2014

Simply Strings

SANTA ROSA SYMPHONY

Faculty Manual
7/21/2014
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Table of Contents
PROGRAM DESCRIPTION

MISSION, VISION, GOALS……………………………………………………………………………………………………..…....3

CORE VALUES, OUTCOMES AND INDICATORS………………………………………………………………………..……4

STUDENT EVALUATION .……………………………………………………………………………………………………………….5

PROGRAM EVALUATION……………………………………………………………………………………………………………...5

PROGRAM SCHEDULE…………………………………………………………………………………………………………………...6

CURRICULUM FRAMEWORK

SIMPLY STRINGS STANDARDS LEVEL ONE……………………………………………………………………………………8

SIMPLY STRINGS LEARNING SEQUENCE………………………………………………………………………………….……13

SUGGESTED REPERTOIRE………………………………………………………………………………………………………………14

SIMPLY STRINGS TEMPLATES

LESSON PLANNING TEMPLATE …………………………………………………………………………………………………….16

CLASSROOM RULES AND PROCEDURES TEMPLATE………………………………………………………………………17

CONCERT PREPARATION TEMPLATE…………………………………………………………………………………………….18

CURRICULUM MAP -FIVE YEAR PERSPECTIVE………………………………………………………………………………21

CURRICULUM MAP-ONE YEAR PERSPECTIVE……………………………………………………………………………….22

CURRICULUM MAP- ONE WEEK PERSPECTIVE………………………………………………………………………………23

SIMPLY STRINGS FORMS

INSTRUMENT REPAIR FORM………………………………………………………………………………………………………….25

SUPPLY ORDER FORM ……………………………………………………………………………………………………………………26

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PROGRAM DESCRIPTION
As part of the Santa Rosa Symphony’s Integrated Community Music Education Department, Simply Strings has a focused set of
goals that fit into a larger, broader context. Students from Simply Strings will feed into the Youth Ensembles, where they will have
further opportunities to excel and be inspired. From the beginning of their Simply Strings experience, participants will work with
mentors from these Youth Ensembles, who are offered a scholarship in exchange for their service to the community.

It’s Elementary Simply Summer Music Academy

Strings

Training Young Musicians

String Orchestra Workshop
Music For Schools

Link Up National

Youth Discovery Cards Preparatory Orchestra

Repertory Orchestra

Elementary School
Listening Program
Young Peoples Chamber
Orchestra

Free Concerts for Youth

Youth Orchestra

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PROGRAM MISSION
Simply Strings is a free, daily, intensive, after school youth development program that utilizes high quality
music education to help socioeconomically disadvantaged children to reach their full potential.

PROGRAM VISION
By providing a safe, nurturing, and supportive environment for social, musical, and academic development,
Simply Strings will enhance each child’s ability to reach their full potential as a lifelong learner, musician, and
citizen. By increasing protective factors, Simply Strings will decrease student’s potential to engage in high-risk
behavior, and increase pro-social behavior.

CORE VALUES, OUTCOMES AND INDICATORS

Simply Strings is aligned with the Core Values of the National Alliance for El Sistema Inspired programs, as
outlined by Eric Booth, with input from the 2009-10 class of Sistema Fellows and March Churchill. The chart
on the next page details these values in action.
El Sistema is … a set of inspiring ideals which inform an intensive youth music program that seeks to effect social change through
the ambitious pursuit of musical excellence. El Sistema focuses primarily on children with the fewest resources and greatest need:

 Every human being has the right to a life of dignity and contribution, filled with beauty.

 Every child can learn to experience and express music and art deeply, can receive its many benefits, and can
make different critical life choices as a result of this learning.

 Overcoming poverty and adversity is best done by strengthening the spirit, creating, as Dr. Abreu puts it, “an
affluence of the spirit,” and investing that affluence as a valued asset in a community endeavor to create
excellence and beauty in music.

 Effective education is based on love, approval, joy, and consistently successful experiences within a high-
functioning, aspiring, nurturing community. Every child has limitless possibilities and the ability to strive for
excellence. “Trust the young,” informs every aspect of the work.

 Learning organizations never arrive but are always becoming—striving to include: more students, deeper
impact, greater musical excellence, better teaching, improved tools, more joy. Thus, flexibility, experimentation,
risk-taking, and collegial exchange are inherent aspects of every program.

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CORE VALUES
Mission of Social Change
Access and Excellence
The Núcleo environment
Intensity
The use of ensemble
The CATS teacher model:
Citizen/Artist/Teacher/Scholar
The multi-year continuum
Family and community
inclusion
Connections and network
Ambition and achievement
OUTCOMES
-developing citizenship in students
-mentorship and peer-teaching
-Powerful intrinsic motivation in students
-including as many children as possible
-serving those children into adulthood
- accomplished older children return to mentor
their younger counterparts
-maintaining a safe, fun, joyous and friendly
physical location
-Physical space is used to support other
community needs
-keeping rehearsals fast-paced, rigorous and
demanding
-developing strong work ethic
-performing frequently
-students identify most as part of the ensemble,
secondarily as violinists
-orchestra is a model society striving toward a
common goal/aspiration
-adults working with students to develop as
educators, lifelong learners and responsible
citizens
-students see their teachers perform regularly
-students see their teachers engage in the
community in other ways
-students remain in the program from early
childhood into adulthood
-program meets developmental needs
throughout
-families participate as volunteers
-families find self-directed ways to support
student learning
- parent ensembles
-frequent outreach concerts in the community
-maintaining standards held by a broader,
national network
-participating in seminarios and regional
activities whenever possible
-students participating in project-based learning
in the community, networking with other
agencies
-community aligns to strive toward excellence
-students learn that they can take on difficult
challenges in life and succeed
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INDICATORS
-students show increased interest in participating
-students help one another as they learn to care for their
instruments and each other
-students can be found practicing and playing with their
knowledge during free-play time
-minimal waitlist, admission of all students if possible
-minimal attrition
-students engage with older, more advanced students
regularly
-students enroll in the mentorship program once they’ve
attained membership in the Youth Ensembles
-students express enthusiasm for attending the program
-parents feel comfortable volunteering, visiting the
classrooms and organizing other activities on site
-students, teachers and staff are supportive and positive
-students show eagerness for new performance
opportunities
-parents report increased interest in working toward a goal
-students work hard to keep up with challenging tasks
-students introduce themselves as part of the orchestra,
expressing pride in their membership
-students’ play time reflects goal-setting and striving
toward something new
-students and teachers talk openly about topics that
interest them
-teachers discuss/address good examples of citizenship
-teachers encourage their students to attend their
performances, and arrange frequent student performances
-students and teachers interact in the community around
important events and issues
-retention is high, students and families remain involved
-teachers can produce information about the
developmental needs of their students
-children receive adequate play time to balance their work
-students audition for Youth Ensembles
-growing interest among parents in supporting the program
-parent booster committee formed, fundraising and other
efforts self-directed
-parents express interest in ensembles, participation is high
-community members seek program for performances
-policies and procedures align with standards, philosophies
peer-reviewed, etc.
-inclusion in collaborative events is common, invitations are
frequent
-students self-coordinate projects in their neighborhood,
and connect with local agencies
-orchestra maintains an identity and families and
participants express pride, goals are high and attainable
-increased expression of desire to achieve ambitious goals
from students and families
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STUDENT EVALUATION
MUSICAL DEVELOPMENT

Musical development will be tracked through careful periodic evaluations of in- and out-of-class performance. Each individual will
have the list of desired musical skills in a file (please see Simply Strings Musical Standards later in this document). Teachers will
track and report on progress as individual students meet these goals. Once the entire class has mastered a skill, it will be performed
by the ensemble for an audience of some kind. Mastery is defined as the consistent ability to demonstrate the skill over a
prolonged period of time. All students theoretically begin with the same baseline set of skills, having had no formal instruction in
music.

SOCIAL DEVELOPMENT

Social development will be tracked using a combination of parent surveys and classroom teacher produced, school-wide report
cards. The report cards track the child’s work habits, specifically: Effort, Participation, Homework, Behavior in class, Behavior out of
class. Students are either meeting goals, progressing toward goals or in need of improvement. The parent survey includes the
following questions:

 How interested is your child in coming to school?

 How much time does the family spend together?
 How often does the child express an interest in achieving excellence in arts, sports or other academics?
 How concerned are you about your child's interest in gangs or other dangerous activities?
 Have you noticed any change in your child's confidence, shyness, social connections or other areas?

ACADEMIC DEVELOPMENT

Academic development is tracked using report cards primarily. A control group of 20 students will be consistently compared to the
participant report cards. Student progress, tracked using the standard classroom teacher report cards produced at the beginning of
each year is assessed using the following categories: Language Arts: reading, Language Arts: writing, Mathematics, and Science.

PROGRAM EVALUATION
END OF YEAR PROGRAM SURVEYS TO PARTICIPANTS AND PARTNERS

Administrative staff and teaching staff performance will be evaluated by the participants and partner organizations. Surveys will be
distributed to parents, students, partner organizations and faculty with questions measuring the effectiveness of the program as a
whole. For example, the teaching faculty will return anonymous evaluations of administrative staff and program design. Students
will return anonymous evaluations of teachers and administrative staff. Parents will return anonymous evaluations of
administrative staff and program design. Content from these surveys will be used to improve program design and teaching
methods in future years.

ANNUAL REPORTS

Each year, the program will grow and change. At the end of the year, all data collected will be compiled into a report which can be
shared and compared with other similar programs, as well as funders.

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PROGRAM SCHEDULE
nd
Over the course of five years, a new class of 2 graders will be added each year. The chart below shows how each class will flow
throughout the day. “Violin 1” offers basic violin technique for beginners, “FUN” offers musicianship skills in a focused, classroom
environment, with influence from Kodaly, Orff, Dalcroze and even Suzuki. “Violin 2” is more specialized violin technique, and
“Beg.Ens” is the first opportunity for students to do ensemble work in multiple parts, in an orchestral setting.

FIVE YEAR FLOW

YEAR ONE YEAR TWO YEAR THREE YEAR FOUR YEAR FIVE
3:30- GRADE 2 VIOLIN1 GRADE 3 BEG.ENS GRADE 3-4 BEG.ENS GRADES 3-4 BEG.ENS GRADES 3-4 BEG.ENS
4:30 2nd GRADE VIOLIN 1 2nd GRADE VIOLIN 1 2nd GRADE VIOLIN 1 2nd GRADE VIOLIN 1
5TH GRADE VIOLIN 4 5TH GRADE VIOLIN 4
6TH GRADE VIOLIN 5
4:30-4:45 BREAK
4:45 - 2ND FUN 2ND GRADE FUN 2ND GRADE FUN 2ND GRADE FUN 2ND GRADE FUN
5:30 GRADE
3RD GRADE VIOLIN 2 3RD GRADE VIOLIN 2 3RD GRADE VIOLIN 2 3RD GRADE VIOLIN 2
4TH GRADE VIOLIN 3 4TH GRADE VIOLIN 3 4TH GRADE VIOLIN 3
5th GRADE ADV.ENS 5th and 6th ADV. ENS
GRADES

FUN= FUNDAMENTALS

WEEKLY FLOW

The schedule from Monday-Friday is listed below, with the teacher specification in the first column on the left. Wednesdays are
minimum days, and the entire class day will be focused on ensemble work, bringing the entire program together once a week for a
larger, peer-oriented experience.

YEAR TWO
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY
1:15-3:15
3:30- SF2 Beg. Ensemble Beg. Ensemble ENSEMBLE Beg. Ensemble Beg. Ensemble
4:30 SF1 Violin 1 Violin 1 or Violin 1 Violin 1
4:45- SF2 Fundamentals Fundamentals FUNDAMENTALS Fundamentals Fundamentals
5:30 SF1 Violin 2 Violin 2 Violin 2 Violin 2

FF=Fundamentals Faculty

SF1=String Faculty 1

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CURRICULUM FRAMEWORK

This framework is intended to support the process of aligning the work of the
faculty with the work of the administration. Teachers are highly encouraged to
experiment and adjust the specific components of this framework as needed to
make their groups excellent. Students will thrive most if the work of all of the
program’s contributors follows some common architectural themes, each new
class of students will be better equipped to mentor and support their peers if
they’ve learned in a similar fashion. This is by no means meant to restrict the
creativity of the faculty, but instead to draw connections between them and
help to hold them together as a team.

*Some of the structure and components of this manual were inspired by the Curriculum Framework of El Sistema Somerville.

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SIMPLY STRINGS STANDARDS- LEVEL ONE

•Posture/Balance
•Left Hand
•Right Hand
String Technique •Tone Production
•Bowing
•Synthesis

Ensemble Skills

•Active Listening and Awareness

•Peer Mentorship
•Respect and Responsiveness

Musicianship

•Creativity/Expression
•Music Literacy
•Cultural Literacy
•Performance Skills

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ENSEMBLE SKILLS

ACTIVE LISTENING AND AWARENESS

1. Playing and singing in groups, blending timbres both vocal and instrumental, matching dynamic levels, responding to the
conductor (National Standards 1.e and 2.e)
2. Cueing, moving and breathing with others*
3. Showing and keeping a common steady beat with others*

PEER MENTORSHIP

1. Supporting the learning of others by modeling personal dedication to high standards*

2. Using spare time efficiently to support other students’ musical needs
3. Working as junior mentors with the Youth Ensembles mentors in small groups or one-on-one to support students that
need to progress more quickly.
4. Cultivating community belonging (creating group identity, reaching out to section members, giving cards for birthdays,
etc.)

RESPECT AND RESPONSIVENESS

1. Supporting and encouraging others

2. Treating instruments with care, managing their safety, and following guidelines in the instrument loan agreement
3. Working hard to follow direction and maintain cooperative behavior, inside and outside of class

OTHER

STRING TECHNIQUE

POSTURE/BALANCE

1. Feet on the floor, at 10 o’clock and 12 o’clock

2. Maintaining appropriate scroll height
3. Contact points chin/collarbone, thumb/first finger

LEFT HAND

1. Maintaining open wrist, not collapsed

2. Tall, curved fingers
3. Appropriate thumb support position
4. Appropriate intonation/finger position
5. Pizzicato

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RIGHT HAND

1. Thumb bent, curved pinky (like a Rabbit)

2. Bowing parallel to the bridge
3. Pizzicato

TONE PRODUCTION

1. Bow speed- understands and shows steady and appropriate speed, in line with their section
2. Bow weight- relaxed, appropriate muscle groups engaged
3. Point of contact- perpendicular with string, parallel to the bridge
4. Displays dynamic control

BOWING

1. Pivots at elbow and wrist (not shoulder)

2. Bow angled away from body or flat, not toward the body
3. Raises arm at elbow to play lower strings, lowers arm at elbow to play higher strings (chicken wing)
4. Basic re-takes
5. Basic string crossing
6. Hooked bowing, staccato, legato, other

SYNTHESIS

1. Maintains posture, left and right positions, good tone production and proper bowing when playing all at the same time

MUSICIANSHIP

CREATIVITY/EXPRESSION

1. Steady beat movement

2. Rhythmic and melodic movement
3. Curwen hand signs
4. Inflect or interpret a given melody or harmony with a distinct musical style
5. Improvise “answers” to given rhythmic and melodic phrases in the same style (National Standard 3.a)
6. Improvise simple rhythmic and melodic ostinato accompaniments (National Standard 3.b)
7. Improvise simple rhythmic variations and simple melodic embellishments on familiar melodies (National Standard 3.c)
8. Sing and play expressively with dynamics and phrasing (National Standard 1.b and 2.c)
9. Create and arrange short songs and instrumental pieces within specified guidelines (National Standard 4.b) (for example,
using rhythm pattern blocks, and a limited number of notes, etc.)
10. Create and arrange music to accompany stories (National Standard 4.a)

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MUSIC LITERACY

1. Steady beat
2. Rhythm of words
3. Steady beat vs. rhythms
4. Rest as silence
5. Pitch exploration and identification of high/low
6. Speaking vs. singing voice
7. Matching pitch
8. Inner hearing
9. Fast/slow, Soft/Loud
10. Echoing short rhythms and melodic patterns (with voice and on instruments) (National Standard 2.d)
11. Notating and reading pitches in major keys using some system (letter names, numbers or syllables, and eventually
standard notation) (National Standard 5.b)
12. Identifying whole, half, dotted half, quarter and eighth notes in a variety of time signatures (start with simple duple, then
progress to simple triple and finally compound and odd meters) (National Standard 5.a)
13. Basic understanding and ability to sing, play or recognize specific intervals in major keys (using syllables, curwen hand signs,
scale degrees, or other methods)
14. Reading simple melodies using standard notation
15. Reading standard dynamic, tempo and articulation markings accurately when performing (National Standard 5.c)
16. Notating simple patterns presented by the teacher with standard notation for meter, rhythm, pitch and dynamics
(National Standard 5.d)
17. Understanding syncopation in simple meters
18. Identifying and performing increasingly complex rhythmic patterns including triplets and dotted rhythms

CULTURAL LITERACY

1. Identify the sounds of a variety of instruments, including orchestra, band, instruments from different cultures, children’s
voices and male and female adult voices (National Standard 6.d)
2. Use appropriate terminology in explaining music, notation, instruments, voices, styles and genres. (National Standard 6.c
and 7.b)
3. Sing and play a variety of songs from different genres and styles (National Standards 1.c and 2.c)
4. Identify ways in which other disciplines’ subject matter is related to music (for example math and rhythm) (National
Standard 8.b)
5. Identify and describe roles of musicians in various music settings and cultures (National Standards 9.d)

PERFORMANCE SKILLS

1. Taking pride in performing, having fun while performing

2. Introducing works of music to an audience
3. Singing independently within a unison group using appropriate timbre, diction, posture and steady tempo (National
Standard 1.a)
4. Sing ostinatos, partner songs and rounds (National Standard 1.d)

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5. Play easy rhythmic, melodic and chordal patterns accurately and independently on rhythmic, melodic and harmonic
classroom instruments (National Standard 2.b)
6. Perform independent instrumental parts, while other students play or sing contrasting parts (National Standard 2. f)

OTHER

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SIMPLY STRINGS LEARNING SEQUENCE

A daily or weekly lesson plan will need to be submitted to the Community Engagement Manager, detailing the concepts being
taught, and where they are in the learning sequence. Please refer to this sequence as you plan your lessons. Each newly introduced
concept should follow this sequence whenever possible. New concepts can be found in the Simply Strings Standards, or can be
agreed upon between faculty. This sequence will allow clear communication, shared expectations, accurate assessment and
reporting.

1. NEW CONCEPT IS EXPERIENCED BY CHANTING RHYTHMICALLY, CLAPPING, INTEGRATING INTO

MUSICAL GAMES, BODY PERCUSSION, ETC. (EVERYTHING MUST START HERE AND PROGRESS
THROUGH THE SEQUENCE BELOW)

2. NEW CONCEPT IS SUNG

3. NEW CONCEPT IS SUNG IN ENSEMBLE WITH ORFF OR OTHER ACCOMPANIMENT

4. NEW CONCEPT IS PLAYED ON STRING INSTRUMENTS BY EAR

5. NEW CONCEPT IS PLAYED USING NOTATION (LETTER NAMES FIRST, OR SOLFEGE SYLLABLES, CURWEN
HAND SIGNS)

6. NEW CONCEPT IS PLAYED USING STANDARD NOTATION, ON STRING INSTRUMENTS

7. NEW CONCEPT IS PLAYED BACKWARD, UPSIDE DOWN, SIDEWAYS AND OTHERWISE

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SUGGESTED REPERTOIRE
NAME COMPOSER SKILLS DEVELOPED
Open String Suite Juan Antonio Cuellar Steady beat, bow grip, posture, open
strings

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TEMPLATES

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SIMPLY STRINGS LESSON PLAN TEMPLATE

DATE: FACULTY NAME:

GOALS: (the students will be able to…)

ASSESSMENT: (which will be indicated by…)

LIST CONCEPTS CHANTED, CLAPPED, PLAYED WITH GAMES, BODY PERCUSSION, ETC. TODAY

CONCEPTS SUNG TODAY

CONCEPTS SUNG IN ENSEMBLE WITH ORFF OR OTHER ACCOMPANIMENT TODAY

CONCEPTS PLAYED ON STRING INSTRUMENTS BY EAR TODAY

CONCEPTS PLAYED USING NOTATION (LETTER NAMES FIRST, OR SOLFEGE SYLLABLES, CURWEN HAND SIGNS) TODAY

CONCEPTS PLAYED USING STANDARD NOTATION ON STRING INSTRUMENTS TODAY

CONCEPTS PLAYED BACKWARD, UPSIDE DOWN, SIDEWAYS AND OTHERWISE TODAY

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CLASSROOM RULES AND PROCEDURES TEMPLATE

RULES:

1. RESPECT
2. RESPONSIBILITY
3. ___________________________________________________________________________________________
4. ___________________________________________________________________________________________
5. ___________________________________________________________________________________________
6. ___________________________________________________________________________________________
7. ___________________________________________________________________________________________

CLASSROOM PROCEDURES/POLICIES:

1. ENTERING/EXITING THE CLASSROOM__________________________________________________________________

2. SETTING UP FOR ACTIVITIES________________________________________________________________________
3. SNACK BREAK_________________________________________________________________________________
4. BATHROOM __________________________________________________________________________________
5. SPEAKING IN TURN (HOW TO DO IT)__________________________________ ________________________________
6. WHAT TO DO IF A “TIME OUT” IS NEEDED_____________________________________________________________
7. HOW TO GET INSTRUMENTS OUT____________________________________________________________________
8. HOW TO PUT INSTRUMENTS AWAY___________________________________________________________________
9. CLEAN UP ___________________________________________________________________________________
10. ___________________________________________________________________________________________
11. ___________________________________________________________________________________________
12. ___________________________________________________________________________________________
13. ___________________________________________________________________________________________
14. ___________________________________________________________________________________________

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CONCERT PREPARATION TEMPLATE

FIRST CONCERT (NOVEMBER) EIGHT WEEKS OF INSTRUCTION

GOALS/STANDARDS MET REPERTOIRE SELECTED

ENSEMBLE GOALS

The Ensemble will:

STRING TECHNIQUE GOALS

Students will:

MUSICIANSHIP GOALS

Students will:

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SECOND CONCERT (MARCH) 16 WEEKS OF INSTRUCTION

GOALS/STANDARDS MET REPERTOIRE SELECTED

ENSEMBLE GOALS

The Ensemble will:

STRING TECHNIQUE GOALS

Students will:

MUSICIANSHIP GOALS

Students will:

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THIRD CONCERT (APRIL/MAY) 24 WEEKS OF INSTRUCTION

GOALS/STANDARDS MET REPERTOIRE SELECTED

ENSEMBLE GOALS

The Ensemble will:

STRING TECHNIQUE GOALS

Students will:

MUSICIANSHIP GOALS

Students will:

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CURRICULUM TEMPLATE-FIVE YEAR PERSPECTIVE

YEAR ONE YEAR TWO YEAR THREE YEAR FOUR YEAR FIVE

Ensemble Skills

String Technique

Creativity/Expression

Musical Literacy

Cultural Literacy

Performance Skills

Other

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CURRICULUM TEMPLATE- ONE YEAR PERSPECTIVE

SESSION ONE SESSION TWO SESSION THREE

Ensemble Skills

String Technique

Creativity/Expression

Musical Literacy

Cultural Literacy

Performance Skills

Other

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CURRICULUM TEMPLATE- SESSION PERSPECTIVE

WEEK WEEK WEEK WEEK WEEK WEEK WEEK WEEK
ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT
Ensemble
Skills

String
Technique

Creativity/
Expression

Musical
Literacy

Cultural
Literacy

Performance
Skills

Other

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FORMS

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INSTRUMENT REPAIR ORDER FORM

INSTRUMENT TYPE: VIOLIN VIOLA CELLO BASS CLARINET BASSOON PERCUSSION OTHER

IF PERCUSSION OR OTHER, PLEASE DESCRIBE

SANTA ROSA SYMPHONY BAR CODE

TYPE OF DAMAGE DONE

RECOMMENDED REPAIR

ESTIMATED COST

STAFF /FACULTY REQUESTING REPAIR

DATE NEEDED

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CLASSROOM SUPPLY ORDER FORM

ITEM DESCRIPTION

ITEM NUMBER (OFFICE DEPOT)

(IF UNAVAILABLE THROUGH OFFICE DEPOT, PLEASE SPECIFY VENDOR AND ITEM NUMBER)

REASON NEEDED

DATE NEEDED

ESTIMATED COST

ORDERED BY

APPROVED BY

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