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WEEK 9--THE MAJOR SCALE / READING IN C MAJOR LESSON 25

1. 2. 3. 4. 5. 6. 7. 8. 9. Discuss objectives for week 9. Discuss Unit 7--Worksheet Review answers (pp. 137-138) or collect the worksheets for instructor to grade. Introduction to The Major Scale and The C Major Scale (p. 139). Introduction to The Major Scale in Tetrachord Position and The C Major Scale in Tetrachord Position (p. 140). Introduce Practice Strategies--Warm-up Scale Preparation Exercises in C Major (pp. 140-141). Introduce Playing the C Major Scale in Contrary Motion (p. 141). Introduce Playing the C Major Scale in Parallel Motion (p. 142). Introduce Scale Study No. 1 (p. 142). Introduce Scale Study No. 2 (p. 143).

10. Introduce Michael, Row the Boat Ashore (pp. 143-144). 11. Review Harmonizing a Lead-Line Melody--Alleluia (p. 133). 12. Review Kum Ba Yah (p. 122). 13. Review Solo Repertoire--Perpetual Rock (pp. 124-125) and/or Time-Clock Blues (p. 126). 14. Review Practice Strategies--Direct Pedaling Study (p. 127). 15. Review Solo Repertoire--Moonlit Sea (p. 128) and/or Scottish Highlands (p. 129). 16. Review Ensemble--Canon (pp. 130-131).

ASSIGNMENT 1. 2. 3. 4. 5. 6. 7. 8. 9. Playing the C Major Scale in Tetrachord Position (p. 140). Practice Strategies--Warm-up Scale Preparation Exercises in C Major (pp. 140­141). Playing the C Major Scale in Contrary Motion (p. 141). Playing the C Major Scale in Parallel Motion (p. 142). Scale Study No. 1 (p. 142). Scale Study No. 2 (p. 143). Michael, Row the Boat Ashore (pp. 143-144). Review Solo Repertoire--Perpetual Rock (pp. 124-125) and/or Time-Clock Blues (p. 126). Review Solo Repertoire--Moonlit Sea (p. 128) and/or Scottish Highlands (p. 129).

10. Review Ensemble--Canon (pp. 130-131). Study each of the four parts. TEACHING TIPS 1. Stress that students work for complete evenness from note to note and from hand to hand when playing tetrachord scales. They should listen carefully to themselves to make sure that their thumbs are not played more heavily than any of their other fingers. Using cluster groupings when first learning to play major scales is a great learning aid for students because they can get a stronger kinesthetic "feel" of the scale as well as a more solid visual picture of the scale formation.

2.

POSTSCRIPT When students are first learning to play scales, they sometimes have a tendency to throw out their elbows when crossing over and/or under. To curtail this tendency, I suggest that they take the hand that isn't playing and gently cup the elbow of the opposite arm so that it remains hanging gently to the side of the body.

Sometimes students also twist their hands when crossing the thumb in playing the scales. Having students place a quarter on top of each of the hands before starting to practice the scales can be helpful in correcting this problem quickly and efficiently.

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