Eagle Mountain Saginaw ISD Staff Development. JW Pepper - Fort Worth October 2018

Transcription

1 Eagle Mountain Saginaw ISD Staff Development JW Pepper - Fort Worth October 2018

2 Eric L. Cooley Centennial High School Baylor - BME Vocal FSU - MME Choral 12 Years of Teaching Experience High School - 9 years Middle School - 3 years 6 Years at Centennial HS Varsity Mixed, Treble Combined Tenor Bass NV & Sub NV Treble

3 10:00 AM - Selecting Repertoire Schedule of Activities Tuesday, October 9th, :00 AM - 4:00 PM 11:00 AM - Team/Cluster Time 12:00 PM - Lunch 1:15 PM - Literature Consultations 3:15 PM - Wrap Up - Q & A

4 Teaching Perspective UIL is not a special event. Preparation for UIL Contest takes place on a daily basis. Performance skills required for success in this process are outlined in the fall, developed during the winter, and honed in the Spring. Selections performed at UIL contest should be organic to the teaching process and used to promote the development of musical skills.

5 General Guidelines When selecting repertoire for UIL Performing Choirs, one should possess a clear understanding of the following: UIL contest guidelines and expectations for your ensembles Concert Repertoire, Sight-Reading Guidelines Present abilities of the choir (both vocal, literacy skills), What you wish for them to learn through this process, and The time frame during which the selected literature will be taught.

6 4 Essential Questions What do they know? What can they do? What have they done? What do I want them to learn?

7 Contest Expectations Confusion about & Frustration with the Process Collective Wisdom I heard We ve done this in the past Tradition vs. Reality Languages, Time Periods, Etc. Expectations of others (both real/imagined) What are my colleagues doing... What will they think if...

8 Contest Expectations What You Should Know Official Source for Contest Guidelines and Info ( School Classification (2C, 3C, 4A, 5A, 6A) & Level of the Ensemble Performance Requirements Two pieces ON the List (Which Levels? What are the requirements?) One CHOICE Piece (Any Source - On List or Off) One of the Three Pieces MUST Be A Cappella Pieces selected for contest performance will determine the voicing your choir will use during the sight-reading process.

9 Assessing the Choir

10 Assessing the Choir Type of Ensemble Auditioned vs. Ya ll Come TB/Treble/Mixed Previous UIL Experience Size of the Ensemble Types of Voices (SA/TB/Mixed) Number of Voices per Part Vocal Range General Pitch Range Within Sections Problematic Tessituras For Students Within Sections Changes with age/experience Ability General Tone Quality Literacy Skills Rhythmic Vocabulary Harmonic Vocabulary Independent Reading Skills

11 Assessing the Choir Literacy Skills Rhythmic Vocabulary Theoretical Knowledge Key Signatures Melodic/Harmonic Vocabulary Part Singing Experience Performance Experience Reading Experience Must Secure A before B Kodaly Sequence for Successful Part Singing: 1. Unison 2. Ostinato 3. Partner Songs (Counter Melody) 4. Descants 5. Canons / Rounds 6. Transition pieces 7. Homophonic Harmony 8. Polyphonic Harmony

12 Selection of Literature

13 Selection of Literature In the Words of Some Very Wise Colleagues You pick your rating when you pick your repertoire

14 Selection of Literature Developing A Program for Contest A well balanced UIL concert program reflects a deliberate effort to support the exploration of: - A variety of musical styles and languages, - different vocal/instrumental textures, - and the opportunity for students to meaningfully demonstrate their understanding of musical concepts and the dynamic expression of musical content.

15 Selection of Literature Three Songs - Three Bears - One Sure Fire Win - One on Level Piece in Line with Current Teaching - One Piece that Encourages Musical Growth

16 Selection of Literature Individual Selections Overall Structure - Through Composed or More Formal Structure? - Are any ideas recycled? Repeated? Rhythmic Demands Melodic Challenges Harmonic Challenges

17 Selection of Literature Accompaniment Text Considerations - Instrumentation? - Is it well crafted? - Does it support the student performance? - Can your accompanist play it? - Access or time to coordinate, rehearse students and instrumentalists? - Source - Language - Subject Matter - Form?

18 Developing a Plan Develop a Calendar - Start with the End in Mind - When are your performances? - When do you want the students off music? - How/When are you going to introduce each piece to meet these goals?

19 Developing a Plan Other Questions to Consider in the planning process: - When are you going to meet with your accompanist? - How many times are students able to work with you as conductor vs teacher? - Does this timeline allow for development/reinforcement of processes and skills required of students in the UIL Sight-Reading Process?

20 Developing a Plan Tips for the rehearsal process: - Record your warm ups and rehearsals. - Don t be afraid to walk away from the piano. - Plan opportunities to experience small wins, frequently. - Introduce challenging pieces in small chunks, - Don t be afraid to use a variety methods to help students learn - Provide a variety of opportunities to demonstrate mastery. - Plan rehearsals with opportunities for closure in the lesson cycle.

21 Closing Comments Questions?