Here's an excellent blog I just ran across, by an orchestra teacher calling himself "orchestra guy" (which is a bit like "batman", except without all the pricey gear)
[quote from Thoughts of a String Educator]
First, we need to encourage or even force our students to be musicians. They need to be scientists in science class. Be mathematicians in math class. Be writers in English class. You get the point. It is not enough to be a music student in an orchestra. You have to be a musician. You have to think like a musician, feel like a musician, listen like a musician, count like a musician, BE a musician. Too often, I think that we expect our students to be music students, not musicians. But, how do we get them to do this?
We have to teach them how a musician thinks. We have to teach them HOW a musician counts, how a musician listens, how a musician moves, how a musician feels. I think that too often, we get so caught up in the facts ("make that C sharp higher, hold your bow this way, etc.) that we forget to teach the thought process. . . .
[end quote]
Bravo.
Showing posts with label school orchestras. Show all posts
Showing posts with label school orchestras. Show all posts
Wednesday, October 14, 2009
Monday, February 9, 2009
Sound and Fury: individual practice in group settings?
I'm an experienced school string teacher. I've gone through loads of coursework and professional training over the years, and have seven years of full-time, professional school experience under my belt.
However, I think that being a parent is teaching me more about the processes of teaching and learning than I ever could have grasped through reading, practice, or any pedagogical training. Two of my three children have been studying with good Suzuki studio teachers for some time now (one is playing piano, the other violin), so I have a front row seat in watching the whole process unfold.
Sometimes things become obvious when you change your perspective.
That long introduction was intended to lead into a fairly simple point: one of my daughter's private teachers threw me for a loop a few weeks ago when she advocated for students to practice periodically with lots of distractions. She specifically mentioned playing pieces in one key while someone else in the same room practices an entirely different piece in another key.
This is something I would never allow in my lesson groups. Since the first time I started studio teaching well over a decade ago, I've always instinctively encouraged students to listen hard to what's going on around them. In the opportunities I've had to start or take over school string programs, one of the first things I've always done is to forbid students from practicing individual parts during lesson groups or rehearsals. I always try to have students in group lessons play either in unison or complementary parts - I have always tried to break the habit of students playing without listening.
Now, a very good teacher who I pay to help teach my own children has me thinking I may have done all those students a disservice. Did I discourage them from developing the skill of focusing in the midst of distractions?
Music teachers and musicians: any thoughts?
Here are some of the points that I've thought about. I've obviously come to no conclusions:
-The teacher in question got this idea while hosting Japanese Talent Education teachers and students years ago. As I understand it, Japanese families are used to living in very close quarters and don't share the same need for "personal space" that I do . . . I've noticed that many of my students (who, by and large, come from "inner city" backgrounds) are also accustomed to very close quarters and are not as leery about "close personal contact" as I . . . so, by not allowing them to be noisy or to work on parallel paths, am I "shutting them down"?
- I personally have a very high ability to tune out and focus on singular tasks with lots of noise and distraction when necessary. However, I find it impossible to focus specifically on teaching in the midst of any noise or interruption. So, ultimately, am I silencing the kids just for my own convenience?
- Many of my kids, for a variety of reasons, don't or can't practice outside of school. Should I let them have the time to do it during our scarce group lesson time? Is some better than none? Does anyone have experience integrating practice time into lesson time?
I'm looking forward to getting some input on this one . . .
That long introduction was intended to lead into a fairly simple point: one of my daughter's private teachers threw me for a loop a few weeks ago when she advocated for students to practice periodically with lots of distractions. She specifically mentioned playing pieces in one key while someone else in the same room practices an entirely different piece in another key.
This is something I would never allow in my lesson groups. Since the first time I started studio teaching well over a decade ago, I've always instinctively encouraged students to listen hard to what's going on around them. In the opportunities I've had to start or take over school string programs, one of the first things I've always done is to forbid students from practicing individual parts during lesson groups or rehearsals. I always try to have students in group lessons play either in unison or complementary parts - I have always tried to break the habit of students playing without listening.
Now, a very good teacher who I pay to help teach my own children has me thinking I may have done all those students a disservice. Did I discourage them from developing the skill of focusing in the midst of distractions?
Music teachers and musicians: any thoughts?
Here are some of the points that I've thought about. I've obviously come to no conclusions:
-The teacher in question got this idea while hosting Japanese Talent Education teachers and students years ago. As I understand it, Japanese families are used to living in very close quarters and don't share the same need for "personal space" that I do . . . I've noticed that many of my students (who, by and large, come from "inner city" backgrounds) are also accustomed to very close quarters and are not as leery about "close personal contact" as I . . . so, by not allowing them to be noisy or to work on parallel paths, am I "shutting them down"?
- I personally have a very high ability to tune out and focus on singular tasks with lots of noise and distraction when necessary. However, I find it impossible to focus specifically on teaching in the midst of any noise or interruption. So, ultimately, am I silencing the kids just for my own convenience?
- Many of my kids, for a variety of reasons, don't or can't practice outside of school. Should I let them have the time to do it during our scarce group lesson time? Is some better than none? Does anyone have experience integrating practice time into lesson time?
I'm looking forward to getting some input on this one . . .
Saturday, January 19, 2008
The elementary orchestra: nuts & bolts
One problem that's been nagging me lately is one I'm sure other instrumental teachers will recognize: the challenge of maintaining motivation, interest (and enrollment!) in the school program, retaining as many members as possible, while simultaneously trying to challenge the more gifted and faster-moving students, encouraging them to participate in select ensembles outside of the school.
My orchestra program is based very heavily on the concept of "teamwork". A large part of what motivates students to continue with the school program is their involvement with their peers, working toward a common goal, playing different parts, contributing to the same music. This means that students who are part of my orchestras (elementary, first through third year players, most of whom have no additional experience or instruction on their instrument) spend most of their time working on "ensemble music". I do the best I can to help them develop good technique and musicianship through their studies, but due to limited available time, most of this is done through the ensemble music they need to play for concerts or upcoming auditions, and not necessarily closely tied to a sequential method of instrumental study. Unfortunately, much of the "skills-based" material covered in the student's method books tends to fall by the wayside as they struggle to prepare themselves for school concerts, all-district orchestra auditions, and all-county auditions. I've yet to have any all-state players come through my program.
At this time of year, this seems to cause a chronic problem. All of the students have done their best to prepare and perform for a "seasonal concert" which is done before winter break. Most of the second and third year players are encouraged to go on to the all-district orchestra, which requires an audition to enter. By and large, the students (especially the second year, but also a large contingent of third year sixth graders) Are not able to competently learn their audition pieces without a lot of help. They depend on me to make sure they know how the notes and rhythms in their excerpts go. It's an exceptional case who can take the music home and read through it on their own without a huge number of basic mistakes. Most of them are usually just not ready to accomplish this: it's analogous to a kindergarten student being asked to read and comprehend short stories that are beyond their reading level without assistance. The few who can handle the material on their own are generally preparing for additional auditions, like the all-county orchestra (which is far more competitive.
Here's the problem: all of these students are in lesson groups with others, some of whom are not preparing for these select ensembles due to lack of interest, scheduling problems, or simple lack of ability to handle the material. All of these students are, however, still part of the school group. Meanwhile, they don't receive as much attention or help during this period, as we're busy working on audition material.
I make it my goal to keep those kids. I'm not sure why: many of the teachers in my district are more than happy to lose the students who aren't making adequate progress and focus on the select few who are handling the material more competently due to a variety of factors. But the way I see it, I need to retain as many of the "fair to middling" students as I can. I even make every effort to retain poor and problematic students. I need them on stage, my program needs the enrollment, and, though there is very little idealism left in me at this point in my life, I like to think that their involvement in the music program will help them in the long run, even if they don't do everything the way I want them to.
This is a train of thought I'll have to come back to later. I appreciate any input via email or comment (below).
My orchestra program is based very heavily on the concept of "teamwork". A large part of what motivates students to continue with the school program is their involvement with their peers, working toward a common goal, playing different parts, contributing to the same music. This means that students who are part of my orchestras (elementary, first through third year players, most of whom have no additional experience or instruction on their instrument) spend most of their time working on "ensemble music". I do the best I can to help them develop good technique and musicianship through their studies, but due to limited available time, most of this is done through the ensemble music they need to play for concerts or upcoming auditions, and not necessarily closely tied to a sequential method of instrumental study. Unfortunately, much of the "skills-based" material covered in the student's method books tends to fall by the wayside as they struggle to prepare themselves for school concerts, all-district orchestra auditions, and all-county auditions. I've yet to have any all-state players come through my program.
At this time of year, this seems to cause a chronic problem. All of the students have done their best to prepare and perform for a "seasonal concert" which is done before winter break. Most of the second and third year players are encouraged to go on to the all-district orchestra, which requires an audition to enter. By and large, the students (especially the second year, but also a large contingent of third year sixth graders) Are not able to competently learn their audition pieces without a lot of help. They depend on me to make sure they know how the notes and rhythms in their excerpts go. It's an exceptional case who can take the music home and read through it on their own without a huge number of basic mistakes. Most of them are usually just not ready to accomplish this: it's analogous to a kindergarten student being asked to read and comprehend short stories that are beyond their reading level without assistance. The few who can handle the material on their own are generally preparing for additional auditions, like the all-county orchestra (which is far more competitive.
Here's the problem: all of these students are in lesson groups with others, some of whom are not preparing for these select ensembles due to lack of interest, scheduling problems, or simple lack of ability to handle the material. All of these students are, however, still part of the school group. Meanwhile, they don't receive as much attention or help during this period, as we're busy working on audition material.
I make it my goal to keep those kids. I'm not sure why: many of the teachers in my district are more than happy to lose the students who aren't making adequate progress and focus on the select few who are handling the material more competently due to a variety of factors. But the way I see it, I need to retain as many of the "fair to middling" students as I can. I even make every effort to retain poor and problematic students. I need them on stage, my program needs the enrollment, and, though there is very little idealism left in me at this point in my life, I like to think that their involvement in the music program will help them in the long run, even if they don't do everything the way I want them to.
This is a train of thought I'll have to come back to later. I appreciate any input via email or comment (below).
Thursday, November 29, 2007
Answering search query: intonation for beginning orchestras
I spy on my readers: I love checking "my Statcounter" to see who's reading the blog, and what they're looking for when they get there. People often stumble on this site because they were searching for how to install a power outlet or strip paint using a heat gun. I always think that's pretty funny, and I love the idea that there's actually someone idiotic enough to take home improvement advice from my blog. They deserve the electrocution and subsequent house fire I'm sure they ended up receiving.
Here's an interesting search field that brought someone here recently, though: "intonation for beginning orchestra". That's something I've gotten much better at teaching over the last year or two, and I'm starting to hear some good results from students who couldn't previously play in tune.
If you're am elementary string teacher, I advocate for a multi-sensory approach to teaching intonation. Activate their visual sense with reference points on the fingerboard. Encourage them to "feel" the placement of their arm/wrist/fingers as they play the note in tune. Get them to listen to themselves and the sounds around them. I refrain from the taste and smell exercises recommended elsewhere (my students aren't allowed to lick their instrument. It's a rule: they have to join band if they want to do that stuff).
The Visual - Yes, lines or stickers on the fingerboard can help alot; I tend to avoid them for as long as possible, though. I don't like the effect on the student's posture when they start to stare at the marks on their fingerboard: all the visual learners (constituting most of the population, from my experience) want to stare at the stickers or marks as soon as they get them, and are likely to forget all of the good playing habits they've learned. When students do that, I make them close their eyes and play slowly. At first, they seem to think they won't put the right finger down if they can't see it. They are usually pleasantly surprised to find out they can play the right notes to a major scale or "twinkle" with their eyes closed. Then they start actually listening to themselves. If you do this, it's a good opportunity to gain control of the pace off the lesson, reminding the student of all of the elements of good performance posture ("head into the violin", "wrist hanging down", "relax the shoulder" or what have you).
The Tactile - I try to get the kids to remember the feeling of their hands when in the right position. I don't know any tricks for doing this: I just tell them to close their eyes (if they are one of the very visually focused kids) and "feel" their hand. I always feel like Yoda when I do this. As an intersting side note, there is a professional orchestral mallet player who is totally deaf, but can play correct pitches by feel. There is probably a way to incorporate "feeling" the correct pitches into elementary string lessons, but I haven't gotten there yet.
The Aural - It seems obvious, but I think most young students need to be trained to listen to themselves when playing. They can do it given time and effort. It seems to work best when they're playing in unison with someone else (their section or lesson group, for example, but it's better if they can play in unison with an experienced player who will model good intonation for them). Encourage them to "sit on" fingered notes for a long time to really start to hear the "in tune" or "out of tune" quality of the notes. For years, I only had beginning string sections play long notes in unison on open strings (as a bowing exercise): I'm starting to see the value of playing long, sustained, stopped notes in unison as soon as possible. Have them play open d, sustained for the length of a few bows, then challenge them to "step up" and stop the e on the d string. Some of them will adjust their pitch right away, some will require encouragement and time. Tell them individually if they need to go higher or lower. Compliment them when they get more in tune. They do get it, given time.
One thing I've found is that it's a good exercise to play another instrument when playing in unison with students while focusing on intonation. If I play cello, bass, or piano (or sing, for that matter) with an upper string student, they spend less effort trying to copy my technique and listen more closely to the notes and phrases. Obviously, one should model playing technique for them initially, but then the result can be surprising when you let them go off on their own.
A caveat: This stuff only works effectively with the bow. I know there are many school orchestra teachers out there who start the kids off playing only pizzicato: in my opinion, there is no way the students will develop any idea of tone or intonation doing this. They have to use the bow from day one.
There are lots more interesting things that can be done with second or third year students (or beyond): they can develop more independence through playing rounds or harmonized parts, for example. However, this will work best if they've already developed a good strong foundation in playing "in tune".
Here's an interesting search field that brought someone here recently, though: "intonation for beginning orchestra". That's something I've gotten much better at teaching over the last year or two, and I'm starting to hear some good results from students who couldn't previously play in tune.
If you're am elementary string teacher, I advocate for a multi-sensory approach to teaching intonation. Activate their visual sense with reference points on the fingerboard. Encourage them to "feel" the placement of their arm/wrist/fingers as they play the note in tune. Get them to listen to themselves and the sounds around them. I refrain from the taste and smell exercises recommended elsewhere (my students aren't allowed to lick their instrument. It's a rule: they have to join band if they want to do that stuff).
The Visual - Yes, lines or stickers on the fingerboard can help alot; I tend to avoid them for as long as possible, though. I don't like the effect on the student's posture when they start to stare at the marks on their fingerboard: all the visual learners (constituting most of the population, from my experience) want to stare at the stickers or marks as soon as they get them, and are likely to forget all of the good playing habits they've learned. When students do that, I make them close their eyes and play slowly. At first, they seem to think they won't put the right finger down if they can't see it. They are usually pleasantly surprised to find out they can play the right notes to a major scale or "twinkle" with their eyes closed. Then they start actually listening to themselves. If you do this, it's a good opportunity to gain control of the pace off the lesson, reminding the student of all of the elements of good performance posture ("head into the violin", "wrist hanging down", "relax the shoulder" or what have you).
The Tactile - I try to get the kids to remember the feeling of their hands when in the right position. I don't know any tricks for doing this: I just tell them to close their eyes (if they are one of the very visually focused kids) and "feel" their hand. I always feel like Yoda when I do this. As an intersting side note, there is a professional orchestral mallet player who is totally deaf, but can play correct pitches by feel. There is probably a way to incorporate "feeling" the correct pitches into elementary string lessons, but I haven't gotten there yet.
The Aural - It seems obvious, but I think most young students need to be trained to listen to themselves when playing. They can do it given time and effort. It seems to work best when they're playing in unison with someone else (their section or lesson group, for example, but it's better if they can play in unison with an experienced player who will model good intonation for them). Encourage them to "sit on" fingered notes for a long time to really start to hear the "in tune" or "out of tune" quality of the notes. For years, I only had beginning string sections play long notes in unison on open strings (as a bowing exercise): I'm starting to see the value of playing long, sustained, stopped notes in unison as soon as possible. Have them play open d, sustained for the length of a few bows, then challenge them to "step up" and stop the e on the d string. Some of them will adjust their pitch right away, some will require encouragement and time. Tell them individually if they need to go higher or lower. Compliment them when they get more in tune. They do get it, given time.
One thing I've found is that it's a good exercise to play another instrument when playing in unison with students while focusing on intonation. If I play cello, bass, or piano (or sing, for that matter) with an upper string student, they spend less effort trying to copy my technique and listen more closely to the notes and phrases. Obviously, one should model playing technique for them initially, but then the result can be surprising when you let them go off on their own.
A caveat: This stuff only works effectively with the bow. I know there are many school orchestra teachers out there who start the kids off playing only pizzicato: in my opinion, there is no way the students will develop any idea of tone or intonation doing this. They have to use the bow from day one.
There are lots more interesting things that can be done with second or third year students (or beyond): they can develop more independence through playing rounds or harmonized parts, for example. However, this will work best if they've already developed a good strong foundation in playing "in tune".
Thursday, November 1, 2007
El SIstema: Nationalized music education?
Dudamel (conductor of the Los Angeles Phil) was profiled in the New York Times magazine last weekend, and it got me thinking about "El Sistema". He's a product of the Venezuelan music education program, which claims to provide an instrument, lessons, and a seat in the youth orchestra for every interested Venezuelan child, regardless of background or ability to pay. It's a system I'd like to learn more about: if anyone stumbles across this who can refer me to good info regarding "El Sistema", please let me know. There must be lots of alum from the "Sistema" program floating around.
Saturday, August 11, 2007
String orchestra programs: k-12, nuts and bolts
It's very tempting to turn this blog into a place for goofing off. I'm going to make an attempt at seriousness for a moment now, and see if I can make any headway.
After about two weeks, school will be in full swing again. I will be taking in a new group of students who have never touched a stringed instrument, and doing my best to get them familiar with their instruments, familiar with the repertoire they will be playing, and familiar with the countless skills they will be exercising while playing in an ensemble under a conductor.
Over the years, I've determined that it takes much more than being a proficient instrumentalist to be an effective instrumental music teacher. I would like to become more effective, and run a "very good" string program, as opposed to a "good enough" program. My goal is honestly not to create virtuoso players (though I feel the kids should have the opportunity to pursue that path if they are so inclined), but to have a program which serves the community well. More on that later.
Over the past year or so, I've been compiling this outline of what I think a "very good" string program needs to be capable of providing if it's to be of any benefit to the community over the long term. It's meant to be a dynamic document, so, please, in all seriousness, I would greatly appreciate any additions, suggestions, input or criticism anyone would like to offer. Email Me
I know this document is not incredibly reader-friendly. It is a work in progress, and I hope to update this post as my thoughts on the topic become more clear, and therefore easier to put into words. If this outline makes any sense to you, again, please help me add to it or edit it . Email Me.
Here goes:
Recommendations for building a "very good" school string program (rough outline as of August, 2008)
I. Facility
A. Storage of instruments
B. Rehearsal space
C. performance space
II. Materials and Equipment
A. Books
1. Leveled instrument-specific methods
2. Leveled ensemble materials
B. Instruments (of appropriate size and playability)
1. acquisition
2. regular maintenance
C. Listening materials (to provide "aural model")
III. Staffing (ensure equity across schools and continuity of instruction)
A. Availability of string specialist
B. Presence of well-run, successful general music curriculum, ensuring consistent practice of musical skills away from main instrument
IV. Scheduling
A. in – school lesson time
1. group (sectional as well as full ensemble)
2. individual (or small group, instrument-specific)
B. outside programs
(community playing opportunities increase visibility and importance of program)
C. ensemble rehearsal
D. in-school performances and assemblies
V. Feeder Programs/ Previous experience (e.g. Suzuki studios)(can we create or encourage such programs? In school, through the school system, or independent?)
VI. Tracking/Leveling of groups
A. resources and opportunities for Advanced Students
B. resources for slow learners
C. solid foundation for beginners
VII. Support
A. Administrative (through scheduling, transportation, funding, availability of resources . . .)
B. Teacher (collaborative efforts, esp. important in elementary school)
C. Parental
D. Peer (program must be a positive social experience to retain membership, create environment of healthy competition, pride, . . .)
VIII. Continuity of instruction K-12
A. Methods used (method book series)
B. Expectations as related to NYSSMA leveling, national arts standards, and ASTA recommendations
C. Retention of low-performing students
D. Opportunities for advancing students
E. Expectations of department as opposed to expectations of individual teacher
IX. Essential questions
A. Why is the string program important?
B. How does it help the community, students, and schools?
C. Who is the program for? (inclusion of at-risk population vs. honors or select groups)
Email Me
After about two weeks, school will be in full swing again. I will be taking in a new group of students who have never touched a stringed instrument, and doing my best to get them familiar with their instruments, familiar with the repertoire they will be playing, and familiar with the countless skills they will be exercising while playing in an ensemble under a conductor.
Over the years, I've determined that it takes much more than being a proficient instrumentalist to be an effective instrumental music teacher. I would like to become more effective, and run a "very good" string program, as opposed to a "good enough" program. My goal is honestly not to create virtuoso players (though I feel the kids should have the opportunity to pursue that path if they are so inclined), but to have a program which serves the community well. More on that later.
Over the past year or so, I've been compiling this outline of what I think a "very good" string program needs to be capable of providing if it's to be of any benefit to the community over the long term. It's meant to be a dynamic document, so, please, in all seriousness, I would greatly appreciate any additions, suggestions, input or criticism anyone would like to offer. Email Me
I know this document is not incredibly reader-friendly. It is a work in progress, and I hope to update this post as my thoughts on the topic become more clear, and therefore easier to put into words. If this outline makes any sense to you, again, please help me add to it or edit it . Email Me.
Here goes:
Recommendations for building a "very good" school string program (rough outline as of August, 2008)
I. Facility
A. Storage of instruments
B. Rehearsal space
C. performance space
II. Materials and Equipment
A. Books
1. Leveled instrument-specific methods
2. Leveled ensemble materials
B. Instruments (of appropriate size and playability)
1. acquisition
2. regular maintenance
C. Listening materials (to provide "aural model")
III. Staffing (ensure equity across schools and continuity of instruction)
A. Availability of string specialist
B. Presence of well-run, successful general music curriculum, ensuring consistent practice of musical skills away from main instrument
IV. Scheduling
A. in – school lesson time
1. group (sectional as well as full ensemble)
2. individual (or small group, instrument-specific)
B. outside programs
(community playing opportunities increase visibility and importance of program)
C. ensemble rehearsal
D. in-school performances and assemblies
V. Feeder Programs/ Previous experience (e.g. Suzuki studios)(can we create or encourage such programs? In school, through the school system, or independent?)
VI. Tracking/Leveling of groups
A. resources and opportunities for Advanced Students
B. resources for slow learners
C. solid foundation for beginners
VII. Support
A. Administrative (through scheduling, transportation, funding, availability of resources . . .)
B. Teacher (collaborative efforts, esp. important in elementary school)
C. Parental
D. Peer (program must be a positive social experience to retain membership, create environment of healthy competition, pride, . . .)
VIII. Continuity of instruction K-12
A. Methods used (method book series)
B. Expectations as related to NYSSMA leveling, national arts standards, and ASTA recommendations
C. Retention of low-performing students
D. Opportunities for advancing students
E. Expectations of department as opposed to expectations of individual teacher
IX. Essential questions
A. Why is the string program important?
B. How does it help the community, students, and schools?
C. Who is the program for? (inclusion of at-risk population vs. honors or select groups)
Email Me
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