conversation, the horse nods its head sagely, meanwhile tapping its hoof distractedly. When the stage driver gets back up on the coach again, the horse takes off at the exact same speed as before. Yank, yank, yank.
Horse = Benny. Stage driver = me.
Benny is in book 5. He is playing the third movement of the Vivaldi concerto in G minor. He cannot play this song, he cannot successfully pass this song, by ripping through it at maximum speed again and again. Repetitions at this speed do nothing to help him execute the song. What he needs to do is to slow down to a speed where he can play it absolutely correctly and in tune, and do a thousand repetitions. A thousand? Really? Yes. Suzuki would say, a thousand, in a slow tempo. This trains your hand and brain to correctly do the physical act of playing the song. Then when you take it up to speed, your reflexes take over. If you play it fast, you do not learn to play it right. You learn to play it messy. This is a tough piece, the toughest so far. It's not one he can just talent his way through.
So I said to his teacher, I can't do this anymore, it's so frustrating, I'm in this adversarial situation with my child, it's bleeding into other parts of our day, and I can't do this with joy, I can't approach practice with happiness, when I know that I'm going to fight with him the whole time.
His teacher, bless her heart, told me to take a break, let him practice on his own. That was two weeks ago. So, Benny has been practicing on his own. He is trying. He really is. He has in his mind what mature, independent practicing sounds like. He calls it "self-responsible." If he makes a mistake, he stops, dramatically fixes it, and then goes on. There's a lot of checking intonation with open strings. However, I know that what he's actually doing is teaching himself to play it wrong, and then fix it. You don't learn to play correctly by playing incorrectly and then fixing it, because then when you get to your lesson or in a performance situation, and you can't fix your mistakes, you're just left with the mistakes. Plus you're training your hand to play the wrong note by doing it over and over, regardless of whether you're fixing it or not! Not very Suzuki.
So, here we are. Lesson is tomorrow. He's not being very Suzuki and neither am I. I honestly don't know what the solution is. We can use a metronome, but that involves me standing there enforcing the metronome, measure by measure. Me as enforcer is the dynamic I'm trying to get away from. On the one hand, I want him to learn to practice on his own! When I was nine, I was doing it. On the other hand, I think maybe he isn't capable of practicing on his own yet, and what I'm doing by "taking a break" is just making things worse and being selfish.
I am overthinking it. I am complicating matters. But I just can't get my head around it -- I need help! And may I just say that it doesn't help that Sadie is so easy to practice. Oh yes, the Sadie/teacher/me triangle is fully functional. And maybe that's part of the problem too!
More Suzuki posts: Suzuki violin.
Two weeks ago, I decided I had had enough.
Picture a horse hitched to a stagecoach. The horse's agenda is to go as fast as possible. Never mind the safety of the passengers, the integrity of the coach itself, the driving conditions, the possible turns in the road. Then there's a driver. Her sole purpose is hauling on the reins. That's all she does, just pull back on the reins, with varying levels of frustration and patience, frustration and patience, yank yank yank. Occasionally the driver brings the horse to a halt, climbs down off the coach, and has a heart to heart talk with the horse. She explains all the logical reasons why this breakneck pace is not healthy or conducive to personal growth. During this conversation, the horse nods its head sagely, meanwhile tapping its hoof distractedly. When the stage driver gets back up on the coach again, the horse takes off at the exact same speed as before. Yank, yank, yank.
Horse = Benny. Stage driver = me.
Benny is in book 5. He is playing the third movement of the Vivaldi concerto in G minor. He cannot play this song, he cannot successfully pass this song, by ripping through it at maximum speed again and again. Repetitions at this speed do nothing to help him execute the song. What he needs to do is to slow down to a speed where he can play it absolutely correctly and in tune, and do a thousand repetitions. A thousand? Really? Yes. Suzuki would say, a thousand, in a slow tempo. This trains your hand and brain to correctly do the physical act of playing the song. Then when you take it up to speed, your reflexes take over. If you play it fast, you do not learn to play it right. You learn to play it messy. This is a tough piece, the toughest so far. It's not one he can just talent his way through.
So I said to his teacher, I can't do this anymore, it's so frustrating, I'm in this adversarial situation with my child, it's bleeding into other parts of our day, and I can't do this with joy, I can't approach practice with happiness, when I know that I'm going to fight with him the whole time.
His teacher, bless her heart, told me to take a break, let him practice on his own. That was two weeks ago. So, Benny has been practicing on his own. He is trying. He really is. He has in his mind what mature, independent practicing sounds like. He calls it "self-responsible." If he makes a mistake, he stops, dramatically fixes it, and then goes on. There's a lot of checking intonation with open strings. However, I know that what he's actually doing is teaching himself to play it wrong, and then fix it. You don't learn to play correctly by playing incorrectly and then fixing it, because then when you get to your lesson or in a performance situation, and you can't fix your mistakes, you're just left with the mistakes. Plus you're training your hand to play the wrong note by doing it over and over, regardless of whether you're fixing it or not! Not very Suzuki.
So, here we are. Lesson is tomorrow. He's not being very Suzuki and neither am I. I honestly don't know what the solution is. We can use a metronome, but that involves me standing there enforcing the metronome, measure by measure. Me as enforcer is the dynamic I'm trying to get away from. On the one hand, I want him to learn to practice on his own! When I was nine, I was doing it. On the other hand, I think maybe he isn't capable of practicing on his own yet, and what I'm doing by "taking a break" is just making things worse and being selfish.
I am overthinking it. I am complicating matters. But I just can't get my head around it -- I need help! And may I just say that it doesn't help that Sadie is so easy to practice. Oh yes, the Sadie/teacher/me triangle is fully functional. And maybe that's part of the problem too!
More Suzuki posts: Suzuki violin.
Sunday, April 20, 2008
Benny and the Bach Double
I will not downplay the significance of this video for me as a parent. It is supremely satisfying for me to play this song with him. It makes me burst with pride and love. Here's Benny on Violin 2 and me on Violin 1. This video was taken over a month ago -- by this time he has all but learned the Violin 1 part. It's in Book 5 so he hasn't technically been given it as a piece yet, but he's picked most of it up by ear.
Wednesday, October 31, 2007
Sadie's Song
Sadie sang this song today. I've tried to imply the rhythm and inflection with the way I took the dictation, but... really there's no way to reproduce this:
PRINCESS
There she goes somewhere
She gets somewhere today
She gets to where she goes
Because she goes somewhere
She gets somewhere she goes
She’s just going where she goes
She gets to where she goes
Then she goes home and that is her home
Then then then THEN and then
That’s what she did
A MONSTER CAME
Now the monster growled and then it had to eat her up
Then she went fastly as she can!
AND THEN SHE STOPPED
And there was a puppy then the puppy growled and then bite her
And she had to run away from the dog
But there were friends
And I like the friends
They didn’t want to be friends
Then didn’t want to be frie-ends
They didn’t want to be frie-ends
FRIENDS FRIENDS FRIENDS
They were just going backwards
And then she turned around and run away
Until I was done to be
Life! She got to life! But she will be dead if she goes on somewhere
Then she really did run from that monster
She really did run from that monster!
And then she’s alive! She doesn’t need to be dead!
She doesn’t need to be alive! She doesn’t need to be dead!!! DOWN HERE!
She doesn’t need a girl, she already has a girl, all that she needs to be a girl.
That’s all she said.
Do-do-do-do-do-do
She didn’t need to be dead. She didn’t need to be dea-ead.
She didn’t need to be dead. She didn’t need to be dea-ead.
To be dead.
Before she goes somewhere to her family
Then her family says go back in the valley
Before she goes back in the valley
She sees a puppy, then she said to her mommy
I need my puppy. Until she goes somewhere
She needs to bring, she needs to bring it
Before she goes somewhere
The princess got dead. Gooooooot DEAD.
She got dead, just on her skirt, she needs to gone away
Now her brother was coming to save her
The prince!
Then she came to sing a song with the guitar
And then mother came to sing with the guitar
And Leroy to lick her. And then! She doesn’t need to gone.
Gone! She doesn’t need to gone!
And then the princess went bowling
Then her dress was so so so long
Then she grew up, and turned into another dog, and then POOF
And it licked Benny, and then Benny turned into a dog.
Then everyone was a dog! And that’s how it goes all the way all the way
Over.
PRINCESS
There she goes somewhere
She gets somewhere today
She gets to where she goes
Because she goes somewhere
She gets somewhere she goes
She’s just going where she goes
She gets to where she goes
Then she goes home and that is her home
Then then then THEN and then
That’s what she did
A MONSTER CAME
Now the monster growled and then it had to eat her up
Then she went fastly as she can!
AND THEN SHE STOPPED
And there was a puppy then the puppy growled and then bite her
And she had to run away from the dog
But there were friends
And I like the friends
They didn’t want to be friends
Then didn’t want to be frie-ends
They didn’t want to be frie-ends
FRIENDS FRIENDS FRIENDS
They were just going backwards
And then she turned around and run away
Until I was done to be
Life! She got to life! But she will be dead if she goes on somewhere
Then she really did run from that monster
She really did run from that monster!
And then she’s alive! She doesn’t need to be dead!
She doesn’t need to be alive! She doesn’t need to be dead!!! DOWN HERE!
She doesn’t need a girl, she already has a girl, all that she needs to be a girl.
That’s all she said.
Do-do-do-do-do-do
She didn’t need to be dead. She didn’t need to be dea-ead.
She didn’t need to be dead. She didn’t need to be dea-ead.
To be dead.
Before she goes somewhere to her family
Then her family says go back in the valley
Before she goes back in the valley
She sees a puppy, then she said to her mommy
I need my puppy. Until she goes somewhere
She needs to bring, she needs to bring it
Before she goes somewhere
The princess got dead. Gooooooot DEAD.
She got dead, just on her skirt, she needs to gone away
Now her brother was coming to save her
The prince!
Then she came to sing a song with the guitar
And then mother came to sing with the guitar
And Leroy to lick her. And then! She doesn’t need to gone.
Gone! She doesn’t need to gone!
And then the princess went bowling
Then her dress was so so so long
Then she grew up, and turned into another dog, and then POOF
And it licked Benny, and then Benny turned into a dog.
Then everyone was a dog! And that’s how it goes all the way all the way
Over.
Saturday, October 13, 2007
Suzuki Violin Workshop with Judy Blank
Last weekend, Benny and Sadie attended a workshop with Judy Blank, a fabulous Suzuki expert from Ann Arbor, MI. The workshop included group classes, violin-related art classes, play-ins, and a master class with Mrs. Blank. It was a great experience for them, and also very interesting for me.
Watching the master classes was pretty incredible -- Mrs. Blank was like a doctor -- listening to each child play one song, diagnosing some certain issue, and giving the child a small, specific change that they could make in just a few minutes to improve their playing. Of course, all of this had to happen while using the most positive language, never making the child feel criticized or like there was something wrong. It was amazing how she accomplished this in such a short time with each child -- every one of them made a noticeable improvement. Truly a gift.
Here are some videos and pictures from the weekend:
Sadie was the smallest in her group and also the only girl! Sadie's group class with Mrs. Morton:
Mrs. Morton's early book one class doing Perpetual Motion:
At the first Play-in, playing Allegro like mosquitoes and elephants:
Benny and Mrs. Blank playing the first Seitz in Suzuki Book 4. Mrs. Blank had lots of silly stories to go along with the music, to help the kids understand the phrasing. We particularly enjoyed the one for Gavotte in G Minor which was all about the death of multiple goldfish.
More videos on my YouTube Channel.
Here's Sadie in her art class:
Benny and Sean hanging out between classes:
Sadie's group class:
Benny standing up for Seitz at the final play-in:
Benny and Mrs. Blank:
More photos on my Flickr.
We were very grateful for the experience. It made for a very interesting weekend. I think all the kids had a great time and will be looking forward to next year.
Watching the master classes was pretty incredible -- Mrs. Blank was like a doctor -- listening to each child play one song, diagnosing some certain issue, and giving the child a small, specific change that they could make in just a few minutes to improve their playing. Of course, all of this had to happen while using the most positive language, never making the child feel criticized or like there was something wrong. It was amazing how she accomplished this in such a short time with each child -- every one of them made a noticeable improvement. Truly a gift.
Here are some videos and pictures from the weekend:
Sadie was the smallest in her group and also the only girl! Sadie's group class with Mrs. Morton:
Mrs. Morton's early book one class doing Perpetual Motion:
At the first Play-in, playing Allegro like mosquitoes and elephants:
Benny and Mrs. Blank playing the first Seitz in Suzuki Book 4. Mrs. Blank had lots of silly stories to go along with the music, to help the kids understand the phrasing. We particularly enjoyed the one for Gavotte in G Minor which was all about the death of multiple goldfish.
More videos on my YouTube Channel.
Here's Sadie in her art class:
Benny and Sean hanging out between classes:
Sadie's group class:
Benny standing up for Seitz at the final play-in:
Benny and Mrs. Blank:
More photos on my Flickr.
We were very grateful for the experience. It made for a very interesting weekend. I think all the kids had a great time and will be looking forward to next year.
Tuesday, October 02, 2007
October Violin Practice Challenge
It's October! The glow of the new semester has dulled somewhat, the crunch for holiday recitals has not yet begun, and everyone would rather think about cider and Halloween. The violins are still coming out, but they're coming out with a tiny bit less joy than they came out in September, and a tiny bit less urgency than they will come out in November, I predict. Still, Dr. Suzuki says we should only practice on the days that we eat!
Time for the first and only, spookeriffic, autumnimous Little Blue School Violin Practice Challenge!
First, print out the practice chart:
At the end of the month, you can print out this certificate, get the appropriate name, number of practices, and signatures in place, and award it to the stellar violinist(s) in your family.
Here's a side note: I am working on putting together a page linking to as many YouTube videos of Suzuki violin students as I can find. Sort of a virtual concert. Do you have one? Let me know! My email address is jackets at rpsd.com. Spread the word!
Time for the first and only, spookeriffic, autumnimous Little Blue School Violin Practice Challenge!
First, print out the practice chart:
PDF Version Large JPG Version
Remember to choose "Landscape"
Choose "Shrink to Fit" when printing the JPG
At the end of the month, you can print out this certificate, get the appropriate name, number of practices, and signatures in place, and award it to the stellar violinist(s) in your family.
PDF Version Large JPG Version
Remember to choose "Landscape"
Choose "Shrink to Fit" when printing the JPG
Here's a side note: I am working on putting together a page linking to as many YouTube videos of Suzuki violin students as I can find. Sort of a virtual concert. Do you have one? Let me know! My email address is jackets at rpsd.com. Spread the word!
Friday, May 04, 2007
Family Day at the Opera
"Pirates of Penzance" is a funny show, but a lot of the humor is wrapped up in complicated wordplay, and a lot of the plot twists require a mature understanding to follow and unravel.
Yes, it's in English, and no it's not Fidelio, but it's not the Doodlebops either. Nevertheless, throngs of children and their optimistic parents packed the Harrison Opera House last Saturday to see a family-friendly production (that is to say, an abridged version) of the GIlbert and Sullivan classic. Did they understand every double entendre and every complicated rhyme? No. But they did have a good time.
The last time we were at the opera house was when we took Benny to see Agrippina. I assure you, the mood was very different on that night. Tired, angry elderly people shushing each other, and then falling asleep on their armrests. Serious citizens paying dire close attention to the stage. A hush. A lot of furrowed brows. Saturday was more like the mood you hear about when attending theater was a more popular pursuit. Rowdy.
If it bothers you when a silent moment on stage is interrupted by at least five kids asking to go to the bathroom, commenting on the state of someone's boogers, or complaining that their sister is touching them, then Family Day is not for you. But if you like looking around the audience during a big scene and seeing herds of children actually enraptured by what they're seeing -- leaning forward, clutching their programs, laughing out loud, urgently pointing and explaining things to their little brothers, then Familiy Day at the Opera is an experience you should enjoy. I have to say I totally loved it.
The production was raucous but not racy. The acting was hilarious, the and the props and sets were ingeniously made. Yes, it was a tiny bit disappointing when the Pirate King was a Jack Sparrow clone, but my kids loved that. All in all, brilliantly done. And we loved the little "commercial" for the Virginia Opera that was inserted into "I am the very model of a modern Major-General." Cute!
As a bonus, the lawn of the opera house had a carnival feel, with boucy rides and Radio Disney on hand to MC. Don't miss this event next year -- it's a great chance to expose your kids to the opera without exposing yourself to the haughty glares of the typical opera crowd.
Yes, it's in English, and no it's not Fidelio, but it's not the Doodlebops either. Nevertheless, throngs of children and their optimistic parents packed the Harrison Opera House last Saturday to see a family-friendly production (that is to say, an abridged version) of the GIlbert and Sullivan classic. Did they understand every double entendre and every complicated rhyme? No. But they did have a good time.
The last time we were at the opera house was when we took Benny to see Agrippina. I assure you, the mood was very different on that night. Tired, angry elderly people shushing each other, and then falling asleep on their armrests. Serious citizens paying dire close attention to the stage. A hush. A lot of furrowed brows. Saturday was more like the mood you hear about when attending theater was a more popular pursuit. Rowdy.
If it bothers you when a silent moment on stage is interrupted by at least five kids asking to go to the bathroom, commenting on the state of someone's boogers, or complaining that their sister is touching them, then Family Day is not for you. But if you like looking around the audience during a big scene and seeing herds of children actually enraptured by what they're seeing -- leaning forward, clutching their programs, laughing out loud, urgently pointing and explaining things to their little brothers, then Familiy Day at the Opera is an experience you should enjoy. I have to say I totally loved it.
The production was raucous but not racy. The acting was hilarious, the and the props and sets were ingeniously made. Yes, it was a tiny bit disappointing when the Pirate King was a Jack Sparrow clone, but my kids loved that. All in all, brilliantly done. And we loved the little "commercial" for the Virginia Opera that was inserted into "I am the very model of a modern Major-General." Cute!
As a bonus, the lawn of the opera house had a carnival feel, with boucy rides and Radio Disney on hand to MC. Don't miss this event next year -- it's a great chance to expose your kids to the opera without exposing yourself to the haughty glares of the typical opera crowd.
Sunday, January 28, 2007
Handel's Agrippina at the Virginia Opera
How do you take a seven-year-old to see baroque opera? Don't listen to the lady in the seat behind you.
This afternoon we took Benny to see the Virginia Opera production of Agrippina at the Harrison Opera House. Benny is seven years old. The opera is over three hours long. And we all had a great time. So, how did we accomplish this?
1. Good seats. You won't save money sitting in the nosebleed seats, because kids need to be near the action, or they drift. On the other hand, you don't want to be *right* in the front, because you might need to vacate. We had seats in the middle.
2. Listen in advance. We bought the CD weeks ago and have been listening in the car. Agrippina is a fairly obscure opera (I think) and we didn't actually get a complete recording, but by the time we went to the show, Benny (and his two-year-old sister Sadie) could sing a few of the arias, and the music had a familiar sound. I bet that before we go to the Pirates of Penzance in April, we know all the songs! :D
3. Know your characters. The plot of Agrippina is extremely complicated, and also based on sexual intrigue and political power plays. I knew I was not going to be able to tell this to him as a bedtime story. However, knowing the characters goes a long way.
4. Plot with stickers. Before we left, I broke down the plot into many bullet points, and printed out each act on a separate piece of paper. Then, I put this in a binder and we took it to the opera house. As each plot point rolled by, we put a sticker beside it, including a giant sticker for the end of each act. If you're taking your kid to see Agrippina and you want my kid-friendly plot breakdown, leave a comment with your email address and I'll send it to you.
5. Pay no attention to that lady behind you. If your kid is actually misbehaving, take him out. Better yet, if he's likely to misbehave, don't take him to the opera. But, be aware that some people will always be crabby. The lady behind us today was objecting to Benny periodically stretching and putting his arms up in the air. She actually would reach forward and push his arms down. She also kept saying this loudly to her husband (who was sitting behind Dan): "Well, I don't know how you can see ANYTHING past that MAN and his HEAD." As if... Dan had installed an extra large and tall head just to prevent anyone from seeing the show. The husband patiently repeated: "You are talking so loud that they are going to hear you." Now, I'm the first person to acknowledge when my child is being disruptive, but I had to place this lady's views into context. She was also uset that my husband brought his head to the opera. Okay, he's six feet tall, but that's not freakishly huge or anything. She should have been happy she was sitting behind a seven year old. Even one with spiky hair.
6. Aerobic intermission. We went up and down stairs, back and forth, and all around. And to the bathroom, natch, after 80 minutes in the first act! Note: The cappuchino at the Harrison Opera House is actually really good.
7. Life Savers. If you're going to sneak snacks into the opera, don't sneak anything that rattles in the bag or crunches in the teeth. We took Life Savers, which neither rattle nor crunch, especially when you tell the child they are magic medicine that will help him not wiggle for as long as he holds then on his tongue.
8. Sense of humor. Inevitably, there will be some kind of loud outburst, like the child saying cheerfully, "I'M DONE!" right in the most emotional song, when the orchestra pauses, and the character on stage is rending his garments. It is okay, nay, it is required, that you just laugh and move on, during moments like this. Chances are the people around you are mildly amused like you are, not righteously annoyed like you're imagining they are. And remember, that lady in the row behind you disqualified herself as a judge of polite behavior when she loudly observed that your husband had an opaque skull.
9. Beautiful sets. The visuals in this production of Agrippina were really gorgeous. Not only were they interesting for me and my husband to look at, they were very engaging for Benny. It's amazing how much thought and work goes into the lighting, the set design, and just planning the way the characters will move on the stage. I'm not a theater person, and I don't know the right terminology to describe what I'm talking about, but there was a lot to look at, and that really helped Benny (and the rest of us) enjoy the show.
10. Opera stars. Sujung Kim is absolutely riveting as Agrippina. It was hard to look away, when she was on stage. And Jane Redding, as Poppea, was hilarious, even to Benny who didn't understand (I hope) the flirtations and machinations going on. I'm sorry, male opera people, but the ladies just blew it out today, and the guys didn't particularly impress me. EXCEPT FOR: The silent chorus. Again, I'm not an expert and I don't really know how to describe this, but there were six guys in tuxedos who never said or sang a word, but just about stole the show with their subtlety, their symbolism, and their antics. I *really* enjoyed those guys.
So, that's how we did it -- by the skin of our teeth and with some tolerance and planning. You might ask... *but why???* Isn't the opera something grownup that you do without kids, because it's nice to be out without them, and they don't appreciate it anyway? Hmm. You would understand our motivation if you heard Benny answer the question: "What was your favorite part of Agrippina?" His answer: "It was all my favorite. I loved it. I just loved it."
We're also going to the Family Day showing of Pirates of Penzance. Do you have any tips for surviving the opera with kids? I would love to add them to my arsenal!
This afternoon we took Benny to see the Virginia Opera production of Agrippina at the Harrison Opera House. Benny is seven years old. The opera is over three hours long. And we all had a great time. So, how did we accomplish this?
1. Good seats. You won't save money sitting in the nosebleed seats, because kids need to be near the action, or they drift. On the other hand, you don't want to be *right* in the front, because you might need to vacate. We had seats in the middle.
2. Listen in advance. We bought the CD weeks ago and have been listening in the car. Agrippina is a fairly obscure opera (I think) and we didn't actually get a complete recording, but by the time we went to the show, Benny (and his two-year-old sister Sadie) could sing a few of the arias, and the music had a familiar sound. I bet that before we go to the Pirates of Penzance in April, we know all the songs! :D
3. Know your characters. The plot of Agrippina is extremely complicated, and also based on sexual intrigue and political power plays. I knew I was not going to be able to tell this to him as a bedtime story. However, knowing the characters goes a long way.
4. Plot with stickers. Before we left, I broke down the plot into many bullet points, and printed out each act on a separate piece of paper. Then, I put this in a binder and we took it to the opera house. As each plot point rolled by, we put a sticker beside it, including a giant sticker for the end of each act. If you're taking your kid to see Agrippina and you want my kid-friendly plot breakdown, leave a comment with your email address and I'll send it to you.
5. Pay no attention to that lady behind you. If your kid is actually misbehaving, take him out. Better yet, if he's likely to misbehave, don't take him to the opera. But, be aware that some people will always be crabby. The lady behind us today was objecting to Benny periodically stretching and putting his arms up in the air. She actually would reach forward and push his arms down. She also kept saying this loudly to her husband (who was sitting behind Dan): "Well, I don't know how you can see ANYTHING past that MAN and his HEAD." As if... Dan had installed an extra large and tall head just to prevent anyone from seeing the show. The husband patiently repeated: "You are talking so loud that they are going to hear you." Now, I'm the first person to acknowledge when my child is being disruptive, but I had to place this lady's views into context. She was also uset that my husband brought his head to the opera. Okay, he's six feet tall, but that's not freakishly huge or anything. She should have been happy she was sitting behind a seven year old. Even one with spiky hair.
6. Aerobic intermission. We went up and down stairs, back and forth, and all around. And to the bathroom, natch, after 80 minutes in the first act! Note: The cappuchino at the Harrison Opera House is actually really good.
7. Life Savers. If you're going to sneak snacks into the opera, don't sneak anything that rattles in the bag or crunches in the teeth. We took Life Savers, which neither rattle nor crunch, especially when you tell the child they are magic medicine that will help him not wiggle for as long as he holds then on his tongue.
8. Sense of humor. Inevitably, there will be some kind of loud outburst, like the child saying cheerfully, "I'M DONE!" right in the most emotional song, when the orchestra pauses, and the character on stage is rending his garments. It is okay, nay, it is required, that you just laugh and move on, during moments like this. Chances are the people around you are mildly amused like you are, not righteously annoyed like you're imagining they are. And remember, that lady in the row behind you disqualified herself as a judge of polite behavior when she loudly observed that your husband had an opaque skull.
9. Beautiful sets. The visuals in this production of Agrippina were really gorgeous. Not only were they interesting for me and my husband to look at, they were very engaging for Benny. It's amazing how much thought and work goes into the lighting, the set design, and just planning the way the characters will move on the stage. I'm not a theater person, and I don't know the right terminology to describe what I'm talking about, but there was a lot to look at, and that really helped Benny (and the rest of us) enjoy the show.
10. Opera stars. Sujung Kim is absolutely riveting as Agrippina. It was hard to look away, when she was on stage. And Jane Redding, as Poppea, was hilarious, even to Benny who didn't understand (I hope) the flirtations and machinations going on. I'm sorry, male opera people, but the ladies just blew it out today, and the guys didn't particularly impress me. EXCEPT FOR: The silent chorus. Again, I'm not an expert and I don't really know how to describe this, but there were six guys in tuxedos who never said or sang a word, but just about stole the show with their subtlety, their symbolism, and their antics. I *really* enjoyed those guys.
So, that's how we did it -- by the skin of our teeth and with some tolerance and planning. You might ask... *but why???* Isn't the opera something grownup that you do without kids, because it's nice to be out without them, and they don't appreciate it anyway? Hmm. You would understand our motivation if you heard Benny answer the question: "What was your favorite part of Agrippina?" His answer: "It was all my favorite. I loved it. I just loved it."
We're also going to the Family Day showing of Pirates of Penzance. Do you have any tips for surviving the opera with kids? I would love to add them to my arsenal!
Thursday, January 25, 2007
"History Alive" at the Virginia Opera
Benny (age 7) had his first date. He took his best friend Zoe (age 6) to the "History Alive" show, by the Virginia Opera, at the Norfolk Fitness and Wellness Center. He sat on the other side of the aisle from her, and chatted up a bunch of senior citizens during the show. Do you think she'll still marry him?
The Virginia Opera sends out teams of opera-tors to schools and community centers, to spread the opera love. Today we went to see "History Alive!" which is about the history of Virginia. I took Benny and his little friend Zoe.
The show was great -- little snappy songs about all the things that have happened to Virginia like presidents, sufrage, wars, witch hunts, and the like. Three boisterous and cheerful young operaniacs belted it out, accompanied by a brisk upright piano. Here are two of the three singers:
My favorite songs were the ones about all the presidents who have come from Virginia, and the one about women voting. My least favorite songs were the opener and closer, which were about how Virginia is great and the operaniacs love it. Those were a little reminiscent of the Dave Barry send-up of travelogues which represent each state as "dynamic."
Benny loved it. LOVED it. He went immediately backstage after the performance and proclaimed, "YOU guys have the best show EVER." He remarked later, in the car, "Now I know for sure that Virginia is the best state!" So, it was effective as a branding tool, if not as delivery system for historical facts. It was almost too long for this age of kid, but Benny, who is notoriously wiggly, actually sat through it all without making noise or oozing onto the floor. Zoe, who is always virtuous, was especially so.
Here are cast, and the kids, along with two other cute little homeschoolers that we met there, of the Bryan family, in the middle. They are also violinists! And we had a charming conversation about horses, too.
I'm so pleased we braved the snowstorm in Talbot Park to see this performance. It was a real pleasure -- for the kids and for me too. Seeing opera singers like this was kind of like seeing a band you like in a small club, where you can get right down front and hear every word, see every blink. Sunday we're going to see Agrippina at the opera house -- we'll see how Handel compares!
The Virginia Opera sends out teams of opera-tors to schools and community centers, to spread the opera love. Today we went to see "History Alive!" which is about the history of Virginia. I took Benny and his little friend Zoe.
The show was great -- little snappy songs about all the things that have happened to Virginia like presidents, sufrage, wars, witch hunts, and the like. Three boisterous and cheerful young operaniacs belted it out, accompanied by a brisk upright piano. Here are two of the three singers:
My favorite songs were the ones about all the presidents who have come from Virginia, and the one about women voting. My least favorite songs were the opener and closer, which were about how Virginia is great and the operaniacs love it. Those were a little reminiscent of the Dave Barry send-up of travelogues which represent each state as "dynamic."
Benny loved it. LOVED it. He went immediately backstage after the performance and proclaimed, "YOU guys have the best show EVER." He remarked later, in the car, "Now I know for sure that Virginia is the best state!" So, it was effective as a branding tool, if not as delivery system for historical facts. It was almost too long for this age of kid, but Benny, who is notoriously wiggly, actually sat through it all without making noise or oozing onto the floor. Zoe, who is always virtuous, was especially so.
Here are cast, and the kids, along with two other cute little homeschoolers that we met there, of the Bryan family, in the middle. They are also violinists! And we had a charming conversation about horses, too.
I'm so pleased we braved the snowstorm in Talbot Park to see this performance. It was a real pleasure -- for the kids and for me too. Seeing opera singers like this was kind of like seeing a band you like in a small club, where you can get right down front and hear every word, see every blink. Sunday we're going to see Agrippina at the opera house -- we'll see how Handel compares!
Friday, December 08, 2006
Choir Concert at YMV
We went to see our friends performing in the "Young Musicians of Virginia" choir concert on Tuesday night. So what can a child learn from watching other kids perform?
YMV is a homeschooling co-op that meets at the Kempsville Baptist Church. They meet two days a week for a full day of classes, and while they began as a way for homeschooled kids to participate in music ensembles like band and choir, they also have academic classes like algebra and Spanish and whatnot. You can visit their web site here.
Benny's friend Zoe sings in the K-2 choir, and her concert was on Tuesday night. We went to see her sing, to show our support, and to enjoy the music.
I think experiences like this are great practice for kids who are learning to sit still and pay attention to performances. It's long enough to challenge the wiggles, but short enough to avoid total wiggle outbreaks. It's also well populated with children, so if any wiggleage does erupt, there aren't horrific consequences, unlike the shouting of "I HAVE A BOOGER" during the adagio movement of some significant symphony at Chrysler Hall. We do take Benny to Chrysler Hall, but I also welcome the opportunity for him to sit still in less strenuous situations.
Also he loves Zoe and so do I, and his friendship with her is very important and wonderful for him, and he genuinely loved seeing her perform and cheering for her. It was very sweet to see them together after the performance, walking around hand in hand, with Zoe introducing him to her friends, and Benny congratulating the performers on their good job.
YMV is an amazing organization. I thought for a while that Benny could maybe be in one of their orchestras, which would give him more opportunities to play the violin in a group setting, but they don't start strings until the kids are 9 years old, and Benny's already started... it just wouldn't be a good fit. I suspected that it would be not a good fit in other ways, and that suspicion was confirmed on Tuesday.
All of those children in the K-2 choir, that is, children between five and seven years old, were silent and still for the entire 60 minute performance, as they sat on the risers at the front of the stage. Not one talked. Not one poked another one. Not one fell off the back. During their songs, they stood and sang obediently, everyone singing together, and then sat back down. Nobody started humming a different song, or twirling, or glaring open-mouthed at the spotlight. They were *SCARILY* perfect. I know I will thoroughly drive home my point to the moms in the audience when I say there was *no nose-picking*. I was so completely impressed with the teachers of this group of children. I can't imagine what kind of work and wonder goes into creating that kind of uniformly excellent behavior. I do know that Benny, in that environment, would be the giant glaring red alarm light in the middle of a thousand perfectly twinkling white bulbs.
I respect and admire the people at YMV, but I think I made the right decision not to try and make it work for us. We loved the concert though! Benny especially got into the carol sing at the end. It was wonderful watching Zoe perform, too. I'm so thankful that he is able to have such a good, close friend and that they can share so much together as they grow up.
YMV is a homeschooling co-op that meets at the Kempsville Baptist Church. They meet two days a week for a full day of classes, and while they began as a way for homeschooled kids to participate in music ensembles like band and choir, they also have academic classes like algebra and Spanish and whatnot. You can visit their web site here.
Benny's friend Zoe sings in the K-2 choir, and her concert was on Tuesday night. We went to see her sing, to show our support, and to enjoy the music.
I think experiences like this are great practice for kids who are learning to sit still and pay attention to performances. It's long enough to challenge the wiggles, but short enough to avoid total wiggle outbreaks. It's also well populated with children, so if any wiggleage does erupt, there aren't horrific consequences, unlike the shouting of "I HAVE A BOOGER" during the adagio movement of some significant symphony at Chrysler Hall. We do take Benny to Chrysler Hall, but I also welcome the opportunity for him to sit still in less strenuous situations.
Also he loves Zoe and so do I, and his friendship with her is very important and wonderful for him, and he genuinely loved seeing her perform and cheering for her. It was very sweet to see them together after the performance, walking around hand in hand, with Zoe introducing him to her friends, and Benny congratulating the performers on their good job.
YMV is an amazing organization. I thought for a while that Benny could maybe be in one of their orchestras, which would give him more opportunities to play the violin in a group setting, but they don't start strings until the kids are 9 years old, and Benny's already started... it just wouldn't be a good fit. I suspected that it would be not a good fit in other ways, and that suspicion was confirmed on Tuesday.
All of those children in the K-2 choir, that is, children between five and seven years old, were silent and still for the entire 60 minute performance, as they sat on the risers at the front of the stage. Not one talked. Not one poked another one. Not one fell off the back. During their songs, they stood and sang obediently, everyone singing together, and then sat back down. Nobody started humming a different song, or twirling, or glaring open-mouthed at the spotlight. They were *SCARILY* perfect. I know I will thoroughly drive home my point to the moms in the audience when I say there was *no nose-picking*. I was so completely impressed with the teachers of this group of children. I can't imagine what kind of work and wonder goes into creating that kind of uniformly excellent behavior. I do know that Benny, in that environment, would be the giant glaring red alarm light in the middle of a thousand perfectly twinkling white bulbs.
I respect and admire the people at YMV, but I think I made the right decision not to try and make it work for us. We loved the concert though! Benny especially got into the carol sing at the end. It was wonderful watching Zoe perform, too. I'm so thankful that he is able to have such a good, close friend and that they can share so much together as they grow up.
Wednesday, November 22, 2006
Two Performances
Benny had two violin performances this weekend.
The first was the Academy of Music's Bach Festival on Sunday night, which was hosted by the Kempsville Presbyterian Church. This was a character-building experience, since was two hours long, right around the children's bed time, and we brought Sadie Grace with us. Both of them were very well-behaved, on the whole. Sadie did rearrange all the little tiny pencils in the pews, and Benny did at one point say the words, "YOU be quiet." Which is pretty unsustainable. But, he played well, and both the kids got to see a lot of much older children playing difficult and serious piececs with earnest concentration, which is a good thing for them to see. Now that Benny is into book 3, and there aren't that many kids in his usual recital group that are ahead of him, it's good for him to see that he still has a long way to go, and to witness some kids getting to play those *really* exciting pieces.
Here's Benny playing "Musette" by J.S. Bach:
Here's a picture of Benny and Sadie with some of their musical friends:
The second performance was a luncheon at the Jewish Community Center in Virginia Beach. The Academy of Music was asked to provide some entertainment, and since only homeschoolers were available to show up at 1:00pm on a Monday, it was an all-homeschoolers performance! Sean, Benny, and Adam entertained the seniors at the luncheon, and Mrs. Ford gave a little talk about the Suzuki method. The highlight of the event was the premier of an original composition by one of the students. Adam, who is 15, has written several pieces, and this one is called "Duet #1 in G Minor." He performed it with Mrs. Ford and it was a big hit:
Adam is great, isn't he?!?! A local gem. If you want, you can go to this YouTube page where this is hosted, and comment on his movie. That would be awesome.
Here's a picture of Benny and Sean warming up before the performance.
So, a very violincentric weekend. There were ups and downs, of course. On Sunday night, when Benny finished with Musette, he hollered out this from the stage: "Hey, did you see when I put my hand way up here on the fingerboard? That is a HARMONIC." Yes, he was the only child to address the audience, and in such a kindly patronizing tone too. *roll eyes* And then there was the moment when he decided to try and play "Happy Farmer" with only one finger down on his bow hand... a real patience tester for his longsuffering teacher.
On the whole, though, I have to say that life with Benny and Sadie is never dull. Exasperating, exciting, interesting, annoying, thrilling, and never ever dull.
The first was the Academy of Music's Bach Festival on Sunday night, which was hosted by the Kempsville Presbyterian Church. This was a character-building experience, since was two hours long, right around the children's bed time, and we brought Sadie Grace with us. Both of them were very well-behaved, on the whole. Sadie did rearrange all the little tiny pencils in the pews, and Benny did at one point say the words, "YOU be quiet." Which is pretty unsustainable. But, he played well, and both the kids got to see a lot of much older children playing difficult and serious piececs with earnest concentration, which is a good thing for them to see. Now that Benny is into book 3, and there aren't that many kids in his usual recital group that are ahead of him, it's good for him to see that he still has a long way to go, and to witness some kids getting to play those *really* exciting pieces.
Here's Benny playing "Musette" by J.S. Bach:
Here's a picture of Benny and Sadie with some of their musical friends:
The second performance was a luncheon at the Jewish Community Center in Virginia Beach. The Academy of Music was asked to provide some entertainment, and since only homeschoolers were available to show up at 1:00pm on a Monday, it was an all-homeschoolers performance! Sean, Benny, and Adam entertained the seniors at the luncheon, and Mrs. Ford gave a little talk about the Suzuki method. The highlight of the event was the premier of an original composition by one of the students. Adam, who is 15, has written several pieces, and this one is called "Duet #1 in G Minor." He performed it with Mrs. Ford and it was a big hit:
Adam is great, isn't he?!?! A local gem. If you want, you can go to this YouTube page where this is hosted, and comment on his movie. That would be awesome.
Here's a picture of Benny and Sean warming up before the performance.
So, a very violincentric weekend. There were ups and downs, of course. On Sunday night, when Benny finished with Musette, he hollered out this from the stage: "Hey, did you see when I put my hand way up here on the fingerboard? That is a HARMONIC." Yes, he was the only child to address the audience, and in such a kindly patronizing tone too. *roll eyes* And then there was the moment when he decided to try and play "Happy Farmer" with only one finger down on his bow hand... a real patience tester for his longsuffering teacher.
On the whole, though, I have to say that life with Benny and Sadie is never dull. Exasperating, exciting, interesting, annoying, thrilling, and never ever dull.
Friday, November 17, 2006
Goodbye, Suzuki Book 2
Benny had his Book 2 Graduation Recital last week. That's right. No more Chorus. No more Musette. No more Lully Gavotte! I'm just so... HAPPY.
It was a festive night. Because it was on election day, we decided to do a patriotic theme. Sadie wore the Uncle Sam outfit that Benny used to campaign for John Kerry in 2004. I added a flower to the lapel and did a ceremonial smudging with sage-and-citrus fabric spray from Yankee Candle, to remove all those John Kerry-ish residual energies. The man of the hour, Benny wore a flag jacket that I made immediately before the recital.
It's important to have a theme and dress up and create a lavish buffet for these events. We just don't have enough to do without extending ourselves in this way. Fortunately the buffet was handled by Ahno, so all I had to do was make sure the kid practiced his songs, and of course create the patriotic fashions.
Here's a picture of the kids in their outfits:
Here's a picture of Benny with his awesome violin teacher, Mrs. Ford, at the Academy of Music:
Here's a video of Benny playing Bourree by Handel. He kept doing the repeat again and again until Mrs. Ford kindly prompted him to move on to the run that starts with F sharp. :D His *fantastic* accompanist, Mrs. Pougher, never missed a beat.
Here's a side note, as I write this blog: Benny heard the video playing, and was walking around the downstairs looking for the source. I saw him putting his ear up to the baby monitor, and then he asked me, "Mommy, where is the Book 2 CD coming from? Is it upstairs?" I said, "That's not the CD, baby, it's you." He said, very quietly, "Is that music coming from inside my head?" Hehehe. NO, it's not your imagination, it's YOUTUBE, Benny! *cackle*
The recital was fantastic. Benny and another student at the Academy both graduated from Book 2 at the age of six and a half, which is pretty impressive. It *was* impressive that he played well, and that he remembered his songs, and that he had such poise and aplomb in front of his audience. He
What pleased me the most, however, was the fact that I saw him specifically thinking about things we had worked on that week, and I saw him specifically trying to implement little things that Mrs. Ford had taught him. To witness him really trying to do his best, and really engaging his brain in the music, and not just whanging through it any old how, to get to the end, while he's thinking about the chandelier (as often happens in his performance situations) was really fantastic. The child is growing up.
It was a festive night. Because it was on election day, we decided to do a patriotic theme. Sadie wore the Uncle Sam outfit that Benny used to campaign for John Kerry in 2004. I added a flower to the lapel and did a ceremonial smudging with sage-and-citrus fabric spray from Yankee Candle, to remove all those John Kerry-ish residual energies. The man of the hour, Benny wore a flag jacket that I made immediately before the recital.
It's important to have a theme and dress up and create a lavish buffet for these events. We just don't have enough to do without extending ourselves in this way. Fortunately the buffet was handled by Ahno, so all I had to do was make sure the kid practiced his songs, and of course create the patriotic fashions.
Here's a picture of the kids in their outfits:
Here's a picture of Benny with his awesome violin teacher, Mrs. Ford, at the Academy of Music:
Here's a video of Benny playing Bourree by Handel. He kept doing the repeat again and again until Mrs. Ford kindly prompted him to move on to the run that starts with F sharp. :D His *fantastic* accompanist, Mrs. Pougher, never missed a beat.
Here's a side note, as I write this blog: Benny heard the video playing, and was walking around the downstairs looking for the source. I saw him putting his ear up to the baby monitor, and then he asked me, "Mommy, where is the Book 2 CD coming from? Is it upstairs?" I said, "That's not the CD, baby, it's you." He said, very quietly, "Is that music coming from inside my head?" Hehehe. NO, it's not your imagination, it's YOUTUBE, Benny! *cackle*
The recital was fantastic. Benny and another student at the Academy both graduated from Book 2 at the age of six and a half, which is pretty impressive. It *was* impressive that he played well, and that he remembered his songs, and that he had such poise and aplomb in front of his audience. He
What pleased me the most, however, was the fact that I saw him specifically thinking about things we had worked on that week, and I saw him specifically trying to implement little things that Mrs. Ford had taught him. To witness him really trying to do his best, and really engaging his brain in the music, and not just whanging through it any old how, to get to the end, while he's thinking about the chandelier (as often happens in his performance situations) was really fantastic. The child is growing up.
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