Thursday, December 29, 2011

Three Tips to Make Your Next Concert a Hit

I recently survived my first winter concert, and I'm happy to report it was a smashing success. I'm in the of
These gentlemen understood how to put
on a classy performance!

rebuilding a program, and winter concerts in previous years were not taken very seriously. Students were allowed to dress casually and wear Santa hats on stage. The audience, from what I'm told, talked during the music. Kids and parents of younger bands left after their kids performed, leaving hardly an audience by the time the high school band took the stage.

My vision of a winter concert was completely different. In this small town, the high school band is as close to a professional symphony orchestra as they'll probably ever have. I wanted a concert with quality musical programming and an elegant presentation, or at least presented to the best of our ability. I poured a ton of energy into the presentation as well as the music, and it definitely contributed to the concert's success. Here are some of the things we did that you might be able to use, if you're not already doing them:

Tuesday, December 6, 2011

Six Wind Pattern Applications in Rehearsal

Greetings!

Sam Pilafian leads a band in
breathing exercises.
Back in January I wrote a post titled, "The Transformational Power of The Breathing Gym". If somehow you're unfamiliar with this awesome product, please click on the link to learn about what it is and its effectiveness. I shared some of my stories about individual student breakthroughs or small groups successes. There was a reflective post later on where I briefly mentioned a few other things I had found success dealing with using wind patterns, but until now I haven't written a post that puts it all together in a way you can easily use in rehearsal.

A Wind Pattern is where you isolate the breathing and fix that before going back to the instrument. I also have students finger the instrument while breathing. Playing a wind instrument is almost entirely about the wind. We know that air support causes probably 90% of the problems we have, and Wind Patterns are a good way to isolate that aspect of playing. So here are six situations where you can tell students to Wind Pattern:

Saturday, December 3, 2011

3 Ways to Make the Warm Up Relevant for Students

Much has been written about what should be included in a band warm up. There are some tried and true methods out there. For example, some teachers swear by Bach chorales as a necessity (or at least a chorale of some sort). There is much written as to the purpose of a warm up, and so on and so forth. I'm not actually here to add to that debate today. Today I'm here to offer some tips to make your band warm up more relevant to the students so that more is learned during that time.

The Problem With Most Warm Up Routines...

is that they're routine. On the one hand, routines and procedures are important. They help the students stay grounded, it helps them know what to expect, and so on. But here is the kind of routine I'm talking about:

Wednesday, November 16, 2011

RythmBee Works!

Hello again!

I've been interested in RhythmBee! since attending a workshop with, among others, Cindy Bullock. She is a nationally recognized, retired middle school band teacher who made her name working at Nemitz Jr. High School in Odessa, TX. My jaw drops every time I listen to a certain clip of one of her honor bands. She's one of those incredible music teachers that gets kids to do things that seem impossible. If she says something, you want to do it without question.

Anyway, I spent the $200 for the package that is targeted for small school and middle school bands. It has to be one of the best investments I've made for the program so far. When the website says that RhythmBee works for everyone, they're not joking. The only people it won't work for are the students who refuse to look at the screen.

Sunday, November 13, 2011

Things Are Getting Better...

Greetings!

It's been quite a while since my last post. So much has happened! I would apologize for the lack of a post, but I notice it's common on education blogs, especially those written by active public school educators, for there to be long gaps between blogs while school is in session. I figure the people who would be interested in this blog can probably understand.

And while I look forward to writing over the breaks, I have to admit I'm not too sure what to blog about. Many of my past blogs were based on findings in my research, but since August 1st I've been engaged in nothing but practice. When I do resume blogging, I imagine it will be as unstructured as many of my earliest blogs.

So with that in mind, I wanted to just post a journal entry more than anything else. For my friends and family out there who follow this, and anyone else for that matter, I'm happy to report that most of what I have shared on this blog in terms of pedagogy and procedures has been largely effective. For example...

Friday, June 24, 2011

Musicality for Beginners: Basic Phrase Shaping

Hello again!

On the last post in this series I talked about teaching students about implied note emphasis. That is a good first step that is easy for them to grasp and gets them making musical decisions. Once they get the hang of that, the next step is to teach them about basic phrase shaping. Keep in mind with what you're about to read, that the key indicator is basic. This is meant to be understood by beginning band students who are in the last leg of their end of the year concert preparation.

To be successful in this new skill, students will need to understand how to identify phrases (or at least know where all of the phrases in the music happen), and they'll need to be proficient in crescendos and decrescendos.

Tuesday, June 21, 2011

I Found a Job!

Hello friends!

Special Thanks to my cooperating teacher and his great
students for this awesome name plate they gave me at
the spring concert.
This is strictly a journal entry. I just wanted to talk a little about the past few months. I didn't want to write a journal blog of despair, but really that's what the past couple of months have mostly been.

I started my job search in February, before the TMEA Convention. I remember being so excited for TMEA (after all, 2010 TMEA was life changing for me), and then being progressively more bummed out when I didn't get a call to meet a principal who had said he would like to meet me while he was there. Of course I did eventually meet him. I knocked the interview out of the park, and went back a couple of weeks later to meet the other principal. I was the favorite for the position of Band Director at this district for weeks, but in the end I didn't get it. It was the first major missed opportunity of many in the job hunt season. You see, normally this small school district didn't get any good applicants, but this time they had several good applicants, and one outstanding applicant. He showed just as much enthusiasm and imagination as I did, but the big difference was that he had several years of experience as an assistant at an incredible small school program in the East.

Monday, June 20, 2011

The Music of W. Francis McBeth

Greetings!

Considering that I've been reading and rereading W. Francis McBeth's book, "Effective Performance of Band Music", I figured I couldn't move on from talking about it without bringing some of his music to this blog. I mean, the man came up with the Pyramid of Sound schema, after all!

In looking around for music to feature on this blog, I discovered that he wrote "Daniel in the Lion's Den", a tuba solo with band accompaniment written for Daniel Perantoni and featured on Perantoni's solo album, "Daniel in the Lion's Den". This is a cool thing to me, because as I've mentioned before, Daniel Perantoni's was the first truly incredible tuba sound I ever heard, and it was a constant inspiration to me as a tubist, especially in high school. It was one of, if not my favorite track on the album. What a cool way to have been impacted by McBeth!

Saturday, June 18, 2011

Musicality for Beginners: Emphasizing Notes

Greetings!

From what I gather, one of the aspects of playing that many teachers struggle to teach is musicality. Here is what I mean by that - How do you get students to develop good enough musical instincts that they can make independent decisions regarding musical nuance?

I remembered having pretty good instincts in this regard as I entered college, but my later college experience trashed these skills in favor of something radically different, and I might add, much less exciting. I struggled to remember how we were taught those valuable skills. As the section leader, if we were not given details of nuance for a given phrase, I would make those decisions and pass it along to my section members so that we could immediately start practicing doing it with a unified sound on the next playing (sometimes one of the other guys would make good recommendations we would run with).

Considering that my senior year we had an All-State player in every section (except the euphonium section), I have to imagine that this happened throughout the band. Did it happen in our second band? I'm not sure. They did have a different teacher, so who knows.

What I do know is this - we promise creativity, and I feel like we don't always deliver. There are times when the conductor must give instruction as to nuance (emphasized notes, shaping, phrasing, style, etc) to unify the band. However, often students either don't have the tools to make those decisions on their own, or they don't even understand that they're supposed to. In my educational opinion, there is nothing creative about doing exactly what is written on the page, and/or exactly what you're told to do. The creativity can only come when the student takes that music and uses what they know to give it inflection and life. The end result will be unique based on their personal musical decisions. Not only does this give them the chance for creativity, but it makes each piece more musical as we simply don't have time to cover the nuance of every phrase for every part.

So having defined what I mean by musicality in this instance, and having defended why this is important, we can get into how it is taught. I've researched this topic in multiple texts, and plan to do a series of posts outlining various steps you can take with them. This is the first step, and the greatest part of this step is that you can do it with beginners.

Wednesday, June 15, 2011

A Survey of Authorities on Articulation (Composers and Conductors)

Greetings!

A few weeks ago I published a blog outlining my schema (or model) for teaching basic articulations to beginners based on their prior knowledge (dynamics and note length). One of the comments that showed up from my friend John at Music Dreams was that, of course, there are many ways to interpret articulations and that this will vary from one composer and situation to the next.

And of course, he's right. I admitted that this schema was for the basics, and the handout I attached says that this is simply a default, and the conductor may ask for something different on a given piece.

But as I was helping to organize a music library a couple of weeks ago, I stumbled onto a jewel - W. Francis McBeth's "Effective Performance of Band Music". Published in 1972 by Southwestern Music Company, it contains some of the best and most straight forward information I have yet to find regarding techniques for improving the band.

It also has an entire section devoted to the interpretation of articulation markings. In it, McBeth surveyed the premier wind band composers and conductors of the day as to their understanding of the five most common articulation markings. If you can find this book, you need to buy it. It should be cheap, and the information from those conductors and composers is worth it alone (although the in depth discussion on achieving the pyramid of sound really seals it, considering this book was the source of that schema).

So for your pleasure and edification, here is a summary of their comments. The conductors and composers who responded include: John Barnes Chance, Frank Erickson, Howard Hanson, Martin Mailman, Vaclav Nelhybel, Vincent Persichetti, Richard Willis, Harold Arnoldi, Frederick Fennell, Joe Barry Mullins, James Neilson, John Paynter, William D. Revelli and Clarence Sawhill. Enjoy!

Monday, June 13, 2011

How to Organize a Music Library

Hello again!

You're probably not looking for a summer project, but if your music library isn't well organized, it would be a project well worth your time. Last time I talked about the four steps to organize any space, and in this blog we're going to apply those steps to the music library.

Have you ever needed or wanted to find a piece of music and found you had to go digging around in cabinets where pieces were not kept in a particular order, or that you had to go digging around in piles of music that were not yet organized? I have even seen libraries and offices where sheet music lay strewn about on the floor!

Hey, I'm not making any judgments here. What I am saying is that your time is valuable, and our goal is always to push ourselves to accomplish more for the program in the same amount of time. If your library isn't well organized, then this is something that is no doubt eating up your time. Perhaps you've even had to pause class because someone was missing a part, and then you either had to go find it or send a student to go find it (while other teachers have procedures to do these things outside of class, in either case somebody isn't playing for a while).

The bottom line is this - having a well organized music library will save you time. Not only that, but it will contribute to a clutter free environment, which not only helps your students to have more respect for the program, but it also reduces your stress level!

Thursday, June 9, 2011

Four Steps to Organize Any Space

Hello again!

Do you need to organize?
One of the great challenges of managing any program, like a band for example, is keepings things organized. One of the gentlemen I met this past semester, who goes around and sees many band halls, said to me, "The only time your office will be organized is on the first day, and after that...."

Indeed, particularly when you walk into a situation where things are a giant mess, it is difficult and time consuming to sort through it all and get it organized. Even after it's organized comes the challenge of keeping it organized. I understand.

My wife and I live in a small apartment, and at one point we had way more things than we had space for. We still do. But at a certain point I was getting stressed from the clutter. So I went out and bought a book, as I always do. This one was called Organizing for Dummies. This book will tell you how to organize everything, from your work desk to your desk top to your time, to any space you can imagine. I got to work, and one space at a time, day by day, the apartment transformed.

Tuesday, June 7, 2011

Hindemith, Copland and Stravinsky Conducting Their Work

Greetings!

YouTube has become an incredible resource for us musicians, as well as fans of music. Every time I go digging around for stuff, I find new things to get pumped about. Today's blog is a few selections of famous composers conducting their own works, all of which have transcriptions for band. The last one not only has audio, but actually includes video as well! Enjoy!

Friday, June 3, 2011

Paper Percussion?

Hello again!

Can paper percussion instruments help us keep an army
of percussionists engaged when there are more players
than parts?
Several months ago I wrote a series on how procedures maximize learning, and on the blog specifically about classroom procedures for band, one of the comments left recommended I think about how to handle percussionists.

Schools that are large enough have negotiated this problem by scheduling a percussion class that is separate from the full band class, so that the percussionists can rehearse their parts and additional percussion ensemble music non-stop. This is obviously a great solution, as percussionists only have to risk boredom during after school rehearsals when they put their part together with the full band. But you see, while the separate class is a great solution, it doesn't avoid the problem entirely. When the percussion gets to rehearse with the full concert band, they will inevitably be bored. I did my best in rehearsals this past semester, but I, too, am guilty of allowing this to happen.

At the time I received the comment, all I knew was that you do your best to keep them busy, but thanks to Dr. Peter Boonshaft's book, "Teaching Music With Purpose", I think there may be a much better solution that actually keeps percussionists engaged.

Paper Percussion.

Wednesday, June 1, 2011

Articulation Markings Schema and Handout

Hello again!

This past semester, one of the things I realized is that I wished I had a visual representation for articulation markings. This led me to recently develop one myself. It is based on the system that I was "raised on", which has a couple of components to it. This components combined give you an easy way to explain how to interpret different articulations based on previously learned concepts, which I really like. Here we go!

The Three Parts of a Note

I wish I could thank whoever started explaining articulations this way. The concept is that a note has three parts. Label them as you like. I prefer to use 1. Attack/Start of the Note, 2. The Body/Sustain of the Note, 3. The Release/End of the Note. 

If you simply explain this idea to students, they can probably come up with an image in their head, especially if you tell them to imagine it this way. Once this idea is established, you can more easily move on to explaining any articulation they'll come across. 

Tuesday, May 31, 2011

Blog Update - Find Me on Facebook!

Greetings!

Normally I don't post strictly to announce things about the blog, but this one is an exception. My main promotional tactic so far has been to post new blogs on my personal facebook profile, but now that I'll be posting more over the summer I've decided to change that.

I have over 400 friends on facebook, and maybe 10-15 of them read my blog, which means that only about 5% of my friends are interested in reading the blog. So as not to risk harassing the other 95%, I've decided instead to have a facebook page dedicated to the blog. So, if you are one of my friends who uses my personal status updates to get notified of new posts, please go "Like" the new Facebook Page, otherwise you won't receive those updates via facebook anymore. Of course, if you haven't already, you can always subscribe via e-mail or subscribe to the RSS feed using the widgets to the right.

I'm in the middle of an intense portion of the job hunt, but I plan on posting something in the next couple of days that I hope will be interesting and helpful. Thank you so much for reading. Blogging is a means of self reflection for me, and I feel that it's beneficial for my teaching. Knowing that there is an audience, even if it's a small one, motivates me to continue writing. So thank you again! Until next time, take care!

Musically yours,
Mr. Cooper

PS. Don't forget to find the blog on Facebook! Thanks again!

Saturday, May 28, 2011

Body Mapping for Conducting

Greetings!

I hope everyone's spring concerts and graduation ceremonies have gone well!

Thanks for joining me for this discussion, which I'm actually quite excited about. I considered breaking it into two parts as the video components take some time, but I figure you can always leave and come back as you wish. Keep in mind the best information is at the end, which is what everything else leads up to!

We're going to talk about the importance of body mapping in conducting. Your body map has a significant impact on your expressive ability, as well as how the motions impact your joints over the long haul.

But wait, what is Body Mapping?

Thursday, May 26, 2011

How I Got My Son to LOVE Classical Music

My son, Devin, conducting and
singing. What a cute kid!
Hello again!

My son, Devin, LOVES Classical Music! Not only does he enjoy being around musicians and examining musical instruments, he loves listening to it. Every day when I pick him up from daycare he asks me one two questions as soon as we get to the car:

"Can we listen to Beethoven?"

or...

"Can we listen to Tchaikopsky?" (not bad, right??)

Wednesday, May 25, 2011

Music by Frank Erickson

Greetings!

For some odd reason I recently had the craving to listen to the music of Frank Erickson.

Frank Erickson was an important composer and arranger for wind band after World War II. He also did some pedagogical work, including arranging music for the "First Division Band Method" and writing his own band course. I won't go into great detail about his bio, but if you're interested you can find some information on windrep.org. All that I'll really say is that he wrote some gorgeous music. Several of his prominent works are slow and lyrical. He has an exceptional ability to write beautiful, moving lines, and this has caused band directors for decades to use that music to help teach musicianship to their players.

Saturday, May 21, 2011

The Three Levels of Listening

Greetings!

One of the most difficult things to teach students is active listening skills. I was very fortunate in my early high school experience to have someone present a schema for listening to me that was easy to understand and apply. I've continued to use it as a player and a teacher with success.

For any readers who haven't taken Education courses yet, a schema is basically a model for understanding something that you create in your brain. For example, if you know the rules for the NFL, you've developed a schema. However, when you watch Arena Football, you have to adjust your schema (understanding of how football works) slightly to accommodate the different rules. It's also possible to have to develop completely new schemata when the information you discover cannot be assimilated into an existing schema. Moving on...

The Three Levels of Listening

Developing active listening skills
takes guided practice. It's like
developing a seventh sense.
(The sixth is Kinesthesis)
I don't know who came up with this, otherwise I would give them credit. The idea is that there are Three Levels of Listening. You focus your listening on specific things in specific levels, and when you have achieved certain things on that level, you move up to the next one while still monitoring what you've already worked on at the same time.

Level One - Listen to Yourself

As teachers we understand that if a player does not sound good individually, it will be impossible for them to blend into the sound of the band. So, the first goal is to train students to listen critically to their sound and their playing, and to make adjustments. When you begin putting this schema into practice, you start with "Level One - Listen to Yourself". 

There are certain check offs at this level (as with all of them). They're all related to individual playing. For example, "Are you playing with a good tone quality?" "Are you playing in tune?" "Are you playing with good articulation/style/musical shaping?" And you could go on. If they can answer "Yes" to all of these questions, then they move on to Level Two.

Wednesday, May 18, 2011

Book Review: "The Creative Director: Alternative Rehearsal Techniques" by Ed Lisk

Hello again!

It may not look like much on
the cover, but I think you'll
be impressed.
One of the things I'd like to be able to do is review the books I've read and give some good information as to what you can expect if you're considering purchasing them. I am a reading fanatic, but I don't have the funds to buy all the books I want, so I always have a difficult time trying to pick the ones I think would work best.

Well, let me come right out and say that so far I am a big fan of the entire Creative Director series. Let's talk about Ed List, The ART system itself, and if you're interested, you can find out what to expect with the first book in the series. It's definitely where you'd want to start.

Monday, May 16, 2011

Who is Responsible for Learning - the Teacher, or the Student?

Hello again!

One of the long running debates in education is the question of who is ultimately responsible for student learning - the student, or the teacher?

This is a topic that nearly everyone and their dog will contest at some point, even people outside of the education world. The student who had a terrible experience with their teachers might blame their school experience for their lack of enthusiasm for learning, or their poor lot in life. The person who fought tooth and nail to become successful might argue that it's the student's responsibility.

It's also like the argument for technology in schools. Some people say, "That's how students learn now" while other might say, "If they really want to learn, they can read out of a textbook. That's how we've been learning for hundreds of years, and it worked just fine." The answer varies from person to person depending on their personality and experience.

Everyone has an opinion. But who is right? And more importantly, how should we as teachers look at this argument? A teacher's stance on this issue has a huge impact on how they structure their classes, assignments, and teaching style. At some point, we all need to analyze this philosophical point and take a stance.

"Ultimately, the Student is Responsible"

Can you really argue against this stance?

We live in a society that believes that you can be anything you want to be if  you're willing to do the work that is necessary. Regardless of what happens around you, regardless of your circumstances, you can be successful. But it's not easy - it's hard. And ultimately, if you don't make it, you only have yourself to blame.

Just like in the classroom. You might have the world's worst teacher, or the world's most boring teacher. But does that give you license to fail? How many of us have had teachers whose class worked something like this:

"Today we're going to read Chapter 16. After we're finished you will answer questions 1-20 at the back of the chapter for your homework assignment." Either the class takes turns reading, or the teacher reads.

Were these inspiring or even interesting classes? No. We all had teachers like this. But just because they weren't really teaching, did that give us permission to fail? No. And most of us didn't. We might not have learned much, but we did the work and passed the class.

I've heard the argument many times that no matter what you do, it's ultimately the student who is responsible for their learning. After all, you can't be sure the student is really practicing. You can't make them take their instrument home, and sometimes you just know that they're forging the initials on their practice charts.

If the student really wanted to be good, they would practice, right? Right. So if they don't practice, it's because they don't care. Whose fault is that? Not caring is a mind set, so didn't the student choose that? If a band walks into rehearsal and hardly does more than waste time, it's because they don't care about being good, right?

Many would say, "Right." I've literally heard an active, veteran band director say (not one I'm close to, by the way), "The kids at my school suck." I've also heard things like, "The students just don't care.", or, "That school just has good students."

Is it true that some schools have better students than other schools? After all, some schools are TEA recognized or exemplary, while others are at the bottom of the barrel. Why do some campuses have high academic achievement while others struggle? Maybe it's the students.

And maybe it's not totally their fault. Maybe they come from bad neighborhoods, or have bad parents. I think we can all agree that schools have different demographics, and that the demographics of a school do impact the culture and present different challenges for the faculty and administration. All of those things, many will agree, are outside of our control.

But is all of this really outside of our control? Or at least outside of our realm of influence? Not according to the other camp. They believe that....

"Ultimately, the Teacher is Responsible"

After you left that class where the teacher's version of teaching was to have students grade the previous night's homework, take turns reading the chapter, and then individually answer questions at the back of the book, you probably were relieved to be sitting in a class where the teacher took a radically different approach.

Not the worst on screen interpretation
of a music teacher. =^)
I used to think I didn't like History, and that it was a weak subject for me. Non-sense. I've come to discover that history fascinates me. While I often found the first year of Music History to be boring, the second year was much more interesting. I also had a different teacher. He still lectured from notes based on the book, but he had a way of making it interesting by bringing it to life.

I enjoy watching the History channel (when they're not running sensationalist documentaries). For example, I loved watching, "America: The Story of Us". Why? Because they brought US History to life. It was dramatic. It was compelling. While I had already previously learned most of what they covered, now it was being put into context by telling the story of individuals, their struggles, and their triumphs, which ultimately were part of the nation's greater struggles and triumphs. That's so much more exciting than, "Chapter 16".

What many great teachers will say is that we have the power to influence them. Great teachers can make students care. They can make the material interesting. They can make class enjoyable rather than boring, or uncomfortable. They can structure their instruction to cater to all learning styles and intelligences. And so on.

While a school cannot control the environment in which it is founded, many believe it has the power to influence its surrounding community. One philosophy of learning says that to make the material relevant to students, the knowledge should be used in the context of carrying out projects that improve a student's surroundings, whether the project is focused on improving the school or the community.

And we know all of this is true. We know that the teacher makes a huge difference in the success of a student. Not only are studies showing this, but we know this from our own experiences. Tim Lautzenheiser, in his clinics, always has people close their eyes and envision the teacher that made a huge difference in their life, then reminds them that someday one of their students will be asked to do the same thing, and it will be their face the student sees.

So while students can choose to be good or not to care, ultimately we can also say that a master teacher can change that student's attitude using a slew of approaches. Ultimately, teachers are responsible.

But wait, even master teachers can't seem to get every student on board. So who is really ultimately responsible?

Choose Possibility!

Honestly, I don't think the philosophical point is what really matters. What really matters is how we, as teachers, perceive it to fit our own purposes. Our goal should always be to aim to be the best teacher we can be, to make the biggest positive impact on our students that we can with the time that we have with them.

Ultimately, you can't logically argue one point over the other. They're both technically correct, and impossible to prove wrong. This is where our friend Ben Zander comes in.

Ben Zander, conductor of the
Boston Philharmonic and co-author
of "The Art of Possibility".
Ben Zander co-authored the book "The Art of Possibility" with his wife, in which they outline 12 practices to change how you see the world around you, and operate within in. They argue a couple of interesting points that I think we can all agree with.

"It's all invented."

This is simply another way of saying that everything is what you make of it. And we can all agree with that. Different people live in different worlds, based on what they believe and how they interpret the world around them, and the actions of the people that inhabit it. Some people choose to believe that the teacher is ultimately responsible for learning, while others choose to believe it's the student. And technically they're both right!

But here's the kicker. It is a choice. You choose how to perceive the world around you. And with that in mind...

"Choose the option that creates possibilities."

If the teacher decides that ultimately it's the student who is responsible for their own outcomes, then where does that leave the teacher? The teacher, with that view point, has no power to influence the learning outcomes of their students. The students will either succeed or fail, to varying degrees, based on their own motivation (or lack thereof) to succeed. There is nothing the teacher can do about it.

Is that really what you want to believe as you go about your day?

On the other hand, if you believe that the teacher is responsible, suddenly you accept full responsibility for everything that happens in your classes. If a student doesn't get it, it's not their fault, it's the fault of your instruction. If your instruction is working for most students, but not other students, then it means (if you want them all to be successful) you can look for ways to improve your instruction to cater to different learning styles and abilities. The important thing is this...

Suddenly, by choosing this view point, you have opened up possibilities. Now, where as before you were helpless, you now have options. You can work at it until you hopefully find something that works.

That's no garuantee that you'll get every student. Individuals are different enough that we may never succeed in doing this. But I'll also say this - every master teacher I know chooses this perspective. They choose to believe that they are accountable for all the outcomes, good and bad. They don't necessarily lament the bad outcomes, but they choose to use it as feedback of their instructional methods, and then look for ways to improve their methods so that they reach the students they might have missed before. Or at least improve the outcomes in some way.

They're always looking for ways to improve. And they're already the best!

So if you happen to be of the camp that says that students are ultimately responsible, I implore you to choose a different view point. Choose the view point that creates possibilities, that gives you options, that gives you a path to make a difference. While this may not be a prerequisite for becoming a good teacher, it seems to me that it's a prerequisite for becoming a great teacher.

Musically yours,
Mr. Cooper

Friday, May 13, 2011

DIY Stand Mirrors for Beginners (or Private Lessons)

Greetings!

It's easy to get off track when you fall out of a routine! Sorry for the absence in the last couple of weeks. This past Saturday was my graduation, hence my absence the week before, and this past week I have been focused like a laser on the job search. Fortunately the job hunt has picked up quite a bit, and if I'm lucky I may land something in the next couple of weeks. Please keep your fingers crossed for me! But on to the blog...

The Idea: Stand Mirrors for Beginner Classes

One of the things I wanted to do with my graduation money (or at least some of it) was to buy teaching materials. One of the biggest ideas was to get a bunch of small mirrors, like compact mirrors (that come with women's make up), that I could put on student's stands so they could watch their embouchure while they play. Usually you only get this with a well equipped lesson teacher, or occasionally a teacher uses one mirror and lets the student see themselves as they play. I don't hear about this often, though, but I've always heard it can be a very valuable tool for students.

After all, if you've tried to teach embouchure to a student, you know that they tend to do things with their lips that you didn't tell them to. And sometimes, even if you tell them not to do a certain thing (move their corners/puff out cheeks, etc. etc.), they'll continue to do it without realizing it. Watching themselves play is probably the only way they can see that they really are still doing whatever it is you asked them not to. After all, aren't some students more visual learners than physical learners?

So what if you could find a way to put a mirror on every stand without burning through a small fortune? Here is a simple solution that I've embarked on - Acrylic mirrors.

Traditional Mirrors vs. Acrylic Mirrors

Traditional mirrors are basically glass with a reflective material on one side so that it reflects through the glass. Acrylic mirrors are basically the same thing, except instead of glass, it's a plastic material, like fiber glass.

Regular mirrors are expensive, and they're also potentially dangerous. I originally looked into regular mirrors at the potential price tag of $3.00 a pop. But then my Risk Management training kicked in. What if I take these to a rough school some day? A kid could potentially break one of the mirrors and use a shard as a deadly weapon. I mean, who knows, right?

So I decided to look for something safer. In comes my grandfather, a life long handy man. He went into his backyard during a recent visit and brought a dirty, scratched up sheet of acrylic mirror. I immediately got pumped.

Making Acrylic Stand Mirrors

This part is actually very easy. It only takes three steps.

1. Find a sheet of acrylic mirror.

Depending on where you live, this might be the hardest part. The Lowe's in where my grandfather lives, for example, has them, but the Lowe's where I live doesn't. This is a shame because the sheet he gave me is pretty scratched up. It won't look completely nice, but I'll still use it as it's definitely better than nothing! He claims that you can get a sheet of 24" x 14" for $10, but I haven't been able to find it that cheap or that small. You can order a sheet a little over twice that size online for $55. I can't remember the size, but I remember estimating it would make 74 4" x 4" mirrors. That's still pretty cheap for the quantity, and MUCH cheaper than glass mirrors!

2. Go to the home improvement store of your choice and have them cut the sheet into squares.

It will be in the Hardware section, and they will do this for you for free. It just takes some time standing around! I chose 4" x 4" squares, but not for any particular reason. 

3. File the corners to round them off.

When they're done cutting, the corners of each square won't be sharp enough to cut someone, but they could probably do a little damage. Rounding off the corners will take some time, but it will decrease the risk involved with having them out, and it looks nicer. You'll need a metal file. I bought the cheapest one available for about $5 and it worked just fine. If you have a few extra dollars, you might also pick up a file cleaner. Not being able to easily clean my file added to the time it took to finish the job.

Optional: Add magnets to the back of the mirrors.

This would let you stick them onto the stands and leave them there, but allow you to remove them later at your discretion. I hope to do this later so I don't have to spend a ton of time collecting and distributing mirrors each day. Besides, the less they get handled by the students, the better. After all, I'm sure some students will try to steal them at some point. You just never know.

The Finished Product

Here is how my DIY Stand Mirrors turned out:

It's not the prettiest with all the
scratches, but...

it's just as reflective as a glass mirror,
so it should get the job done!
If your stores don't have acrylic mirrors, and/or you don't want to pay that much for it, you could buy regular plexiglass (like what drum lines and outdoor groups use to keep music on their stands), have them cut it, and them follow this DIY guide to making your own acrylic mirror on eHow.com. 

Alright, that's all for now! I can't wait to put these babies into action! I hope it was helpful, or at least gave you a useful idea or two. Thank you, as always, for reading. Take care, and until next time...

Musically yours,
Mr. Cooper

Sunday, May 1, 2011

Oh, the Places You'll Go!

Today the band performed at a festival as part of its spring trip. The director chooses this festival both for its location and for its hard judging. In the parking lot, in front of the busses, with grey overcast and gusting winds, he called the band (still in their tuxes and dresses) around into a circle and announced they had made straight ones at the contest for the first time. A victory cheer rang out, complete with smiles, hugs, jumping, and that sort of thing. The excitement seemed short lived, however. They were surprised, but not too surprised.

Later in the day a student wanted to leave the room, and for this place I had to follow. I got my shoes on, put my ear buds in, and started listening to the second movement from “Estancia”. Due to a slight headache I was slow getting off the couch, and let the student get a little head start on me, so when I walked outside I was walking alone.

Outside – the wind was stronger here than it was on the mainland. Through the sound of the breeze cut the calls of seagulls, of which there were likely hundreds near by. Leaving the complex, walking on grass, I came to an old, wooden bridge. The bridge led over a hill of tall grass and occasional cacti that predated civilization on this patch of land. It was the same kind of terrain that surrounded all of the developed lots you passed on the way to the condos. Soon you had to walk over a thick, long patch of bright, tan colored sand as you continued over the bridge. It was loose sand, textured with unmoving ripples, but also easily picked up by the wind and carried into your eyes. But then once you were over the hill, you could finally see it.

The beach.

Unlike on the bridge, the sand on the beach was compact. I pictured it being loose and difficult to walk on, but it was very much the opposite, compact though bumpy. It was also much darker sand than I’d pictured. Just like any wet dirt you would find. And it was warm. In fact, while the clouds were overcast grey, and the gusty winds never let up, the temperature stayed slightly warm, and the air humid. When I took out one of my ear buds I finally could hear the sound of crashing waves added to the roar of the wind and the calls of seagulls. The waves themselves were more frequent than I would’ve imagined. And taller. Turbulent was the word that came to my mind.

Yep, this particular beach was not quite as nice as I had hoped. The entire beach front was littered with mounds of seaweed. With bare feet you had to carefully step over it on your way out to the water. Even the seagulls seemed to have a tough time. When flying from right to left, they zoomed past me, but in the opposite direction they had to fight for every foot of progress against the wind. For a moment I wondered if that was frustrating for them, and then the wind resistance brought one of them within ten feet of me at lower than chest height. For a few moments, before it escaped, I was able to replace the backdrop with one from a higher altitude, and I imagined what it might be like to be his wing man, like something out of an IMAX movie.

Not what I’d imagined, but still very nice (the beach, that is). The last time I visited a beach I was with the Angelo State University Marching Band not far from here in Corpus Christi, though we didn’t arrive at the hotel until after dark. The last time I could recall being to the beach before that? My childhood, and a family vacation with my dad and his second wife down in a beach town in Mexico. It got me to thinking.

Thanks to the band, I’ve done a lot of traveling, and I’ve been a lot of places. Thanks to the band I got to see and experience so many things, whether it was that yearly trip to Schlitterban after State Solo and Ensemble, or the Inaugural Parade in Washington D.C. (which itself was followed by a few nights and days of sight seeing, great dining, and incredible memories), and so much more.

Being part of “the band” has been, and continues to be one of the greatest decisions of my life. Not only when I signed up for it as an elective for the first time (when I chose it as the alternative to Spanish), but every year that I decided to go back.

We don’t want those trips to be the reason kids sign up for band. We want it to be for the musical experiences. But this sort of traveling is also a great reason. The friends, the stories… Oh, the stories. So many of them. I often wonder how many other bands had their own version of “619”, or their own Fight Clubs going on in hotel laundry mats.

Most students graduate and rarely, if ever, play music again, with a band or otherwise. Which is sad. But of course we chose differently. I can’t help but to think that it was one of, if not the most influential decision of my life. Where would I be, if not for “the band?” Who would I be? What experiences would I have? I’m sure it wouldn’t have been a bad life, but I seriously doubt it would’ve been anything like what I’ve lived so far.

How many people from my high school band do I still keep up with? How many friends have I made through Kappa Kappa Psi across the southwestern US as well as in my own chapter? Thanks to the fraternity, in addition to the band trips, I went to district conventions for six straight years, visiting cities and campuses I might not have otherwise ever seen. And the hotel at National Convention two years ago? Presidents go there. I might have never been there, nor met Pat Sheridan and Sam Pilafian, were it not for the fraternity. And I would’ve never been in the fraternity were it not for “the band.”

On my way back from the beach I had these thoughts swimming in my head. In my ears were the sounds of “Elsa’s Procession to the Cathedral”, a piece of music I had the privilege of performing a few years ago. It was one of the greatest musical experiences I can recall from my college years. Why were all of these memories and thoughts pouring into my head?

Who knows? But I felt like telling every one of those kids in the band I was here with, “Stay in band. It will be the best decision of your life, every time. Whatever you do, stay in band!”

The places it has taken me. My goodness! I’m so grateful to have had a great high school band experience. I’m so grateful to have stuck with it through college. And though right now, with graduation a week away and the poor outlook of the job market bringing great uncertainty for me and my family (which has a second son joining the ranks in just a few short months), I know that once I find the next band to be a part of, sticking with it will continue to be one of the most rewarding decisions I could possibly make. Seriously, are we lucky, or what?

But I probably don’t have to tell you. Regardless, I just had these things on my mind lately, being on yet another band trip, but the last of my college career, and the first with a high school group since 2003, and with student teaching having officially ended this past Friday, and graduation a week from today… you get the idea. I just wanted to document them. And share them with anyone who would listen.

So thank you for reading, for allowing me to share. Until next time, take care!

Musically yours,
Mr. Cooper

Tuesday, April 26, 2011

Bernstein on Conducting, from Omnibus

Greetings!

When I began studying conducting, one of the first things I did was hop on YouTube to try to find good videos to watch. It can really help to get inspired by the greats. Originally I only found an excerpt of this show, but lucky for all of us it is now available in full. On this Omnibus show, Leonard Bernstein, for a national audience, discusses the role of the conductor by explaining the technical knowledge and abilities a conductor must posses, as well as the process one goes through when studying a score.

No doubt for most of you it won't be anything new, but I think you'll find many interesting or inspiring things in this video even if you don't learn a whole lot. After all, this show was produced for laymen. Of course, I just find it inspiring to see Bernstein talk about conducting, and to see him at work, educating the public and helping them to understand and develop a love for classical music. We should all aspire to be that good at it.

One other quick note. I don't know if anyone else has this problem with YouTube videos, but for me they occasionally stop part way through. Simply reload the page, then drag the time indicator over to where you left off. I hope you enjoy the video, and if you do, I encourage you to check out the other Omnibus videos on YouTube, where you'll no doubt learn much more.











Musically yours,
Mr. Cooper

Saturday, April 23, 2011

How to Conduct Expressively With Young Students

Hello again!

One of the great debates going on is with regard to expressive conducting, and whether or not it can work with younger students.

In conducting class, my teacher gave us a basic system we could use to conduct anything we came across. It makes sense. It's somewhat based on "The Art of Conducting" textbook, except that each beat is placed on the same horizontal plane (with 4 slightly raised). It's easy to understand, and pretty easy to pick up, both from the conductor and player stand point.

And it's boring.

Why? Because it's based on conducting inside of a square or box. Literally - your beat pattern is supposed to be as tall as it is wide at all times. This leads to various sized boxes for different dynamics, and so forth. 

That's fine, but I've found that as a player I was much less responsive to that style of conducting, and much more responsive to this guy:


That's Dr. Reginald Houze with the ASU Wind Ensemble in 2008. Notice there was almost always a beat to follow. He may not have used an ictus on every beat, but there was always a beat. That said, he was conducting the music more so than the beat. Some people say this doesn't work, but I say that was the best year our Wind Ensemble has had while I was in it (although they're as good or better this year, keep up the great work!). This style of conducting was foreign to all of us West/Central Texas folks, but it was also very engaging, and we caught on quickly.

But we were college students, of course. So...

Can it Work With Younger Students?

Many successful directors will say, "No." One of the teachers I'm working with in my student teaching is a former TMEA Honor Band Director, and the first time he watched me he commented that my conducting was too complicated, and advised me to conduct, "Floor, wall, wall, ceiling, floor wall, wall, ceiling." So we can agree that it's not necessary for success.

On a side note, I don't think that feedback was based on what he heard. It's just not what he did, so he knew they weren't used to it, and watching it probably threw him off a little. I'm sure it threw the students off a little at first, too, but they had no problem keeping a beat with my conducting. I haven't changed it, and we still get a lot done when I have the opportunity to work with them.

But anyway, yes, it can work.

Most of my music teacher friends are directors at small schools, and most small schools play music that is between Grade 1 - 3 (Beginning Band up to Sub-Non Varsity at a large school system). If you were at a large school, would you expect students at those skill levels to be able to follow conducting expressively?

Two of my friends were successful with it, and loved doing it. Among other reasons for this, their students loved it.

One said friend has always believed in the power of expressive conducting. As I watched him with his band on the concert contest stage, it was obvious that his conducting was a cut above the other directors I watched that day. The band was also one of the most musical. He and the band were communicating. Every phrase was shaped and musical. It was really cool to see as well as hear. 

Another friend had some initial trouble with expressive conducting with his band, and so he abandoned the practice. When we were discussing conducting at TMEA we argued opposite sides of the coin, with him having more experience to back his opinion. I offered some advice which he experimented with a few weeks later. 

That night I got a call, "Coop, you were right about expressive conducting! I tried it today, and we had the best rehearsal we've had all semester!"

When to Use Expressive Conducting

If your group isn't used to expressive conducting, then you may want to wait until a certain point in the program's development to start implementing it. This was the key to my friend's success in rehearsal that day. 

The advice I offered him at TMEA was simply this, "A lot of people focus strictly on conducting a beat and giving entrances. But students can keep the beat for themselves. That's why most of them don't look up very often." After some more discussion I offered, "When you're still learning the notes and rhythms, it's probably good to stick to beat patterns. But after they've played the song so many times, they'll be able to play on auto pilot. You don't have to conduct anything except for tempo changes. That's when you can switch to expressive conducting." Another friend in the room, the first one I mentioned, seemed to agree with this.

And so it was a few weeks later that he went off the strict beat pattern and into the brave world of expression

He told me that night that at first it threw some of the students off. He reassured them, reminded them that keeping the beat was their responsibility, and after a couple more tries they were getting the hang of it. Instead of conducting a march in 4, for example, he conducted in 2. He told me that the character of the music changed completely, emerged, as the students felt more free to play expressively. Suddenly the music was coming out, and when the students experienced this musical moment, they were elated. 

What We Can Learn From This

I was so ecstatic for my friend that he went out on a limb and tried this, and I was so happy that it was successful, both for him and his students (whom I have worked with and seen in concert). I think we can learn some valuable lessons from his experimentation:

1. Expressive conducting does work, even with a young band.

Expressive conducting is really about communication. Even the beginners I work with every day crescendo when I show it to them, and forget when I don't. My belief based on what I've read and learned at clinics I've attended is that you have to sensitize them to your conducting by teaching it to them as if you were teaching them to read a new type of body language, or language in general. More on that in a second.

2. Students can be made accountable for keeping the beat.

I've mentioned Susan Finger on this blog before. She is the most impressive middle school instructor I've had the pleasure of watching work. One of the big things she did was place isles through the band set up so that she could walk around and in between sections, correcting horn angles, fingerings, and giving individual feedback as she went, and while the band was playing. That also meant she wasn't on the podium conducting. 

But wait, these were all 2nd and 3rd year band kids! How could they have been mature enough to keep the beat all by themselves? 

Because they can do it. Beginners can, too. =^)  Oh, and also, this was at a week long band camp, which means they had not played through the music hundreds of times like the might have in preparation for concert contest. But by moving around and simply counting them off, she was forcing them to listen and develop a sense of ensemble pulse. Once that is in place, you can free yourself up to address other things in your conducting.

3. Introduce expressiveness when the moment is right.

My friend's band had played that music enough times to get through it without falling apart, which also meant they had a good sense of ensemble pulse. At this point, it was safe for him to take off with expressive conducting. 

However, even once students understand you're no longer spoon feeding them the beat/time, and that they need to watch you for style and other musical things, they may not understand what you're trying to get out of them. Here is my best educated guess, having read and researched this topic in my own pursuits...

"Express" More as the Program Develops

When we prepare a band for a concert, we do it in stages. We start with right notes and right rhythms as a basis (Stage 1?). Next we look for things like phrasing, intonation, dynamics and articulation/style (Stage 2?). Some bands just get to this point, while others venture into the world of phrase shaping and nuance. 

I'm not going to offer a strict structure of stages (I'm actually still looking into this topic). But you understand what I mean by this. We start with applying previous knowledge to new music, and gradually move them towards the most musical performance possible in the time we have.

So with that in mind, I recommend progressing your conducting through stages as well, especially if the group is not used to relying on you for more than a tempo and what beat you're on. Start with the beat pattern, tempo changes, and entrance cues. 

When you get to shaping, dynamics, and style/articulation, gradually add those things to your conducting based on what you're working on that day. Helping them recognize your visual cues, according to John Whitwell's TMEA clinic last year, can be as easy as saying, "Trombones, less like this (show them) and more like this (show them)." For extra reinforcement, you could do that while also singing the style or articulation. 

Most great directors I know work on showing dynamics and dynamic changes during the warm up chorale or with slow scales performed in groups (like a round). 

When you get to shaping, sing the shaping for them while showing it to them. Don't settle until they play it up to your standard, so that their shaping is associated with however you showed it to them. 

The visual reminders should trigger those appropriate responses, which will also increase their retention of the work you did on it. 

Also, it doesn't matter so much how you show it to them, as long as you're consistent. Over time they will understand your conducting vocabulary and respond with more sensitivity to your communication on later programs. On the next program you can try to show it to them before you explain it to them. The longer they've been with you, the more accurate their responses will be. 

I hear this eventually saves rehearsal time. Imagine a situation, let's say after a few years, where your veterans pick up on what you're telling them non-verbally, and then tell the younger members of their section what to do once you've stopped. I communicated like that with my section mates in high school, both from the standpoint of section leader and last chair member (being told). 

It can happen! A couple more thoughts about this - not only do students love this (after all, how many orchestral conductors have they seen go all out, as well as cartoon chariactures of conductors), but audience members do, too. And it's still pragmatic. I would argue it's more pragmatic, because you communicate so much more.

If the band doesn't get it at first, don't get discouraged. As long as they're able to keep a beat with a count off, they can do it. Like my friend, keep going. And if all else fails, take it one step at a time. Gradually expand their non-verbal vocabulary knowledge. 

And of course, if you don't, that's okay, too. Many teachers don't do this and are still highly successful. But with my final argument I'll say this - 

The baton is our instrument. I think that when we conduct with musical expressiveness (and effectively, mind you, having set them up for success in understanding), we are good role models and can better challenge them to play with musical expression.

And isn't that what our business is all about?

Thank you, as always, for reading. Until next time, take care!

Musically yours,
Mr. Cooper

Wednesday, April 20, 2011

"Estancia" by Ginastera

Greetings!

Please enjoy "Estancia" by Ginastera, performed by the Simon Bolivar Youth Orchestra with Gustavo Dudamel at the 2007 BBC Proms. The 2nd and 4th movements are my personal favorites.





By the way, did you know there is an arrangement of this for band? It's not on the Texas Prescribed Music List, but I'd love to play it with a band some day. I only know of it because I found a recording of the Marine Band playing it on iTunes. Well, that's it! Thanks for watching, and until next time, take care!

Musically yours,
Mr. Cooper

Saturday, April 16, 2011

Intonation for Beginners 2 - Daily Ensemble Training

Greetings!


Last time I discussed how I introduced intonation to 6th graders. It was based on the idea of teaching them what to listen for, and how to react to it, and also based on the premise that they must learn to make this important musical decision for themselves ("Am I in tune? Here's what I need to do to get in tune"). It was mostly based on the work of Ed Lisk, with some visual aids thrown in. It took most of the class period to do after our warm up/technique building and scales work. But it was worth it. After that, what we chose to do was not so different, in many respects, from what you would do with a more advanced band. We incorporated tuning into our daily routine.

The Daily Routine

We chose to wait to tune until after our warm up and scales routine. This is similar to what the two directors do with their bands, except that we of course spend much more time with the beginners on technique building, sound building, and scale work. A daily routine might look something like this:

Warm Up from the Method Book
Scales (However many they knew at the time, which I had them play in the circle of 4ths one after another)
Chorale (Run it once)
Tune
Chorale (For Real)
Music

I'll get to the split chorale thing in just a second. First let's talk about the tuning exercise.

Reinforcing the Steps to Play in Tune

The tuning exercise itself was nothing spectacular, but I'll go ahead and run it down. The one I use is different from what the teachers I work with use. It's based on one of Ed Lisk's models. Essentially, we want to teach them who to listen for in addition to how to respond to waves in the sound. Two of the classes have multiple instrument groups in the same period, and when I worked with all the groups at once I would use a two phase tuning procedures.


In the first phase, only section leaders tune, starting with the lowest voice and working gradually to the highest voice. Once all the section leaders are in tune, then you cut off and start over with the lowest voice, but this time you bring in the rest of the section members, one at a time, and add one section at a time, until everyone is in.


Throughout the process you are reinforcing the steps to tuning discussed in the previous post to help them think their way through the process, particularly if you notice they're not making changes within the first few seconds of holding the note. This is important for section leaders and members.

The reason this works is because it teaches each student not only what to do when they hear waves, but also who they are responsible for listening to. Principal players must listen down to the lowest voice, while all other members must listen and match the principal player in their section.

It also provides a great model for the group when the section leaders are in tune, because then you can note that if the entire group is perfectly in tune, they will sound just as good, but with more volume.

The down side is that it takes time, especially when they're first learning the procedure. The first day we worked on intonation, it took most of the class period. The second day we reviewed the steps to tuning while also introducing this new procedure. It took a good chunk of time, but not as long as the first day. They were simply applying the skill in a different context.

I was worried that the tuning procedure I chose to use was too time consuming, but I stuck with it, and within a week we were zipping right through it. And boy was it worth it! Their listening skills improved quite a bit, and though they were not in tune on every note when they played their concert music, it was still much better than what they were doing previously. That also means that now when they're out of tune, it's painfully obvious to everyone, not just the teachers.

Using a Chorale

It's pretty common practice in bands with good intonation to use a chorale and to work on it every day as if it were a concert piece. Essential Elements 2000 incorporates chorales into its daily warm up sections. We didn't start using a chorale until about the time we introduced their contest music, and when we did it was not from the Essential Elements book. 

We're using one of the Davenport Chorales, written by Mike Davenport. The big pedagogical feature is that everyone can see every part (the score, in other words) so they can learn who is important at different times. The chorales are also sequenced so that you can give them progressively more complex chorales to learn from. The one they're using is short and simple, both rhythmically and harmonically.

This allows us to more easily address balance and blend. With our low brass class we can balance the tuba, euphonium, and trombone sections. In woodwind class it's the saxophones (which we now have baritone, tenor, and three altos), clarinets and flutes. Then we have our high brass class. Horns were started later in the year, and are often on their own. When they're there I ask them to balance the trumpets, but when it's just the trumpets I take the opportunity to address how parts are balanced (with the higher numbers fitting their sound into the lower numbers). 

The other thing I'll do on a regular basis is to have them play the chorale one time before we tune. I'll ask them to listen and remember what that sounds like. After we tune (regardless of what the tuning procedure is) we'll go back and play it again to see how much it has improved. My hope is that if they hear the difference it will motivate them intrinsically to want to play in tune all the time.

Advanced Intonation Skills?

For at least a few weeks now I have started and continued working with one percussionist in each class, so I know the tuning procedures have changed for the students (and the procedure depends on which of the teachers is running the class). But as we have continued to address this concept and reinforce the skills with them, they have continued to improve. The head director, my cooperating teacher, noted that their intonation is really good for beginning 6th graders. I'm proud that I introduced this musical skill to two of the three classes, and that the methods of both introducing it and reinforcing it have worked out as well as they have. 

Don't get me wrong, they're not perfect at it, but they're pretty good and are still improving. 

Of course there are other things that players must learn to do to play their parts in tune with the band aside from just getting in tune at the beginning. These students are also matching pitch better in their concert music, but we haven't necessarily taught them the skills to make adjustments as they play.

By adjustments, I mean "lipping up/down", "rolling in/out", "more/less mouthpiece" etc. etc. Eventually students must know the pitch tendencies for their instrument and know how to compensate for that without changing the length of their instrument. 

But I'm not sure when you do that. It seems strange to me that you would ask beginners to monkey with things like their embouchure that early on, even for this purpose. I asked the teachers I am under about this, and when you introduce those skills, and they explained that they choose not to discuss that with their students at all. 

I know that I knew a little about that as a high school student. My brass teachers would tell students what small adjustments to make when it wasn't a matter of the instrument's length. But the band I'm student teaching with is also very successful and has a very good ensemble sound without necessarily doing those things. 

Regardless of your opinion on it, I know it can be done. At least with high school students. I suppose it's a decision you have to make in terms of whether or not to go there with students and at what point do you start introducing those skills, and how to do you teach them, etc. 

But do you discuss these advanced intonation skills with beginners? I don't know, to be honest. I don't think you do, but I could be wrong.

What pedagogy have you used or seen used to teach students about intonation? I'd love to dialog about it in the comment section. Thank you again for reading, and until next time, take care!

Musically yours,
Mr. Cooper

Wednesday, April 13, 2011

Ben Zander on Music and Passion

Hello again! 

On weekends I occasionally like to pass the time by surfing for cool, music related videos. Some are simply of great performances, while others are more inspirational. I've gathered quite a collection of them, and while I've always eagerly shared them with my friends over facebook, I wasn't quite thoughtful enough to share them on the blog, which after all is also a journal for my musical thoughts and ideas. My friend, John Benton over at Music Dreams does something like this, except that he posts mostly education and music related videos that he finds on TED.com.As a reader of his, I appreciate him finding those for me. I don't know why it took me so long to wise up and do this at my blog as well.

Anyway, speaking of TED, this first video is from their website. It is of one of my personal heroes, Benjamin Zander. In less than 20 minutes he explains the basics of understanding Classical Music to an audience full of non-musicians, and spreads his passion for Classical Music. I love this video, and if you haven't watched it, I can assure you that you'll love it, too. Enjoy!


Musically yours,
Mr. Cooper
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