Holst Eb, Warmup

Warmup for preparation of Holst First Suite in Eb.

Category:

Music

Tags:

• holst

[herblamb]

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!

[vazquezbsn]

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]

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.

[herblamb]

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]

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.

[vazquezbsn]

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]

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.

[herblamb]

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.

[vazquezbsn]

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.

[herblamb]

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?