e-Orch

Teaching Manual:
Curriculum and Resources
This publication was supported by The Education University of Hong Kong
Copyright © 2020 Department of Cultural and Creative Arts, The Education University of Hong Kong.

ISBN 978-988-79103-1-2
P R E F A C E
Owing to the advances of technology, digital devices like computer, tablet and smartphone
have become affordable and widely available. With the increasing attention to digital
musicianship, e-learning in music takes a vital role in recent years. Students with diversified
musical backgrounds can now be involved in the process of music-making by using relevant
apps to gain authentic ensemble experiences and collaborative composing immediately.

The innovative electronic orchestra project - e-Orch makes use of iOS GarageBand on iPad
as a medium to enable collaborative music performance and composition with the use of
award-winning Grid Notation. It benefits music learning in several ways: i. shortening the
learning time of music notation; ii. providing greater control over musical materials, such as
rhythm and pitch; iii. easy accessing to an audio realisation which allows cycles of creating,
listening, reflecting and revising; and iv. increasing the portability of the ensemble by using
tablet devices.

In fostering the implementation of e-Orch at schools, we have developed an extracurricular

curriculum in collaboration with Leisure and Cultural Services Department (LCSD), aiming
to train up students’ musicianship, ensembleship and composition skills. Students will learn
to master different musical elements in performance, such as pitch, rhythm, phrasing, etc.
and vividly interpret the character and style of the music pieces. They will also learn about
various concepts in music. Beside music performance, the course also focuses on music
creation, in which students will learn various composition techniques through improvisation,
music games and activities. Students will work in groups to co-create a new composition for
e-Orch with inspiration from works by the maestros. Their compositions for e-Orch will be
performed in school or public concert.

Since 2017, we have been working with many schools to establish their e-Orch. The results
and feedbacks from schools are positive and encouraging. We publish this teaching manual
to share our experiences with the field, and provide practical teaching schemes and activities
for teachers to start up their e-Orch at schools.

CHI-HIN LEUNG
Assistant Professor
Department of Cultural and Creative Arts
The Education University of Hong Kong
C O N T E N T
1 Introduction 22 Teachers’ Sharing
2 Curriculum Design 23 Resources
5 Teaching Strategies 24 Guideline on Difficulty Level
12 Grid Notation Guideline 25 Scores
20 Equipment 35 Biography
21 Seating Plan 36 Acknowledgement
INTRODUCTION
Music is a part of our universal human birthright. This is not limited to passive
listening and appreciation, but also extends to music-making itself. New
Zealand musicologist Christopher Small introduced the idea of “musicking”
in 1998 which emphasized that “Music is not a thing at all but an activity,
something that people do”. Inspired by Small, e-Orch makes use of musiking
as its teaching philosophy: to take part in music by performing, appraising,
rehearsing, practicing, or composing. Going beyond music appreciation with
active participation in music-making is one of the keys to music teaching and
learning.

The e-Orch strategy is grounded on learner-centred approaches, which include

appraising, performing and composing to enable students to experience the
whole cycle of music-making. By embedding music technology in the project
e-Orch, it allows students to actively participate in music. The project aims
to lower the barriers of music-making, as well as to introduce a broad set of
knowledge and skills, attributes and values to all participants regardless of
their music background – to produce Music for All.

1
 C U R R I C U L U M D E S I G N
The below tables is an example of e-Orch curriculum design as a co-curricular activities in primary and secondary schools.

Timing
Lesson Objective Remark
(mins)

10 1. Course introduction 1. Verbal presentation

20 2. To learn the basic function of GarageBand 2. Try out Smart Keyboard and guitar
5 3. To practice warmup exercise C major scale 3. Stable tempo and rhythm
1
35 4. To learn Piece 1 with "whole-part-whole" approach 4. Every student has to learn all the parts
15 5. To participate in the in-class performance (tutti and/or small groups) 5. Group performance + peer observation/evaluation
5 6. Conclusion 6. Round-up; Switch off iPads & speakers; Tidy up

15 1. To practice warmup exercises C major scales (keyboard) 1. Practice with stable tempo and rhythm / fingering
25 2. To rehearse and practice Piece 1 2. Be aware of tone and rhythm accuracy
2 30 3. To learn Piece 2 with "whole-part-whole" approach 3. Every student has to learn all the parts
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

Ensemble 15 1. To practice warmup exercises G major scales (keyboard) 1. Practice with regular and dotted rhythms / fingering
Performance 45 2. To rehearse and practice Piece 1 and 2 2. Be aware of tone and rhythm accuracy
3 10 3. To learn the concept repeated note through the pieces 3. Explain the concept and give example in the Pieces
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

10 1. To practice warmup exercises G major scales (keyboard) 1. Practice with regular and dotted rhythms / fingering
25 2. To rehearse and practice Piece 2 2. Be aware of tone and rhythm accuracy
35 3. To learn Piece 3 with "whole-part-whole" approach 3. Every student has to learn all the parts
4
5 4. To learn the concept sequence through the pieces 4. Explain the concert and give example in the Pieces
10 5. To participate in the in-class performance (tutti and/or small groups) 5. Group performance + peer observation/evaluation
5 6. Conclusion 6. Round-up; Switch off iPads & speakers; Tidy up

10 1. To practice warmup exercises F major scales (keyboard) 1. Practice with regular rhythm and triplet / fingering
25 2. To rehearse and practice Piece 3 2. Be aware of tone and rhythm accuracy
35 3. To learn Piece 4 with "whole-part-whole" approach 3. Every student has to learn all the parts
5
5 4. To learn the concept imitation through the pieces 4. Explain the concept and give example in the Pieces
10 5. To participate in the in-class performance (tutti and/or small groups) 5. Group performance + peer observation/evaluation
5 6. Conclusion 6. Round-up; Switch off iPads & speakers; Tidy up

2
 Timing
Lesson Objective Remark
(mins)

15 1. To practice warmup exercises F major scales (keyboard) 1. Practice with regular rhythm and triplet / fingering
45 2. To rehearse and practice Piece 3 and 4 2. Aware of tone and rhythm accuracy
6 10 3. To learn the concept major chord through the pieces 3. Explain the concept and give example in the Pieces
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

15 1. To practice warmup exercises A minor scales (keyboard) 1. Practice with regular rhythm and triplet / fingering
45 2. To rehearse and practice Piece 3 and 4 2. Aware of tone and rhythm accuracy
7 10 3. To learn the concept minor chord through the pieces 3. Explain the concept and give example in the Pieces
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

Ensemble 15 1. To practice warmup exercises A minor scales (keyboard) 1. Practice with regular rhythm and triplet / fingering
Performance 45 2. To rehearse and practice Piece 1 and 2 2. Aware of tone and rhythm accuracy
8 10 3. To learn the concepts passing note and auxiliary note 3. Explain the concept and give example in the Pieces
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

15 1. To practice warmup exercises E minor scales (keyboard) 1. Practice with regular rhythm and triplet / fingering
45 2. To rehearse and practice Piece 3 and 4 2. Aware of tone and rhythm accuracy
9 10 3. To learn the concept cadence through the pieces 3. Explain the concept and give example in the Pieces
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

15 1. To practice warmup exercises E minor scales (keyboard) 1. Practice with regular rhythm and triplet / fingering
45 2. To rehearse and practice Piece 1, 2, 3, & 4 2. Aware of tone and rhythm accuracy
10 10 3. To learn the concept chord progression through the pieces 3. Explain the concept and give example in the Pieces
15 4. To participate in the in-class performance (tutti and/or small groups) 4. Group performance + peer observation/evaluation
5 5. Conclusion 5. Round-up; Switch off iPads & speakers; Tidy up

3
 Timing
Lesson Objective Remark
(mins)
15 1. To rehearse the selected e-Orch works
15 2. To plan for the composition (e.g. idea, formal structure) 1. Spot the problematic passages and polish
15 3. To create a harmonic progression in group 2. Provide examples to stimulate inspiration
11
20 4. To improvise a melody with one or two notes with the progression 3. Allow many cycles of creating, listening, reflecting and
20 5. To record and present the draft work in class (small groups) revising
5 6. Conclusion
20 1. To rehearse the selected e-Orch works
1. Spot the problematic passages and polish
15 2. To revise the plan for the composition (e.g. Is it feasible?)
2. Provide examples to stimulate inspiration
25 3. To improvise a melody with reference to the common behaviors of
12 3. Allow many cycles of creating, listening, reflecting and
tonal melody
revising
25 4. To record and present the draft work in class (small groups)
5 5. Conclusion
Collaborative 20 1. To rehearse the selected e-Orch works
1. Spot the problematic passages and polish
Composition 15 2. To revise the plan for the composition (e.g. Is it feasible?)
2. Provide examples to stimulate inspiration
13 25 3. To work with rhythm section (e.g. drum, keyboard, bass)
3. Allow many cycles of creating, listening, reflecting and
25 4. To record and present the draft work in class (small groups)
revising
5 5. Conclusion
20 1. To rehearse the selected e-Orch works
1. Spot the problematic passages and polish
15 2. To revise the plan for the composition (e.g. Is it feasible?)
4. Provide examples to stimulate inspiration
14 25 3. To work with strings section
5. Allow many cycles of creating, listening, reflecting and
25 4. To record and present the draft work in class (small groups)
revising
5 5. Conclusion
20 1. To rehearse the selected e-Orch works
1. Spot the problematic passages and polish
40 2. Work-in-progress in group
15 - 18 2. Allow many cycles of creating, listening, reflecting and
25 3. To record and present the work in class (small groups)
revising
5 4. Conclusion
30 1. To rehearse some of the pieces
1. Rehearsal
15 2. To design a storyboard
2. What does the group composition depict?
19 - 20 20 3. To learn photo and video shooting (e.g. Pano, Time-lapse & Slo-mo)
3. Try various angles of video shooting in groups
Music Video 5 4. To learn the app Quik
4. Adjust the duration of video/picture; Insert music
Production 20 5. To create the music video in group
20 1. To rehearse some of the pieces 1. Nil
21 - 22 70 2. To work on / complete the music video production 2. Work-in-progress

15 1. Rehearsal of e-Orch performance programme (2 pieces) 1. Spot the problematic passages and polish
30 2. Rehearsal of 5 groups of compositions 2. Spot the problems (may need necessary changes)
Rehearsal 23 - 24
30 3. Run-through of the whole programme 3. Dress Rehearsal
5 4. Debriefing + Conclusion 4. Tidy up
Public Performance cum Exhibition

4
e - O r c h
Prior Knowledge and Experiences
• Students learn to read grid score
• Students have experience singing music in solfege

T E A C H I N G Procedures
1.

Have students play the whole piece in parts from the beginning to the ending
to grasp the whole idea of the piece.

S T R A T E G I E S 2.

Have students sing each single part together starting from melody line to
supporting lines. Review students’ singing. Repeat the difficult parts and
phrases.

THE PROCEDURES OF
3. Have students sing one part together while playing on the GarageBand
keyboard with sound off. Sing and play each part one by one. Extract some
phrases to practice the phrasing, rhythm and fingering as warm up exercise.
LEARNING A NEW PIECE 4. When students get familiar with the music, ask them to turn on the sound
of GarageBand and play a single part together, with attention to the
Objective conductor’s indication of tempo and articulation. Ask students to listen
Vocalize and play through each part altogether: Students sing the arranged piece in carefully to the sound of different instruments, with different touching.
parts, with teacher conducting and counting beats. Students will learn all music parts
through singing and playing single part together, then being assigned or chose to play a 5. Assign students to play certain part according to their ability and interest.
part. In the same time they will be familiar to watch cues from conductor. This activity Ask them to practice their part in group, then have all groups play the piece
will introduce the newly developed “Whole1-Part2-Whole3-Part4-Whole5” approach together using whole-part-whole approach. Challenge them to listen to their
which can be further elaborated as: part and other parts to attain accuracy in pitch, rhythm, balance and
blending. Point out the problems, give advice to students and have them
• Whole1 = Play the WHOLE piece from the beginning with the divided parts play it several times again.
(i.e. exactly the arrangement of the piece)
• Part2 = Play each PART together (e.g. everyone plays the guitar part) 6. Conduct students to play the four-part together. Remind students to follow
• Whole3 = Divided into parts and play the WHOLE piece your cues for attacks, release, tempo variations and dynamic changes.
• Part4 = Play the whole piece starting from any PART which is not familiar with
• Whole5 = Play the WHOLE piece from the beginning to the ending according 7. Ask students to critique their performance. Discuss with them the ways of
to the assigned parts (i.e. same as Whole1) improvement.

Materials Indicator of Success

• iPads • Students play the four-part music with good pitch and rhythm accuracy,
• Speakers appropriate articulations, phrasing, expression, ensemble balance and
• Printed four parts arranged piece in grid notation blending
• Music stands and seats in e-Orch setting • Students accurately response to conductor’s cues for entry point, tempo and
• Overhead projector dynamics

5
 WARM-UP DRILLINGS
Exercise 1: Solitaire

Objective Procedures
Students will learn to recognize different pitches in major/minor scale (Level 1) 1. Instructor selects a student, suitable tempo and direction (clockwise/
and improvise with each other (Level 2-3) anti-clockwise) to begin with

Number of participants 2. After 4 preparation beats given by the instructor, the first student
4-20, preferably not 14 for Level 1-2 to prevent the students from repeating starts by playing ‘do’, which is followed by the second student playing
the same notes throughout the warm-up ‘re’, the third one plays ‘mi’ and so on - each of the students is
separated by a 1-beat rest
Seating Plan
Students sit as an inward-facing circle; instructor stands at the centre 3. When a student reaches the higher ‘do’, the next student immediately
descends the scale by playing ‘ti’
GarageBand configuration 4. After returning to the home ‘do’, the next student plays ‘re’ to start a
1. Suggested configuration: Keyboard->More Sounds->Oboe new cycle without stopping
2. Chosen by the instructor, students tune to a major key and select a
keyboard (e.g. major scale keyboard) 5. Instructor can end the game at any ‘do’ after a few cycles

6. *Instructor may adjust the difficulty by varying the tempo (e.g.

Level 1 - Simple Solfège Solitaire speeding up), scale (e.g. melodic minor), keyboard (e.g. piano
keyboard) or shuffling students
d,
t

etc

etc
Starting Participant d

6
Level 2 - Stepwise Improvisation Solitaire Procedures
In this warm-up, each student occupies 4 beats - the 1st and the 4th beats 1. Instructor selects a student, suitable tempo and direction (clockwise/
playing his/her note in scale while the 2nd and 3rd beats improvising freely anti-clockwise) to begin with

2. After 4 preparation beats given by the instructor, the first student

starts by playing ‘do’ on the 1st beat, improvising on the 2th and 3rd
beats and returning to ‘do’ on the 4th beat
d' t ls d'
etc 3. Without stopping, the second student follows by playing ‘re’ on the
1st beat, improvising on the 2nd and 3rd beats and returning to ‘re’
on the 4th beat

4. The third student follows by starting and ending on ‘mi’, and so on

tslt
m d' s m
5. When a student reaches the higher ‘do’, the next student immediately
descends to ‘ti’ and continues

6. Instructor can end the game at any ‘do’ after a few cycles
etc
7. *Instructor may adjust the difficulty by varying the tempo (e.g.
speeding up), scale (e.g. melodic minor), keyboard (e.g. piano
r fm f r keyboard) or shuffling students

The expected outcome will be similar to this example:

dmrd

Bar 1 2 3

d m r d r f m f r m d' s m
Starting Participant etc

7
 Level 3 - Free Improvisation Solitaire Procedures
In this warm-up, each student occupies 4 beats - each one improvises freely 1. Instructor selects a student, suitable tempo and direction (clockwise/
by starting with the previous student’s last note (except for the starting anti-clockwise) to begin with
student)
2. According to the selected tempo, instructor plays the metronome on
GarageBand until the end of the warm-up

3. After 4 preparation drum beats given by the instructor, the first

student starts by a 4-beat free improvisation, which is immediately
followed by a 4-beat rest (as signaled by the metronome)
4- beat rest
Tutor 4. Using the 4-beat rest to identify the previous student’s last note, the
(Playing metronome) next student immediately starts his/her 4-beat improvisation using
the same note, and so on
etc 5. Instructor can end the game after a few cycles or when someone
identifies the wrong note

6. *Instructor may adjust the difficulty by adjusting the duration of the

rests, the tempo (e.g. speeding up) and keyboard (e.g. piano ,
4- beat rest
keyboard)

The expected outcome will be similar to this example:

Bar 1 2 3 4

d r m s - - - - s l t d' - - - -
etc

Starting Participant
Indicator of Success
• Students are able to respond to each others accurately in pitch and
in pulse by either scale (Level 1) or simple improvisation (Level 2 & 3)

8
Exercise 2: Call and response

Objective Level 2 - Participants-led Call and Response (for students

Students will learn to recognize, repeat (Level 1) and improvise (Level 2) capable of simple improvisation)
different rhythms
Procedures
Number of participants 1. Instructor selects a student, suitable tempo and direction (clockwise/
4-20 anti-clockwise) to begin with

Seating Plan 2. The first student improvises a 4-beat rhythm, which is echoed by the
Students sit as an inward-facing circle; instructor stands at the centre instructor and all other students

GarageBand configuration 3. Without any pause, the next student improvises another rhythm,
1. Suggested configuration: Acoustic Drums->SoCal which is again repeated by the instructor and other students

4. Repeat the above steps until the circle is completed

Level 1 - Instructor-led Call and Response (for laymen)
5. *Instructor may adjust the difficulty by varying the tempo
(e.g. speeding up)
Procedures
1. Instructor improvises a 4-beat rhythm Indicator of Success
• Students are able to accurately and rhythmically respond to each
2. Students repeat the rhythm
others in pulse
3. Repeat the above steps with other improvised rhythm

4. Instructor can end the game at anytime or when the circle is

completed

5. *Instructor may adjust the difficulty by varying the tempo

(e.g. speeding up), complexity of the rhythm (e.g. triplets) and
the number of percussion instruments used

9
 Exercise 3: Pulse And Pause
Level 2 - Leave A Leap
Objective
Students will learn to maintain a steady pulsation (Level 1) and perform Procedures
different rests accurately (Level 2) 1. Depending on the rest the instructor wants to drill, design a short
rhythm
Number of participants An example for drilling a quaver rest:
4-20
Bar 1 2
Seating Plan Drum B BB B B B BB B B
Students sit as an inward-facing circle; instructor stands at the centre
2. Instructor selects a student, suitable tempo and direction (clockwise/
GarageBand configuration anti-clockwise) to begin with
1. Suggested configuration: Acoustic Drums->SoCal 3. According to the selected tempo, instructor plays the metronome on
GarageBand until the end of the warm-up
Level 1 - Steady Pulse 4. Rehearse the drill until the students can perform accurately
5. Instructor intentionally blanks a note as the rest (in this example,
Procedures
a quaver)
1. Instructor selects a student, suitable tempo and direction (clockwise/
anti-clockwise) to begin with Bar 1 2
Drum B BB B B B _B B B
2. After 4 preparation drum beats given by the instructor, the first
student starts by playing ‘B’ (bass drum) for 1 beat, which is 6. Rehearse with the students by replacing the blanked note with
immediately followed by the next participant, doing the same, clapping
and so on - there is no rest in between participants
7. After they can perform accurately, replace the ‘clapping note’ with
complete silence
3. Students should try to maintain the tempo as they can
8. Instructor explains to students what they have done is a rest (a
4. Instructor may assist, correct or stop the students whenever the quaver rest in this example)
pulse goes either too fast or slow
9. *Instructor may adjust the difficulty by varying the blanked note,
length of the rhythm phrase, complexity of the rhythm, number of
5. Instructor can end the exercise at anytime
percussion instruments used and tempo
6. *Instructor may adjust the difficulty by varying the tempo (e.g.
speeding up) Indicator of Success
• Students are able to maintain a steady pulsation (Level 1) and
execute the given rest(s) accurately (Level 2)

10
C O L L A B O R AT I V E C O M P O S I T I O N
Objective c. Student three: Bass instrument (e.g. double bass)
Students participate in groups to co-create a composition under a pre- d. Student four: Percussion (e.g. smart drum)
designed framework with guidance from the teacher. Students will manipulate
musical elements for a co-decided artistic goal which has a self-expressive and 4. Connect the devices through Jamming Session in GarageBand, then
communicative purpose through diverse techniques and approaches such as decide a tempo.
improvisation. It aims to provide inspiration and collaborative music creation
5. Have student improvise under the harmonic framework and record
experiences by using "5-‘con'" approach – conceptualise, construct, connect,
the music after some practices.
contradict and continue. The product will be a recorded audio track or live
performance, or both. 6. The teacher applies the "5-‘con'" to guide students throughout the
creative process.
Number of Participants
• 4 students per group 7. Students present their final work and evaluate by peers.

Materials Notes to "5-‘con'" approach

• iPads The "5-‘con'" approach was developed by the author in 2019. The first
• Speakers step of the approach is to conceptualise the artistic goal, which includes
• Overhead projector appraising masterpieces, creating ideas and forming the concept. Students
are stimulated by creative composition and improvisation in class and learn
Prior Knowledge and Experiences
from maestros through imitation and discussion. Then, students construct the
• Students learn to perform in an ensemble setting with the use of Grid
motive and gesture of their composition in which a new sound is generated.
Notation
However, sound in itself is not the same thing as music; as such, making
• Students have experience in various music elements such as melodic
sense of organised sound is essential. Giving meaning and expression to the
shape, scales, harmony and virtual instruments through the
sound connects musical knowledge, skills, life experiences to make the sound
participation in e-Orch
alive. While development provides the unity of the piece as well as appealing
Procedures musical sounds, students use contrast to create musical surprise. Finally, the
1. Have students form in groups of four and decide an artistic goal art of music-making and learning is to continue. Students refine their piece
which is agreed by the group members. Teacher observe the and reflect on the creative process.
discussion and give guidance.
Variations
2. Have students create a harmonic framework such as ||: C - Am - F - The product of this activity is not limited to the recorded track but a live
G :|| , ||: C - G - Am - Em - F - C - F - G :||. Try out the chords with ensemble performance. Students can notate the composition in Grid Notation
the use of virtual instruments in GarageBand and make necessary or traditional five-line staff notation for practice and live performance use.
revision until all the members endorse.
3. Each student chooses a virtual instrument regarding the below- Indicator of Success
suggested setting: • Students are able to apply suitable music elements to serve the
a. Student one: Melodic instrument (e.g. oboe) artistic goal.
b. Student two: Choral instrument (e.g. smart strings)
• Students are able to assess their peers' compositions with agreed
criteria.
11
 G R I D N OTAT I O N
GUIDELINE
Basic Components
Pachelbel’s Canon in D (1680)
Key: D Major
Tempo: 56 Basic setting
Meter: Simple Quadruple Time
Bar line Subdivided beat in a bar

13 Solfege 14 15

Flute drmf srsf mlsf sfmr d l, l t d' t l s fmrl slsf m

Oboe d' t d’ d t, s r m d d’ t l t m’ s’ l’ f' m’ r’ f’ m’ r’ d’ t lsfm rfmr d

Clarinet md r t’ d' m’ s’ s lf sm d d’ d' - - t d'

Smart Strings (Sustain) D(1) A(1) Bm(1) F#m(1) G(1) D(1) G(1) A(1) D(1)

Chord symbol

12
Pitch

d r m f s l t Basic register

d, r, m, f, s, l, t, “ , ” after solfege represents an octave lower

d’ r’ m’ f’ s’ l’ t’ “ ’ ” after solfege represents an octave higher

di ri fi si li Raise a semitone from d r s l t

ra me se le te Lower a semitone from r m s l t

Rhythm (using simple quadruple time as an example)

dr
3
drm

drmf

- Sustain the previous note

d--r

d r - d

Rest
A whole beat rest

0 Rest

0 d

13
 Dynamics (five sound levels)
Maximum sound level
Moderate sound level
Medium sound level
Weak sound level
Minimum sound level
Crescendo
Decrescendo
Expression
Tempo marks Prestissimo, Presto, Allegro, Moderato, Andante, Adagio, Larghetto, Largo
Tempo alternations accel., rit., fermata, rubato
Expression texts Cantabile, Dolce, Legato
Rehearsal marks E1
Articulation
Staccato
Tenuto
Accent
Fermata
Pipa tremolo

14
Ornaments

d Trill

d Upper mordent

d Lower mordent

d Turn

d Inverted turn

Other

Play dol for one beat, in second half beat drag the pitch wheel up or down to bend
d p
the pitch of the note

Play dol for one beat, in second half beat drag the modulation wheel up or down to
d m
change the sound of the keyboard

Repeat

15
 Chord Playing

C Play C chord for one beat, press the top of the strip

C Swipe up

C Swipe down

7th strip of a chord bar

6th strip of a chord bar
5th strip of a chord bar
4th strip of a chord bar
3rd strip of a chord bar
2nd strip of a chord bar
1st strip of a chord bar

C(1) Tap the 1st strip of C chord for one beat

6
2 Play C chord for one beat, swipe up from the 2nd to 6th strip of the bar
C

5
1 Play C chord for one beat, swipe down from the 5th to 1st strip of the bar
C

6
2
5
1
Play C chord for first half beat from 2nd to 6th strip, then play G chord for second half
C G beat from 5th to 1st strip

16
Smart Guitar

6th strip of a chord bar

5th strip of a chord bar
4th strip of a chord bar
3rd strip of a chord bar
2nd strip of a chord bar
1st strip of a chord bar

Smart Strings

3rd strip of a chord bar

2nd strip of a chord bar

1st strip of a chord bar

Articulation for string instruments

C Swipe up and down on a strip to bow

+
C Play C chord for one beat in pizzicato

+
C(1) Play C chord for one beat in pizzicato, taping the first strip of the bar

+
C(1 6
2 ) Play C chord in pizzicato in the first half beat, then swipes from 2nd to 6th strip in the second half beat

17
 Percussion

X Indefinite pitch

Drum

Bass Drum B

Snare Drum K

High Tom t

Mid Tom d

Low Tom D

Hi-Hat T

Crash Cymbal P

Ride Bell k

18
 Chinese Kit

Cantonese Pronunciation
Da Gu 同 tung4
Pai Gu 1 冬5 dung1
Pai Gu 2 冬4 dung2
Pai Gu 3 冬3 dung3
Pai Gu 4 冬2 dung4
Pai Gu 5 冬1 dung6
Da Luo 旁 pong4
Xiao Luo 昌 coeng1
Bang Zi 1 局1 guk1
Bang Zi 2 局2 guk2
Bang Zi 3 局3 guk3
Bang Zi 4 局4 guk6
Bang Zi 5 的 dik1
Da Bo 查 caa4
Xiao Bo 七 cat1
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 E Q U I P M E N T

Equipment for Course/Lesson Use:

i. iPads x 20
ii. Garageband (for iPadOS) x 20
iii. iMovie (for iPadOS) x 20
iv. Speakers x 20 (e.g. JBL Charge 4)

Equipment for Exhibition Use:

i. 2 speakers with stands for amplification, 4 monitors for fold back, and 1 mixer with technician support
• 2 x front of house self-powered loud speakers with speaker stands
• 4 x fold back monitor self-powered loud speakers
• 1 x 32ch Digital Mixing Console
ii. 10 laptop/desktop computer with headphones to showcase students’ works
iii. 3-4 long tables
iv. 20 chairs for students’ performances
v. 21 music stands for conductor’s and students’ performances use

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S E A T I N G P L A N

Part 2 Part 3

Part 1 Part 4

Conductor

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 T E A C H E R S ’ S H A R I N G
Lui Ching Esther Lau Hiu Lam Helen
Music Panel of Pentecostal Yu Leung Fat Primary School e-Orch Conductor
e-Orch has given my school a brand new experience, especially using e-Orch aims at providing students with a music learning
iPads with GarageBand to include more students to play in ensembles, platform, engaging them in individual or group performance
allowing them to have experience in playing music, enhancing their and music creation with the use of music apps on tablet. In
self-confidence and musicianship. My students enjoy playing in e-Orch this way, students share the opportunities for exploring various
as they have more chances to play various virtual instruments. I believe sounds of real and electronic instruments, and different sound
this greatly helps them to choose their favourite acoustic instrument to effects incredibly generated through music apps, whether or
play in the future. not they have learned or owned physical instruments. e-Orch
greatly stimulates students’ interest in music and motivates
learners to actively participate in practicing. The lessons will
take place in music ensemble and orchestra setting, in order to
cultivate students’ proficiency in musicianship and team spirit.
Tse Yan Wah
Music Panel of Po Leung Kuk Dr. Jimmy Wong
Chi-Ho (Tin Sum Valley) Primary School
Established for more than one year, our school’s e-Orch Leung Ching Hei Alan
has engaged students in music performance and creation e-Orch Conductor
with the use of iPad apps, while providing them with ample Through practicing in ensemble and orchestra setting, e-Orch encourages
opportunities for performance, and creating a favorable students to learn to play different kinds of virtual instruments. In the
environment for life-long learning in music. In the training process, students not only have fun with music, but also get familiar
process, students become passionate and devoted learners. with Chinese and Western classic repertoires, and acquire eye-opening
Even though some of them have little musical literacy, experiences in exploration of digital music.
students are empowered with the use of simple apps in
ensemble training, bringing immense satisfaction to them. Apart from the ensemble sessions, e-Orch provides students with a
e-Orch aims to cultivate team spirit through collaboration, holistic training experience with an emphasis on cultivating creativity.
and most importantly engage students in joyful musical During practice, students will take the role as sound engineers, creating
experiences. their own music and enjoying illuminating experience through improvised
performance. Meanwhile, students are motivated to explore the
possibilities of digital music and traditional instruments while engaging in
co-creation in music.

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R E S O U R C E S
EdUHK Music Innovation and Design Lab (musid.lab)
https://www.musidlab.com/

Everyone Can Create Music On iPad

https://books.apple.com/us/book/everyone-can-create-music/id1434741739

GarageBand for iPad Starter Guide iOS 11 on Apple Books

https://books.apple.com/us/book/garageband-for-ipad-starter-guide-ios-11/id1319452659

How to use GarageBand on iPhone & iPad

https://www.macworld.co.uk/how-to/iosapps/garageband-iphone-ipad-3676543/

How to edit in GarageBand for iPad & iPhone

https://www.macworld.co.uk/how-to/iosapps/edit-garageband-3506877/

How to make a song in GarageBand for iPhone & iPad

https://www.macworld.co.uk/how-to/iosapps/create-song-garageband-ipad-iphone-3512555/

Create a bedtime story using GarageBand for iPad and iPhone

https://www.macworld.co.uk/how-to/iosapps/create-bedtime-story-using-garageband-for-ipad-iphone-3512569/

GarageBand for iPad Support

https://help.apple.com/garageband/ipad/

Video
Past Performance Videos of e-Orch:
https://www.youtube.com/playlist?list=PLb-NP2hS7cXonre5jIIubV63LMSeKxsJi

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 G U I D E L I N E O N D I F F I C U LT Y L E V E L
The Difficulty Level System is developed for directors, composers, arrangers, publishers, editors, and educators who are interested in
working on pieces for e-Orch.

Meter Tempo Rhythm Tonality Techniques

No key signature, 1 sharp/
Crotchet, dotted-minim,
4/4, C (Common Time), 3/4 flat key without accidentals;
Level 1 and 2/4
Slow to moderate semi-breve; tied notes, no
major, minor, pentatonic
No special technique
subdivision of beat
scale
2/2, cut time, 3/2, and
Quavers, dotted-crotchet; 2-3 sharps/flats keys with 2 different techniques with
Level 2 simple mixed meters of 2/4, Slow to moderate
dotted-rhythm, accidentals adequate preparation time
3/4, and 4/4
3 or more different
6/8, 3/4 (in one pulse per More changes of tempo Semiquavers, dotted- 4 sharps/flats keys with
Level 3 bar), 3/8, 9/8, 12/8, 6/4 within the work quaver, triplet; syncopation accidentals
techniques with adequate
preparation time
Fast tempo, more changes 5 sharps/flats keys with 4 or more different
Level 4 Irregular meter e.g. 5/4, 7/4 of tempo within a work Triplet over two beats accidentals; whole-tone techniques with less
including abrupt shifts scale preparation time
6 sharps/flats keys with
Complex changes within
Level 5 Unlimited
a work
Unlimited accidentals; non-tonal; unlimited
unlimited

Notes:
1. All levels are cumulative.
2. The number of key changes and accidentals shall be considered when judging the difficulty level.
3. The texture and number of the voices of the piece shall be considered when judging the difficulty level.
4. The consideration of tonality as the criteria should be eased if the piece makes use of the scale function to present any key
signatures in white keys only (i.e. a transposing keyboard)
5. Examples of techniques include modulation, pitch bend, sustain, tremolo, arpeggiator, etc.
6. When a piece contains a four-measure (or less) phrase of technical difficulty above the specific level assigned, the piece
should not be raised to the next level of difficulty. The specific phrase should be treated as a challenging spot for learning.
7. A plus or minus may be added to any level designation when appropriate (e.g. Level 2+).
8. The criteria should be used as reference only. Instructors are recommended to be flexible when choosing pieces for the e-Orch.

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SCORES
e-Orch Scores

Ode to Joy Level 1

Key: G Major Composer: Ludwig van Beethoven
Tempo: 88 Arranger: Leung Chi-hin
Meter: Simple Quadruple Time

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26
e-Orch Scores

Kojo no Tsuki ( 荒城の月 ) Level 1

Key: C Major Composer: Rintaro Taki ( 滝 廉太郎 )
Tempo: 56 Arranger: Wyman Wat
Meter: Simple Quadruple Time

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 e-Orch Scores

Moment Musical No. 3 (Excerpt) Level 2

Key: A Major Composer: Franz Schubert
Tempo: 126 Arranger: Helen Lau
Meter: Simple Quadruple Time

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B I O G R A P H Y
Chi-hin Leung
Principal Author

Dr. Chi-hin Leung is a Hong Kong composer and music educator who was awarded the Gold Medal (Innovative Grid Score for Electronic
Orchestra) from International Invention Innovation Competition in Canada, the Special Prize from the Romanian Inventors Forum, Bronze
Medal (The Grid and Grid Notation for Music Education) from the International Specialized Trade Show for "Ideas - Inventions - New
Products", the champion from Hong Kong Handbell Festival Composition Competition and many. Leung’s compositions are featured by
international music festivals and published by renowned publishers and labels which include Schott Music (Germany), MOECK (Germany),
Donemus (Netherlands), Edition HH (U.K.), PARMA Recordings (U.S.), From the Top Music (U.S.), Oxford University Press (China) and Hong
Kong Composers’ Guild. His works have been featured by ISCM World New Music Days, UNESCO International “Arts for Peace” Festival,
International Rostrum of Composers, International Electronic Music Week, World Choir Games, International Handbell Symposium, ISME
World Conference on Music Education, Asian Composers League Festival, Asian Recorder Festival, Asian Saxophone Congress, Singapore
Saxophone Symposium, Summa Cum Laude International Youth Music Festival Vienna, Taipei Traditional Arts Festival, Musicarama, Hong
Kong Schools Music Festival and many.

Leung is the Assistant Professor at the Education University of Hong Kong, President of the Hong Kong Association for Music Educators,
Vice Chairman of the Hong Kong Composers’ Guild, and Commissioner of the Music in School and Teacher Education Commission of the
International Society of Music Education.

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 Gloria Wai-yee Pang Cheuk-long Leung
Research Assistant Research Assistant

Gloria Wai-yee Pang is an art administrator and research Cheuk-long Leung is a research assistant in The Education
assistant. She received her BA (Hons) degree, majoring in music University of Hong Kong, where he also obtained his Bachelor
from the University of Hong Kong and a MA Degree in Cultural of Education (Honours) in Music, founded and chaired the
Management from The Chinese University of Hong Kong. She Creativity Association, as well as received various scholarships
was a Research Assistant at the Education University of Hong and academic awards. As a performer, he received international
Kong from 2017 to 2019, engaged in the invention of grid prizes in the World Choir Games and Hong Kong International
notation, the evaluation and promotion of e-Orch, teaching Youth Music Festival. He was also invited as a performer in the
manual publication and also worked with Dr. Leung Chi-hin on ABRSM Diploma Awards Ceremony - Hong Kong and Macau.
his STEAM projects and other music education researches. Apart As an active music educator, he holds the positions as music
from doing arts research, Gloria Pang is also experienced in arts director and conductor of various school music ensembles,
management with five years of solid art management experience including e-Orch and handchime team. He is on the frontline of
in local art organisations. She is currently working at the Hong the e-Orch development as the editor of The Grid user manual
Kong Museum of Art as Project Management Officer. and e-Orch Teaching manual, arranger of grid scores and
conductor-instructor of the e-Orch music curriculum at local
school.

A C K N O W L E D G E M E N T
beNovelty TapTab Mr. Patrick Fan Mr. Jacky Mo Mr. Jacky Ng Mr. Alex Sze

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