9 minutes to get 8 measures of music. I've watched this twice, and I still don't understand why you would do this. Do you have a video of the performance so we can see the results of the odd introductory technique?
This is a technique that introduces a motif that is integral to the piece. It encourages listening skills unused in traditional methods, and actively engages a 60 member ensemble as individuals.
If you are looking for teaching listening skills to your ensemble you should investigate, read, and implement the teachings of Edward Lisk. His text The Creative Director and all of it's subsequent volumes has an amazing amount of techniques that deal specifically with listening in bands. Devising a lesson around student audiation without prior ear training (as it sounds here) is not time efficient. Just an opinion, I'd still like to see the final performance, though.
The Creative Director is an excellent resource, undoubtedly, and I have tried to use some of Lisk's techniques.
Unfortunately I do not have a recording of this concert, although there is one floating around somewhere. This was just a video that I submitted for student teaching, attempting to use a new rehearsal technique.
Also, the "Intangibles" text, also Lisk, speaks of notes that are High searching for Low, Low searching for High, and SHORT searching for LONG. I played the Holst with him two summers ago, and the short to long played a large part of the warm-up process. Of course, it was all scale based. Have Fun!
I have a goal of trying to have an "out of the box" lesson once a week or so. (Although realistically I have fallen short). I want to do something that is different from the traditional rehearsal, but still valid. That is why when you mentioned Lisk I hit myself in the forehead.
I appreciate a short time span. What I meant is that I would not forgo this activity on the basis of time efficiency alone. I am in Illinois, and I feel the pressure of a 40 minute rehearsal. I just viewed this as a "special" lesson.
It is all about providing students with opportunities in natural discovery coupled with prior musical knowledge. If you provide them with the knowledge, and teach them how to listen to themselves, they will be well on their way. Student discovery with frustration free introduction breeds intrinsic value and ownership. That is what makes programs flourish. Good luck!
Cuing actually made this more awkward. Once I stopped then it worked much better. Speaking of classroom management, this activity generally kept all of them focused. Thanks, Dr. B.
9 minutes to get 8 measures of music. I've watched this twice, and I still don't understand why you would do this. Do you have a video of the performance so we can see the results of the odd introductory technique?
herblamb 4 years ago
This is a technique that introduces a motif that is integral to the piece. It encourages listening skills unused in traditional methods, and actively engages a 60 member ensemble as individuals.
vazquezbsn 4 years ago
If you are looking for teaching listening skills to your ensemble you should investigate, read, and implement the teachings of Edward Lisk. His text The Creative Director and all of it's subsequent volumes has an amazing amount of techniques that deal specifically with listening in bands. Devising a lesson around student audiation without prior ear training (as it sounds here) is not time efficient. Just an opinion, I'd still like to see the final performance, though.
herblamb 4 years ago
The Creative Director is an excellent resource, undoubtedly, and I have tried to use some of Lisk's techniques.
Unfortunately I do not have a recording of this concert, although there is one floating around somewhere. This was just a video that I submitted for student teaching, attempting to use a new rehearsal technique.
vazquezbsn 4 years ago
Is time efficiency all-important? I felt (with all of my inexperience) that they could handle it, and they generally did up until the end.
I will certainly revisit Lisk, though, thank you.
vazquezbsn 4 years ago
I don't know where you teach, but here in the north east, with the ever shrinking rehearsal periods, we try to make every single second count.
herblamb 4 years ago
Also, the "Intangibles" text, also Lisk, speaks of notes that are High searching for Low, Low searching for High, and SHORT searching for LONG. I played the Holst with him two summers ago, and the short to long played a large part of the warm-up process. Of course, it was all scale based. Have Fun!
herblamb 4 years ago
I have a goal of trying to have an "out of the box" lesson once a week or so. (Although realistically I have fallen short). I want to do something that is different from the traditional rehearsal, but still valid. That is why when you mentioned Lisk I hit myself in the forehead.
vazquezbsn 4 years ago
I appreciate a short time span. What I meant is that I would not forgo this activity on the basis of time efficiency alone. I am in Illinois, and I feel the pressure of a 40 minute rehearsal. I just viewed this as a "special" lesson.
vazquezbsn 4 years ago
It is all about providing students with opportunities in natural discovery coupled with prior musical knowledge. If you provide them with the knowledge, and teach them how to listen to themselves, they will be well on their way. Student discovery with frustration free introduction breeds intrinsic value and ownership. That is what makes programs flourish. Good luck!
herblamb 4 years ago
on the other hand a little frstutation is good to learn to deal with.....what amazes me is that even when the get to a simple Eb major triad
stevobillns 4 years ago
made my day....you picked a tough first tune to being the use of CR with thekids...wow...may a few limitation would have helped..
stevobillns 4 years ago
Cuing actually made this more awkward. Once I stopped then it worked much better. Speaking of classroom management, this activity generally kept all of them focused. Thanks, Dr. B.
vazquezbsn 4 years ago