Teaching Old Tricks to Young Pups

Transcription

1 TeahingOTtoYP /6/07 :5 AM Page b e f w h e k m n q t Teahing Old Triks to Young Pups Gat Beginnings and Strategies for Suess that Develop Musi Literay through Listening and Singing Skills, Rhythmi and Melodi Reading Skills, and Improvisation Skills A lini psentation by Linda Gammon Marguerite Wilder Sponsod by b e f w h e k m n q t GIA Publiations, In.

2 TeahingOTtoYP /6/07 :5 AM Page Old Triks for Young Pups! ORGANIZE YOUR CLASSROOM BEFORE THE PUPPIES ARRIVE Set up hairs and stands befo the students enter the lassroom an organized environment signals a plae whe serious learning will our. Deorate with olorful posters and pitus of students performing or hearsing. Ppa musi ahead of time if possible have parts on hairs or ady to distribute quikly. Cate a word wall with voabulary, musial symbols and terms. Tape mallets with olod tape for eah lass. Cate an aa for mouthpiee storage for shad instruments. Perussion equipment and appropriate implements should be adily aessible and listed on the board. Cate a proedu for instrument storage, loker assignment, and traffi flow. Follow a onsistent plan for ase, musi folder, and equipment storage. Cate a plan and plae for everything. Try not to sell eds, valve oil, et., befo, during or after hearsal. This takes your fous from the lass and wastes valuable hearsal time. Set aside time after shool or a time that fits your partiular situation. Disuss the temperatu and humidity quiments of your instrument and uniform storage aas with your administrator or building supervisor. Minimize the time spent pairing instruments to a few minutes befo or after lass. Maintain an organized and thorough inventory of all shool- and student-owned instruments. Organize and maintain your musi library. Organize and maintain uniforms. Involve pant volunteers to assist. Keep shool instruments in good pair. PLANNING BEFORE THE PUPPIES ARRIVE EACH DAY Understand the importane of a lesson plan. Review the Lesson Plan befo eah lesson. Divide hearsals into mo than one segment. Challenge and engage students every day with a variety of ativities during the lass period. Develop a band handbook with alendar, expetations, poliies, proedus, grading poliies, shedules, et. Musi and hanuts should be ady to distribute along with the tuner, metronome, ordings, and media ady to use. Get your students as they enter the band room; learn their names as soon as possible. List your agenda for the day on the board.

3 TeahingOTtoYP /6/07 :5 AM Page Ppa the audio equipment for the listening ativity. Establish routines on the first day. These should inlude:. How to enter the room. How to set up and ppa for the day s lesson. How to bak wn and sto supplies/equipment. How to exit the room Students should have ample time to get set up and suffiient time to put away instrument, books, aessories, et. The students should have all materials every day. When books a introdued, establish the routine for students to hek the height of their musi stands. These should be raised high enough so that eah student has an eye-level postu with a line of sight ust above the stand to the ditor. This position also allows the head to be upright and tension-fe. Psent as muh information as possible in visual form through the method book and with the use of overheads, halkboards, et. Most students a visual learners. If the shedule allows, it helps to start beginning band students in the summer months. Students will not have aademi homework and will be able to onentrate on learning the instrument. This setting an also involve the pants. Keep explanations simple and psent new information in small segments. Utilize petition, questioning, and inlude diffent musial games. Review and info often. At the beginning stage of instrution muh individual time needs to be spent with eah student. However, strive to keep the enti lass engaged. Students keep a notebook to ord instrutions, new information and assignments. DISCIPLINE TIPS Students who a atively engaged and on task will selm ause disipline problems. Be fair and be onsistent with every student. Classroom expetations should be learly stated and understood by all. Praise students in front of the group; disipline students in private. Simply ask the student(s) to see you at the end of hearsal to disuss the problem. Walk to the student s seat and very quietly ask them to stop their behavior. Use a hek-off form to ord forgotten instruments, mouthpiees, musi, and disipline problems. (see example on next page) Use a strike system to fous attention: Strike one fous attention; Strike two stop the behavior; Strike the plae a mark in the grade book, see the student after lass. Look for all the fators ontributing to disipline problems. When a problem persists, involve the ounselor if neessary, and make a phone all to the pant. Resolve onerns in their early stage. Cate a positive and ooperative learning environment during the band hearsal. Keep shoes in losets away from puppies.

4 TeahingOTtoYP /6/07 :5 AM Page Band Daily Rehearsal/Behavior Report Band Daily Rehearsal/Behavior Report Please Print Please Print Name Date Name Date First Last First Last Class Period: (irle one) 6 8 Class Period: (irle one) 6 8 Chek all that apply: Chek all that apply:. Not ppad:. Not ppad: musi musi penil penil instrument instrument mouthpiee/ed mouthpiee/ed. Not seated and ady to play. Not seated and ady to play. Inort postu. Inort postu. Doing homework/writing notes. Doing homework/writing notes instead of following hearsal instead of following hearsal 5. Inappropriate talking 5. Inappropriate talking 6. Chewing gum 6. Chewing gum 7. Eating food 7. Eating food 8. Disspetful to teaher/student 8. Disspetful to teaher/student 9. Disspetful to equipment 9. Disspetful to equipment TREATS and REWARDS Reinfo good performane and proper behavior often. Students beome disouraged without positive infoment. Students progss at diffent rates during the first few months of playing an instrument for the first time. Make ertain that students know that you a about them personally in addition to how well they progss in band. Provide words of enouragement to help balane instrutional omments. Perform a seletion that students a familiar with or one whe they have made gat progss. Always end on a good note. Play ordings to demonstrate good tone, balane and blend, or style. Remember: the better the tone, the better the intonation. Ask the students to ritially listen and ort ensemble problems by identifying problem aas and offering solutions during hearsal. Vary the band seating from time to time. For example, move the brass up front and the flutes to the bak or ask the students to sit by someone who plays a diffent part. Choose intesting and appropriately hallenging literatu that addsses the instrutional needs of the ensemble. Keep your proedus onsistent but vary the method of delivery. Establish a signal for silene befo the hearsal begins ondutor on podium, ut-off, dimming lights, and hand in air or whatever works for your irumstane. Cate a plan for distributing and/or olleting pratie ords, forms, money, fundraising forms, et. Some ditors have found a lokbox to be helpful when olleting money and forms. Rearrange seating to ate variety or to isolate individuals or setions needing extra attention. Dog Bisuits for good behavior.

5 TeahingOTtoYP /6/07 :5 AM Page 5 WARM-UP Always warm-up musially, onentrating on proper postu, embouhu, and st/ady/play positions. Reinfo playing fundamentals: balane and blend, proper attaks and leases. Bathing exerises a ritial key to tone and ensemble skill development Humming, singing Brass buzzing on mouthpiee Long tones Sales and patterns in keys lated to the seletions you will be hearsing Dexterity patterns and rudiments for perussion Slurd intervals, lip slurs, bowing patterns Rhythm patterns (ounting and subdivision) Dynami hanges Chorales Wind tuning (only after proper warm-up) SINGING EXAMPLES (USING SCALE DEGREE NUMBERS OR SOLFEGGIO) Teaher Sings Singing Example # w Flute Sings, Plays mi w Teaher Sings Singing Example # Flute Sings, Plays mi fa mi Teaher Sings Singing Example # Flute Sings, Plays mi fa so 5 Teaher Sings Singing Example # Flute Sings, Plays mi fa so 5 fa mi

6 TeahingOTtoYP /6/07 :5 AM Page 6 CALL-AND-RESPONSE WARM-UPS USING SOLFEGE Moving from the Bb Conert Sale numbers to solfege. (This is worth TWO bisuits and a new hew toy!) SIT, SHAKE, RATTLE, AND ROLL OVER AND STAY.. LEARN TO HOWL I MEAN SING - TEACHING SONGS BY EAR Develop inner hearing skills for thinking, omposing and performing triks (I mean, tunes). While you a in the beginning days of band lass whe you a teahing how to take instruments out of the ase, hand and body positions, et., have the lass experiene a song that you will teah them later by ear. * * * * IMPORTANT TRAINING RULE * * * * ALWAYS SING OR PLAY FOR NOT WITH YOUR PUPS - - (I mean, band students) SING SING SING (Alone and then with an aompaniment) Mary Had a Little Lamb Oh, When the Saints Go Marhing In Jingle Bells Bingo The was a farmer had a DOG and Bingo was his name-o! Later you will turn to these songs. Review the words and sing the song. Introdue the solfege for those songs.

7 TeahingOTtoYP /6/07 :5 AM Page 7 TEACHING SONGS BY EAR PROCEDURE Sing the song Solfege the song Play the song by ear Play the song YOUR way! Write the song that was learned by ear EXAMPLES Hot Cross Buns Twinkle, Twinkle, Little Star Twinkle balane exerise I VE GOT RHYTHM! Basi Flashards Duple Triple Advane Flashards Looks diffent: sounds the same. 6 th note ading.

8 TeahingOTtoYP /6/07 :5 AM Page 8 PHONETIC RHYTHMIC SYLLABLES DUPLE PATTERNS: Du Du Du de Du de Du ta de ta Du ta de ta Du de ta Du de ta Du ta de Du ta de Du ta ta Du ta ta.. Du ta Du ta.. Du ta Du ta Du as in Dew De as in Day TRIPLE PATTERNS: Du Du Du da di Du da di Du di Du di Du da Du da 6 8 Du ta da ta di ta Du ta da ta di ta Du ta da di Du ta da di Du da ta di Du da ta di 6 8 Du da di ta Du da di ta.. Du ta di Du ta di Du ta ta ta Du ta ta ta Da as in Dot Di as in Deed Ta as in Top James O. Froseth and Albert Blaser James O. Froseth and Albert Blaser, IMPROVISE! IN POPULAR JAZZ IDIOMS (Chiago: GIA Publiations In., 979). Edwin Gorn, LEARNING SEQUENCES IN MUSIC (GIA Publiations In., 980), p.97, The author is indebted to Professor James O. Froseth of the University of Mihigan for the searh that brought about the vision of the (rhythmi) syllables. -searh: a studious inquiry or examination; esp: ritial and exhaustive investigation or experimentation having for its aim the disovery of new fats and their ort interptation, the vision of aepted onlusions, theories, or laws in the light of newly disoved fats, or the pratial appliations of suh new or vised onlusions, theories, or laws: a psentation (as a publiation) inorporating the findings of a partiular searh. from Webster s Third New International Ditionary

9 TeahingOTtoYP /6/07 :5 AM Page 9 Listen --- then E Listen then Eho Sing or Eho Play Rhythmi Pattern Exerise π f p ƒ π p F f

10 TeahingOTtoYP /6/07 :5 AM Page 0 Can Can by Jaques Offenbah from Conversational Solfege Level John Feierabend

11 TeahingOTtoYP /6/07 :5 AM Page In the Hall of the Mountain King from Conversational Solfege Level John Feierabend

12 TeahingOTtoYP /6/07 :5 AM Page Resous Used in This Clini M Rhythm flashards with CD, Set One (50 ards)...$5.00 James O. Froseth Albert Blaser Inludes CD with 0 traks of musi eah 7 minutes long in a variety of styles, tempos, and meters espeially suited as lively bakgrounds for building rhythm skills. All flashards a / x 6 /, in duple and triple meters. Coordinates with Do It! Play in Band, but may be used in any lassroom. M Rhythm Flashards with CD, Set Two (60 ards)...$5.00 James O. Froseth Inludes CD with 6 traks of musi mo diffiult patterns. Do It! Play in Band See for mo information. James O. Froseth Marguerite Wilder and Molly Weaver, ontributing editors An entily musial method for beginning band. Inludes Student Books (with CD), Home Helper, Solo On Stage. Teaher s Resou Edition inludes full so with instrutional sous and CDs. Double-size perussion edition (Steve Houghton, o-author) that is omphensive and ative. String editions also available (Bt Smith, o-author). Teahing Musi through Performane in Beginning Band, Volume Nationally known leaders in musi eduation offer insights and suggestions for improving the musiianship of your elementary or middle shool band, and the series signatu Teaher Resou Guides offer invaluable insights to 55 of the best newer works for beginning band in print. Order the -CD set featuring all 55 works from Teahing Musi through Performane in Beginning Band, Vol. G-76 Hardover, 80 pages...$9.50 CD-750 -CD set...$9.50 Conversational Solfege John M. Feierabend A dynami and aptivating general musi program for Grades 8 that enables students to beome independent musial thinkers with the help of a rih variety of folk and lassial musi. The ultimate goal is to ate fully engaged, independent musiians who an hear, understand, ad, write, ompose, and improvise. This series is a omplete, innovative approah to teahing musi that will stay fsh year after year. Level One: G-580 Teaher s Manual...$.95 G-580FL Flashards G-580S Student Book CD-56 Classial Seletions CD Level Two: G-58 Teaher s Manual G-58FL Flashards G-58S Student Book CD-57 Classial Seletions CD DVD-59 Move It! Expssive Movements with Classial Musi...$.95 Peggy Lyman John Feierabend A vibrant and innovative approah to teahing young hildn and students of all ages the oy of moving to lassial musi! Inludes DVD, guidebook, and audio CD to psent 0 imaginative danes set to lassial works from Brahms Waltz in A-flat to Prokofiev s Romeo and Juliet. Adaptable hoography is perfet for early hildhood speialists, elementary musi teahers, and dane eduators for use with hildn of all ages, as well as senior itizens and the physially hallenged. An approah as fun and expssive as it is eduational! Linda Gammon 759 Carbonate Terrae Stone Ridge, VA lgam@omast.net Marguerite G. Wilder 55 Sweet Spring Branh Clarkesville, GA 05 Home: Cell: mgwilder@mindspring.om GIA Publiations, In