Once a musical work has been selected (see my post for yesterday on selecting repertoire) the next step in the process of preparing it for performance is to analyze. The focus of the analysis should be constrained to what will be useful to the student, and to what interests the student in the work. Students … Continue reading Using Core Arts Standards To Teach Students How To Analyze Repertoire
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Using Core Arts Standards to Teach Students How To Select Repertoire
The new core arts standards are made in the same form as the Common Core State Standards, and contain similar vocabulary. Because of this, we can plan, give and assess music instruction with Common Core connections already embedded by using the Core Arts Standards as our foundation. The heart of the matter is expressed in … Continue reading Using Core Arts Standards to Teach Students How To Select Repertoire
Why Do We Have Students Play Musical Instruments?
Today, I want us to think about a question that most of us have either overlooked or taken for granted. I want to explore why we teach people to play musical instruments. This is a deceptively important question, because how we answer it affects everything we do with our instrumental students; it affects what we … Continue reading Why Do We Have Students Play Musical Instruments?
Jaques-Dalcroze and Rhythm Training
Yesterday, I discussed solfege exercises developed by Emile Jaques-Dalcroze. Today I will examine some of his rhythm exercises. Like contemporary scholars, Jaques-Dalcroze found that rhythm and pitch are more easily taught separately than integrated together. Jaques-Dalcroze also believed that because movement, through which rhythm is expressed, is natural to humans, whereas pitch is not, it … Continue reading Jaques-Dalcroze and Rhythm Training
Is There Madness in the Method?
Music teachers are often concerned with method. If you go to most music education conferences, you’ll find sessions on the Kodaly Method, the Dalcroze Method, Gordon Music Learning Theory, the Orff Method, Feierabend’s Conversational Solfege, the Suzuki Method, to name a few. Music teaching methods are like Protestant denominations: there are many of them, they … Continue reading Is There Madness in the Method?
We Are More Than Teachers of Music
Today my post is a little different; it is more about life than about music. As music teachers, we have the opportunity to impact our students’ lives year after year. Unlike many of our colleagues who teach different class of students every year, we teach all of the students in our buildings year after year. … Continue reading We Are More Than Teachers of Music
A Better Way To Teach Rhythm
I have noticed that there is a great deal of interest in how best to teach rhythm. Perhaps this reveals challenges that music teachers find in teaching rhythm, made manifest in students’ difficulty in performing rhythms accurately. While I cannot know what transpires in every music classroom, I can at least address problems I have … Continue reading A Better Way To Teach Rhythm
A Conductor’s Guide to Percussion: Bass Drum Methods
Today, I complete my series on percussion methods by talking about the concert bass drum. The drum is mounted vertically, with the two heads to the players left and right. The player's right foot is placed on the inside of the rim just right of center, and the knee is turned into the drum head. … Continue reading A Conductor’s Guide to Percussion: Bass Drum Methods
A Conductor’s Guide to Percussion: Cymbal Methods
Today, I continue my series on percussion methods with cymbals. I will begin with concert crash cymbals and then discuss suspended cymbal. My discussion will be limited to concert instruments and applications, not drum kit. I have found the best sound can be produced using leather handles on the pair of crash cymbals. Handles that … Continue reading A Conductor’s Guide to Percussion: Cymbal Methods
A Conductor’s Guide to Percussion: A Demonstration of Timpani Methods
I thought today before going on to the next percussion instrument, I would show you some of what I talked about for timpani in action. This clip demonstrates matched grip, rolls, several dynamic levels, and use of different mallets. The sticks contact the drum about four inches from the rim, and leave the drumhead immediately … Continue reading A Conductor’s Guide to Percussion: A Demonstration of Timpani Methods
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