Cantiga Roda Lesson Plans

1
Lesson Plan: Cantiga de Roda for Beginning Orchestra
Lesson Length: 8 class periods, 30 minutes each, 1x per week
Grade Level: 5th
grade violin and viola group lesson (second year)
M.A. and National Music Standards (5th-6thGrade):
Cr3: Refine and complete artistic work. (5-6.M.Cr.03)
P4: Select, analyze and interpret artistic work for presentation. (5-6.M.P.04)
P5: Develop and refine artistic techniques and work for presentation. (5-6.M.P.05a)
P6: Convey meaning through presentation of artistic work. (5-6.M.P.06)
R7: Perceive and analyze artistic work. (5-6.M.R.07)
R8: Interpret intent and meaning in artistic work. (5-6.M.R.08)
Co11: Relate artistic ideas and works to societal, cultural, and historical contexts to
deepen understanding. (5-6.M.Co.11)
Click this link and then click Arts Framwork
Day 1: Review Rhythm Patterns, Begin Level 1
Objectives (teacher voice): Students will be able to...
• Name the notes in the D scale (D, e, F#, g, A, b, c#, d) and associated
fingerings
• Explain melody versus harmony in their own words
• Identify the time signature and explain what it means in their own words
• Identify and demonstrate quarter versus eighth notes
• Identify and demonstrate staccato
Objectives (student voice): I will be able to...
• Name the notes in the D scale and the fingerings for each note
• Explain melody versus harmony
• Show you the time signature and explain what it means
• Show you quarter notes versus eighth notes
• Show you what staccato means
Procedure:
Set-Up: Prepare the following in advance
• Whiteboard or Projector with D scale pattern shown
• Level 1 worksheets on each music stand
Warm-up: “I Spy” and D scale

2
• Show the following rhythm pattern on the board:
D D D D D D
▪ I Spy: Ask if students can find any “watermelons” (1+2+) or “apples”
(1 2); students who point out the rhythms will demonstrate on their
instrument (ex: “Ok Joe, show us how to play a watermelon.”)
▪ Ask a student to lead the group in playing the D scale following the
pattern above for each note
Repertoire: Cantiga de Roda Level 1
1) Teacher will explain the title before playing a recording of the original song.
i. Cantiga de Roda = Nursery Song
ii. Q: “What is a nursery rhyme? What is a nursery song?” A: Nursery = a
baby’s bedroom, so nursery song = song for babies/young children
• Q: “What songs do you remember from when you were little?”
A: (Be sure to note student responses)
2) Teacher will activate prior knowledge of time signatures, fingerings, note
names, and staccato by asking questions:
i. Q: “What looks familiar?” A: Time signature, repeat sign, bar lines
• “This time signature looks different than what we’ve seen
before (4/4 and ¾). The top number, two, means that we have
to count to two instead of four.”
ii. Show me 0, show me 1, 2, 3 (finger placements)
iii. “What does g look like? What does F# look like? Show me with your
fingers (notice the usage of lowercase versus capital letters: capital
only for string names) or.... Q: “What comes after F in the alphabet?” A:
g, 3 on D
iv. Q: “Does the dot (staccato) look familiar? What does it mean?” A: short
sound
3) Teacher will perform Level 1. Students will point to the sheet music with their
finger, pencil, or bow while listening.
i. Teacher will model how to follow the music to the beat, then audiate,
as a reminder of expected behavior for this activity.
4) Students will pluck (saying fingerings), then air-bow (saying fingerings, letter
names, moving fingers, and moving bow on arm) before playing with bow on
the D string.

3
i. Practice the first two lines, then Thumbs Up/Middle/Down
▪ Informal Assessment: Thumbs Up/Middle/Down; “How did
that go? Great, Ok, or not so good?” If there are several thumbs
middle/down, ask “What can we do differently?” to gage the
group’s understanding on how to improve. Guide students to
the answer as needed.
ii. Q: “Does the third line look familiar?” A: it’s the same as the second
line, and the fourth line is the same as the first line
5) Summarize learning by playing with bow on the D string. Bonus challenge: try
the same fingerings on A, G, E/C
Accommodations:
• Finger placements marked on instrument with color-coded stickers: red = 1,
yellow = 2 (3 for cello), green = 3 (4 for cello)
• String names labeled on bridge of instrument
• Stand partners: student is seated next to a friend/strong peer to lean on for
support and to see the expectation
• Rote examples accompanied with visuals (warm-up sheets and sheet music)
• Reference sheet for definitions of content-specific vocabulary, with visuals
• Frequent check-ins with teacher and stand partner; Thumbs
up/middle/down
• Timer shown on board for practice time
• Access to Musescore/Noteflight to track notes
Modifications:
• Repertoire provided in levels (1, 2, 3) progressively moving from fingerings
to music notation
• Modified repertoire (down beats, eighth notes (ti-ti's)
• Guided practice time: limit 3-5 repetitions then switch with partner for break
until timer goes off
• Additional time provided for asking questions/answering questions and for
listening to rote examples
Assessment:
Informal; check for understanding with Thumbs Up/Middle/Down. Ask students to show
their level of understanding with one thumb direction. Depending on the number of
thumbs middle/down, go back and address concerns as needed (chart on next page).

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Thumbs Up/Middle/Down
Thumbs Up I feel super confident about this skill/song!
Thumbs Middle I feel ok about this skill/song. With more
time, I will get better!
Thumbs Down I don’t understand this skill/song at all. I
need help.
Formal assessment will not take place until lesson 5.

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Day 2: Continue Level 1 and move on to Level 2
• Identify short sounds based on auditory skills, content-specific symbols and
context clues
• Apply prior knowledge of Level 1 to begin learning how to play Level 2
• Distinguish specific similarities and differences between Level 1 and Level 2
• Identify where they need assistance in the music
• Identify, draw, and define time signature, quarter note, and eighth notes
• Point out short sounds based on what I can hear, symbols I can see, and
based on what I already know
• Use what I already know about Level 1 to start learning how to play Level 2
• Point out specific similarities and differences between Level 1 and Level 2
• Point out where I need to ask for help in the music
• Point out, draw, and define time signature, quarter note, and eighth notes
Procedure:
• Practice checklists
Warm-up: Note Length and D scale
• Show the following rhythm pattern on the board:
D D D D D D
• Q: “Which notes are going to have a shorter sound? The quarter notes or the
eighth notes?” A: eighth notes because of the staccato marks *informal
assessment: ability to distinguish staccato notes*
• Have students listen as you play the pattern twice: once with staccato, once
without
▪ Informal assessment: assessing ability to distinguish long versus short
sounds, ability to describe the sound; as second-year musicians,
students should be able to identify the symbol and use the musical
term

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▪ “Raise your hand if you heard a difference between the first time and
the second time.” Pick 2-3 students to describe what they heard.
▪ Q: “Which sounded shorter?” A: second time
• Pick a volunteer to lead the group in playing the D scale, focus on the staccato
notes
Repertoire: Cantiga de Roda
1. Review Level 1 information from last class period, activate prior knowledge
with questioning:
i. Q: “Who remembers what this song is about?” A: Cantiga de Roda
means Nursery Song in Portuguese
ii. Q: “What string are we using?” A: the D string
iii. Q: “What is the first note? How many fingers do we need?” A: g, 3 on
D
iv. Q: “How many times do we repeat?” A: two times
v. Q: “How do we count for this song? And how do we know?” A:
Counting to two, the time signature has a 2 on top so that means we
count to two
2. Play Cantiga de Roda Level 1 as a group once. Depending on any issues that
arise, go back to those spots with everyone as needed.
i. Informal Assessment: Thumbs Up/Middle/Down before moving on to
Level 2; “How did that go? Great, Ok, or not so good?” If there are
several thumbs middle/down, ask “What can we do differently?” to
gage the group’s understanding on how to improve. Guide students to
3. Level 2: modified notation, notes are colored by fingering
i. Q: “What looks the same as before?” A: Time signature, bar lines,
staccato marks
ii. Q: “What looks different?” A: One line instead of four, music staff, lines
and spaces, no fingerings, no repeat sign, ends on a different note,
notes are colored based on finger placement (0 = black, 1 = red, 2 =
yellow, 3 = green)
▪ Remind students to fill in answers on worksheet
iii. Practice Time: Set timer for two minutes for students to practice with
a partner. Define trouble spots as notes/rhythms/finger patterns that
take more than five seconds to think of and/or demonstrate.
▪ Check List: Play together once, then take time counting each
other in to play solo. Circle any trouble spots.
▪ When the timer goes off, Thumbs Up/Middle/Down and share
trouble spots.

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Summary and Pack-Up
• Summarize learning by playing all of Level 2 as a group before dismissing for
pack-up.
Accommodations:
up/middle/down
Modifications:
to music notation
Assessment:
need help.

8
Day 3: Continue Level 2 and move on to Level 3
• Point out quarter notes versus eighth notes
• Write counting numbers for rhythmic patterns from Cantiga de Roda
• Point out quarter versus eighth notes
• Use what I already know about Level 2 to start learning how to play Level 3
• Point out where I need to ask for help in the music
• Point out, draw, and define time signature, quarter note, and eighth notes
• Write the counting numbers for rhythms from Cantiga de Roda
Procedure:
Warm-up: Do Now and D scale
with questioning:
i. Q: “Who remembers what this song is about?” A: Cantiga de Roda
means Nursery Song in Portuguese
ii. Q: “What string are we using?” A: the D string
iii. Q: “What is the first note? How many fingers do we need?” A: g, 3 on D
iv. Q: “How do we count for this song? And how do we know?” A:
Counting to two, the time signature has a 2 on top so that means we
count to two
2. Play Cantiga de Roda Level 2 as a group once. Depending on any issues that
arise, go back to those spots with everyone as needed.
▪ Informal Assessment: Thumbs Up/Middle/Down before moving on to
Level 2; “How did that go? Great, Ok, or not so good?” If there are
several thumbs middle/down, ask “What can we do differently?” to
gage the group’s understanding on how to improve. Guide students to

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4. Level 3: the entire melody
i. Q: “What looks the same as before?” A: Time signature, bar lines,
staccato marks
ii. Q: “What looks different?” A: Two lines instead of one, no colors, no
fingerings
iii. I Spy: How many ______ can you find?
▪ Have students count how many pairs of quarter notes (apples)
and groups of eighth notes (watermelons) they can find (17
quarter notes = around 8 pairs, 28 eighth notes = 7 groups of
four)
▪ Remind students to fill in answers on worksheet
iv. Practice Time: Set timer for two minutes for students to practice with
a partner. Define trouble spots as notes/rhythms/finger patterns that
take more than five seconds to think of and/or demonstrate.
▪ Check List: Play together once, then take time counting each
other in to play solo. Circle any trouble spots.
▪ When the timer goes off, Thumbs Up/Middle/Down and share
trouble spots.
Summary and Pack-Up
• Summarize learning by playing the first line as a group before dismissing for
pack-up.
Accommodations:
up/middle/down
Modifications:
to music notation

10
Assessment:
thumbs middle/down, go back and address concerns as needed.
need help.

11
Day 4: Continue Level 3, prepare for assessment, and learn about game
• Count, out loud and writing, for quarter note and eighth note patterns
• Self-assess ability to play Level 3 based on trouble spots in the music
• Apply musical knowledge to cultural experiences
• Count out loud and write counting numbers for rhythm patterns with quarter
and eighth notes
• Tell you about my progress on Level 3 based on trouble spots I marked in the
music
• Point out, draw, and tell you about time signature, quarter note, and eighth
notes
• Use what I know about music to learn about a game from another culture
Procedure:
• João Sapateiro video
Warm-up: Counting Review, D scale
▪ Review Counting: “ If (quarter note)= 1 and (two eighth
notes)= 1+, then how would we count this pattern?” have students
write their answer on their worksheet
▪ Have a volunteer lead the group playing the D scale with the pattern
with questioning *This strongly depends on the pacing of your group, if they
needed more time then you will need to cover Level 3 information before
moving on*

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i. Q: “Who remembers what is different between Level 2 and Level 3?”
A: Two lines instead of one, no colors, no fingerings
ii. Q: “What string are we using?” A: D string
iii. Q: “What is the first note of the first line? How many fingers do we
need? What is the first note of the second line?” A: g 3 on the D string;
3 on D string
iv. Q: “How are we counting?” A: counting to two
2. Practice then Play
i. Practice Time: Set timer for two minutes for students to practice with
a partner. This is a time for you to check in on students’ trouble spots
from last time. Informal assessment: anecdotal evidence of students’
understanding of how to practice trouble spots.
1. Check List: Pick one spot to practice slowly. When their
partner says they played perfectly three times in a row, they
switch.
ii. When the timer goes off, get ready to play together one more time.
*Skip this if your group is confident in their understanding of Level 3*
iii. Play Level 3 as a group once. Depending on any issues that arise, go
back to those spots with everyone as needed.
• Informal Assessment: Thumbs Up/Middle/Down before
moving on to the game, “How did that go?” If there are several
thumbs middle/down, ask “What can we do differently?” to
gage the group’s understanding on how to improve. Guide
students to the answer as needed.
3. New: Game (João Sapateiro | Ciranda indígena | Cantiga de roda | Série Auê
1T) *This isn’t the exact song, but it sounds very similar. There are lyrics, but
they won’t match exactly with the notes.
i. Show the video as an example, then ask students “What did you
notice?” reflect as a group
• Standing in a circle, passing a shoe around during the song
• One person in the middle has to pick who they think has the
shoe when the song ends
• Similar to duck-duck-goose
ii. Set ground rules: one at a time, everyone will get a turn
iii. If the person in the middle picks the wrong person, they’re out and the
person chosen becomes the new middle person.
• After first round, try having students play their instrument
after they’ve exited the circle

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Summary and Pack-Up
• Summarize learning by playing Level 3 one more time as a group. Remind
students that a Playing Test (Formal Assessment) will take place next time.
Accommodations:
up/middle/down
Modifications:
to music notation
Assessment:
thumbs middle/down, go back and address concerns as needed.
need help.

14
Day 5: Assessment and Game
• Count, out loud and writing, for quarter note and eighth note patterns
• Self-assess ability to play Level 3 based on trouble spots in the music
• Count out loud and write counting numbers for rhythm patterns with quarter
and eighth notes
• Tell you about my progress on Level 3 based on trouble spots I marked in the
music
• Point out, draw, and tell you about time signature, quarter note, and eighth
notes
• Use what I know about music to learn about a game from another culture
Procedure:
• Whiteboard or Projector with video and lyrics for João Sapateiro
• Level 4 and Level 5 worksheet, double sided, with lyrics
Warm-up: Rhythm Smack (informal assessment) using the Rhythm Randomizer
https://www.rhythmrandomizer.com/
• Directions: Split the group into two teams. Each team will have one swatter
tasked with hitting each rhythm for points. Tell them to either look for
watermelons (eighth notes) or apples (quarter notes). When one swatter
gets three points in a row, they trade to a team member. When one swatter
gets three wrong in a row, they’re out. The team with the most points wins
bragging rights.
Repertoire: Cantiga de Roda Melody assessment
with questioning *This strongly depends on the pacing of your group and
what their needs are. Select questions at your discretion. *
i. Play Level 3 as a group once. Depending on any issues that arise, go
back to those spots with everyone as needed.
• Informal Assessment: Thumbs Up, Thumbs Middle, Thumbs
Down before moving on to the Hopscotch Game, “How did that
go?” If there are several thumbs middle/down, ask “What can

15
we do differently?” to gage the group’s understanding on how
to improve. Guide students to the answer as needed.
2. Formal Assessment; review the following expectations before assessing each
student individually
i. Students are expected to practice while waiting for their turn.
ii. Students have a choice of Level 1, 2, or 3; but any students that choose
Level 1 or 2 will be asked to show their sheet music for Level 3
iii. “This Playing Test will be noted on the progress report, so do your
best!”
3. Game (João Sapateiro | Ciranda indígena | Cantiga de roda | Série Auê
1T) *This isn’t the exact song, but it sounds very similar. There are lyrics, but
they won’t match exactly with the notes.
I. review rules from day 4 as needed
Summary and Pack-Up
• Dismiss for pack-up.
Accommodations:
up/middle/down
Modifications:
to music notation

16
Assessment:
thumbs middle/down, go back and address concerns as needed (chart on next page)
need help.
Formal Assessment on Cantiga de Roda based on the following rubric (next page)
Assessment Accommodations/Modifications:
Allow students to perform with a partner if desired
Modified selection: student choice of line (depending on level selected)
Student choice of Level 1, 2, or 3; students that select Level 1 or 2 must show their written
work on Level 3 (note names, fingerings, circled spots)
Other specific IEP/504 accommodations/modifications are case-by-case (rubric on next
page).

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Achievement Exceeding
Expectation
4
Meeting
Expectation
3
Progressing to
Expectation
2
Not Yet
Meeting the
Expectation
1
Symbol
Identification
Note Reading
Student can identify
all music symbols
without assistance
and could teach this
skill to someone
else.
75% of music
symbols with a few
reminders.
50% of music
symbols with
several reminders.
Student cannot
identify music
symbols without
hand-over-hand
assistance.
Rhythm
Performing with a
steady beat
Student can perform
with a steady beat
without assistance
skill to someone
else.
Student can perform
with a steady beat
75% of the time,
with a few
reminders.
Student can perform
with a steady beat
for 50% of the time,
with several
reminders.
Student cannot
perform with a
steady beat without
hand-over-hand
assistance.
Posture
Maintaining active
musician posture
Student can
maintain active
musician posture
without assistance
skill to someone
else.
Student can
maintain active
musician posture for
75% of the time,
with a few
reminders.
Student can
maintain active
50% of the time,
with several
reminders.
Student cannot
maintain active
musician posture
without hand-over-
hand assistance.
Left Hand
Position
and Finger
Placement
Student can move
their left hand
fingers to the proper
placements without
assistance and could
teach this skill to
someone else.
Student can move
their left hand
placements 75% of
the time with a few
reminders.
Student can move
their left hand
placements for 50%
of the time, with
several reminders.
Student cannot
move their left hand
placements without
hand-over-hand
assistance.
Right Hand
Position
Student can
maintain bow hold
and position without
teach this skill to
someone else.
Student can
maintain bow hold
and position 75% of
the time with a few
reminders.
Student can
maintain bow hold
and position for
50% of the time,
with several
reminders.
Student cannot
maintain bow hold
hand-over-hand
assistance.

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Day 6: Start Level 4 and preview Level 5
• Identify G string notes based on visual cues, content-specific symbols, and
auditory cues
• Point out G string notes based on what I see and what I hear
• Use what I know about Level 2 to start Level 4
• Show you where I need help in the music
Procedure:
• Whiteboard or Projector with level 2 and level 4 next to each other
• lyrics for the game ready on a new tab
Warm-up:
Repertoire: *note reading assessment by coloring notes themselves
1. New: Level 4 Harmony
i. Review: What is a melody? What is a harmony?
ii. Q: “What looks the same as the melody (level 2)? What looks
different?” A: Same = Colors, staccato, time signature; different = notes
look lower on staff
Remind students to fill in answers on worksheet
2. Note reading review: clefs and G string
i. Violin = treble clef, G string notes use leger lines below the staff
ii. Viola = alto clef, G string notes occur on the lower part of the staff
below the middle line (third line from bottom)
iii. Letters move in ABC order, numbers move from small to large
a. Remind students fill in answers on worksheet; circle all G
string notes = assessment
3.Point-and-say, pluck/air-bow, arco
i. Point-and-say: point with pencil/finger/bow while saying the
letters/fingerings as a group

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ii. Pluck/air-bow: give students the choice to either pluck or air-bow,
then go through the song again but have students switch to the
method they didn’t use
iii. Arco: students play with flat bow hair on the string
4. Informal Assessment: Thumbs Up, Thumbs Middle, Thumbs Down before
moving on, “How did that go?” If there are several thumbs middle/down, ask
“What can we do differently?” to gage the group’s understanding on how to
improve. Guide students to the answer as needed.
Summary and Pack-Up
• Summarize learning by playing the first line as a group before dismissing for
pack-up.
Accommodations:
up/middle/down
Modifications:
to music notation
Assessment:

20
need help.

21
Day 7: Review Level 4 and Start Level 5
• Identify notes on the G string
• Self-assess ability to play Level 4 and Level 5 based on trouble spots in the
music
• Label and name notes on the G strings
• Tell you my progress on Level 4 and Level 5
• Use what I know about the music to predict what the game will be like
Procedure:
• Name That Tune sheets on each stand
Warm-up: G string Name That Tune (Adams Family: 0123)
• Set timer for two minutes for students to practice/see if students recognize
the song
• Share-out before playing together
1. Review Level 4
i. Give students practice time for two minutes before playing together
(may not be needed depending on your group’s progress)
ii. Follow practice time choice-board
iii. Play Level 4 together as a group
2. Coloring: have students color code Level 5 with crayons/colored
pencils/stickers, working alone or with a partner (red = 1, yellow = 2, green =
3; G string notes circled).
i. Have students show you when they’re done. When they receive a
checkmark on their worksheet, they can practice. When everyone is
done, play Level 5 together.
• Remind students to answer questions on worksheet
3. Melody and Harmony: divide the group so that an even number is playing the
melody AND the harmony at the same time.
i. Have one group play first with the other pointing and following their
notes or air-bowing, then have the groups switch
ii. Have everyone play their part then Thumbs Up/Middle/Down “How
did that go?” If there are several thumbs middle/down, ask “What can

22
we do differently?” to gage the group’s understanding on how to
improve. Guide students to the answer as needed.
Summary and Pack-Up
• Summarize learning by playing the Harmony as a group. Remind students
that the last Playing Test (formal assessment) for Cantiga de Roda will take
place next time. Have students pick partner (if desired) to prepare for next
class (assessment can be completed with a partner playing either
melody/harmony).
Accommodations:
up/middle/down
Modifications:
to music notation
Assessment:

23
need help.

24
Day 8: Level 5, Duets, and Assessment
• Demonstrate their progress on Level 5
• Play their part against another (melody and harmony)
• Explain, using content-specific vocabulary, why they believe the melody and
harmony from Cantiga de Roda are appropriate to set to the game João
Sapateiro
• Show my progress on Level 5
• Play my part while my partner plays theirs
• Tell you why I think Cantiga de Roda does/does not fit João Sapateiro
Procedure:
• Whiteboard or Projector with lyrics shown
Warm-up: Run-Through time
• Run-through the harmony Level 5 together as a group before moving on
• Define Run-through as playing without stopping for mistakes; “performance
mode”
1. Review Level 5
i. Give students practice time for three minutes before playing together
(may not be needed depending on your group’s progress; any
groups/students that feel ready for assessment are welcome to play)
ii. Follow practice time choice-board (see Appendix F)
iii. Thumbs Up/Middle/Down “How did that go?” If there are several
thumbs middle/down, ask “What can we do differently?” to gage the
group’s understanding on how to improve. Guide students to the
answer as needed
2. Assessment
i. Listen to duets; students have choice of which part they play first, but
must be prepared to play the other as well (just ask for one line)
ii. students have choice of which level they play but are required to show
their worksheets for all levels
iii. When students finish, they need to write their answer to the following
prompt: Now that you have lyrics that may be linked to this song,
what do you think they mean? Do you think the lyrics from João
Sapateiro go with Cantiga de Rhoda?

25
Summary and Pack-Up
• Congratulate everyone on their hard work, then dismiss for pack-up.
Accommodations:
up/middle/down
Modifications:
to music notation
Formal Assessment on Cantiga Roda based on the following rubric (next page)
Assessment Accommodations/Modifications:
• Allow students to perform with a recording if desired (assessment requires playing
with the opposite part)
• Modified selection: student choice of line (depending on level selected)
• Student choice of Level 1, 2, or 3; students that select Level 1 or 2 must show their
written work on Level 3 (note names, fingerings, circled spots)
Other specific IEP/504 accommodations/modifications are case-by-case (chart on next
page).

26
Achievement Exceeding
Expectation
4
Meeting
Expectation
3
Progressing to
Expectation
2
Not Yet
Meeting the
Expectation
1
Symbol
Identification
Note Reading
all music symbols
without assistance
skill to someone
else.
75% of music
symbols with a few
reminders.
50% of music
symbols with
several reminders.
Student cannot
identify music
symbols without
hand-over-hand
assistance.
Rhythm
Performing with a
steady beat
Student can perform
with a steady beat
without assistance
skill to someone
else.
Student can perform
with a steady beat
75% of the time,
with a few
reminders.
Student can perform
with a steady beat
for 50% of the time,
with several
reminders.
Student cannot
perform with a
steady beat without
hand-over-hand
assistance.
Posture
Maintaining active
musician posture
Student can
maintain active
musician posture
without assistance
skill to someone
else.
Student can
maintain active
75% of the time,
with a few
reminders.
Student can
maintain active
50% of the time,
with several
reminders.
Student cannot
maintain active
musician posture
without hand-over-
hand assistance.
Left Hand
Position
and Finger
Placement
Student can move
their left hand
placements without
teach this skill to
someone else.
Student can move
their left hand
placements 75% of
the time with a few
reminders.
Student can move
their left hand
placements for 50%
of the time, with
several reminders.
Student cannot
move their left hand
placements without
hand-over-hand
assistance.
Right Hand
Position
Student can
maintain bow hold
teach this skill to
someone else.
Student can
maintain bow hold
and position 75% of
the time with a few
reminders.
Student can
maintain bow hold
and position for
50% of the time,
with several
reminders.
Student cannot
maintain bow hold
hand-over-hand
assistance.

27
Content-Specific Vocabulary
* = definition provided by NAFME’s Core Music Standards Glossary
+ = definition provided by the OnMusic dictionary
All other definitions self-created
Air-bow A method to encourage audiation.
Violinists and violists place their bow stick
side down on their left elbow and move it
as if playing on the string. Cellists hover
their bow stick side down above the
strings. Everyone says the note names or
fingerings.
*Audiate; Audiation Hear and comprehend sounds in one’s head
(inner hearing), even when no sound is
present.
+Clef; Treble and Alto A symbol placed at the beginning of the
staff to denote which notes are indicated by
the lines and spaces. The Treble Clef, also
known as the G clef, is used by instruments
such as the violin and the flute. The Alto
Clef contains an arrow which points to the
third line, indicating middle C. The viola
regularly uses alto clef, but rarely uses
treble clef.
Fingerings Finger placements, written in number form
above the printed note (0 = open/no
fingers, 1 = pointer finger on red, 2= middle
finger on yellow,3 = ring finger on green, 4
= pinky on blue).
+Ledger Lines The short, horizontal lines added to the top
or the bottom of a staff for the indication of
notes too high or too low to be represented
on the staff proper.
Pluck/Pizzicato Pulling on any string to make a ringing,
resonant sound. Typically executed with
the pointer finger. Pizzicato (Pizz.) is the
musical term, interchangeable with Pluck.
*Repertoire Body or set of musical works that can be
performed.
Rests; Quarter Rests In music, a Rest indicates silence. There are
different names for different lengths of
silence. Cantiga de Roda uses one Quarter
Rest, which is equal to a quarter note.
Sheet Music The piece of paper that tells musicians
what to play and how. This can be western

28
standardized music notation on the staff,
fingerings, letter names, a lead sheet with
chord symbols, or tablature (a picture that
shows finger placement).
Staccato vs Legato Staccato is the musical term for “short
sound.” This is executed by moving the bow
at a shorter length, briefly stopping
between notes. By contrast, Legato is the
musical term for “long sound.” This is
executed by moving the bow longer lengths
for a smooth sound.

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