A Composition Process: Part 2 ….What Measure Should Go Where?

After we sang their compositions a couple of times, I asked the students if they liked the order of their measures. One first grade boy mentioned that he wanted the measure with the gray to be last, so we switched the last measure with whole note measure. We sang it through to see if we liked it. We did! Everyone was in agreement that that sounded best. This was fascinating to me. Our society is so used to hearing a long note at the end of a song, that even these first grade boys thought the long note at the end finished the piece off nicely!

The older students were a bit more analytical in their measure moving choices. There were 2 measures that were identical: 2 eighths, a quarter and a half. One student thought that it would be cool if we turned the second measure upside down in order to create a fun inverted pattern. How amazing!! So we sang it through and then the discussion began! Someone mentioned that he didn’t like the 2 half notes right after each other. So we switched it so the first duplicated measure was upside down, rather than the second. Someone else mentioned that he wasn’t crazy about the 4 eighths together. So the debate began! We continued playing around with switching measures, placing them upside down, etc… until it was time to leave. We will continue the exploration next week!

I was so excited….my students were thinking critically about music! They were having full blown discussions on what should go where and why; it was an artistic debate. This is why I do what I do! We don’t want to only teach songs and dances, we are here to ignite the imagination and inspire our learners to participate in the music they hear. . What more could we ask for as music educators??

A Composition Process ~ Part 1

20141103_161109Yesterday the boy choir and I played around with the measures they composed a couple of weeks ago. I taped each work to the board in no particular order for us to sing. My goal was for students to think about choice. Both groups were able to switch measures around, but only the first graders had time to add dynamics and pitch. Not only was it fun, but the students had keen insights as to why certain measures should go in certain places!

In first grade, my students are singing long and short sounds on the syllable “LA” (Phase 1 of the Note Knacks Curriculum). Students are learning to start, sustain and end a sound together. They are also practicing good singing technique as well as being in tune with the rest of the group. This can be challenging! So we sang our compositions and went from there.

We started by identifying Sol as the higher tone and Mi as the lower tone. They used Curwen hand signs to solidify the concept. The students assigned a tone to each measure. We practiced singing it several times and then added dynamics for fun. What happens when we make this line loud? What if we change our minds and sing it softly? Which do you like better? We played around with that for a bit.

I then asked them, how many groups of notes were in the whole piece (pointing to the sentence strips)? They answered 4 correctly, so I asked them how many notes? I expected them to say 2: Sol and Mi, but they answered 21. They correctly counted each block as its own note. Because we are only singing long and short sounds and 2 eighths/ 4 sixteenths do not need to stay together, the students understood that each block is indeed its own separate note. When we get into barred notes later on, they will still understand that 2 barred notes are simply the short hand for writing 2 separate notes. Each tone still needs to be accounted for. I was so excited to see them understanding this concept!

How Many Sixteenths In This Group?

Yesterday our boy choir students created rhythms. I did not specify a time signature, so they were able to create any rhythm they wished, as long as two eighth notes and four sixteenths were next to each other. One second grader created a 5/4 rhythm that consisted of 1 half rest, one quarter, 2 eighths, and 1 quarter note rest. He was able to recite it back to me without any problem. I was quite pleased, but I thought I would push him a bit farther and get him to start thinking about time signature concepts. Because we were not in 4/4, the answers were not obvious. He needed to do the calculations, either in his head or on paper, to figure out the answers. I was astounded and excited at the result!

I first asked him how many quarters are in this group of notes. He answered 5 fairly easily. He was clearly gifted in math. So I then asked him how many half notes in this group of notes. It took him a little bit of time, but he used the Note Knacks to figure out 2.5. He then figured out that there are 10 eighths and 20 sixteenths. We put the answers in order: 2.5, 5, 10, 20. “What is the pattern?” I asked him. He answered that 5+5=10, 10+10=20. So I then said, “2.5+2.5 must = what?”. “5” he said. “That is correct!” I exclaimed. He also knew that the next number in the series would be 40.

This is Arts Integration at its best!! Quality music instruction was not compromised in order to teach math, nor was math taught solely to serve the music curriculum. There was simply a connection made. Music is a math language, plain and simple. Why not point it out? It serves us to do so.  When time signature finally does come up and we explore what that means, how much better prepared will this student be? He understands that a certain length of sound can be divided into several different ways. He will then learn not only can he choose how that length will be divided, but more importantly his choice will affect the overall feel of the piece. This is so powerful! Learning the math will ultimately serve him well in the creative process later on. What more can we ask for as music educators?

Create A “Morning Message”

MH900309656When I taught in a combined first and second grade regular classroom, the head teacher always wrote a “morning message” that was to be read as soon as the students came in the classroom in the morning. This message often included the activities of the day or something special that was going on soon. It was a great way for us to communicate with the class and it sharpened their reading skills in the process.

Today I wrote a version of a morning message for our Youth Choir (Grades 4-8). Since the idea is to get kids reading and composing the language of music fluently, I copied a measure from one of the pieces they are working on and asked them to identify the song. I chose a very obvious measure to start. It is the first measure of the song where the melody is unique. Students that read music well knew the answer immediately, but it took the rest a bit of time.

I started off by asking simple questions, especially to the younger students. Is the first note a line note or a space note? Which space? Which line? Do the notes go higher or lower? Can someone sing it? With some trial and error, the rest of the students figured out the melody and identified the song. When we started rehearsal and they had the octavo in front of them, I then asked which measure number it was. They had no problem!

I am excited to start doing this for every class. It is a simple way of getting kids to sight sing and to learn how to look for clues to help them. It creates the perfect teachable moment to introduce reading strategies! For the younger students the notes can be as simple as sol, mi and la melodies and increase in difficulty as they get older. It is a game where kids need to be detectives….and they love figuring out mysteries!

Video Games All Day Every Day?

MB900422287[1]Different school models fascinate me, regardless of my opinion of its effectiveness. No matter the set up, we as educators can learn from them. This morning I read about a “democratic school” out in Maryland called The Fairhaven School. This school and schools like it, are designed to create the freedom for students to explore their interests and allow them the time to dive deep into what they want to learn. There seems to be very little structure.

If you have read my blogs in the past, you know I am a big believer in time for exploration; students learn best when given time to tinker with the materials in their world. A “democratic” school takes this concept to a whole new level. They state that they have trust in their students to take charge of their own learning. There absolutely is value in this; however, there is also a need for balance. In one of the videos from another school like this, a student spoke about spending his first year playing video games all day every day, his next year in the art room and the third year pursuing his cognitive science interests.

Whether you agree with this or not, it poses an interesting question: How much do we trust our students? Do we trust them enough to know what they want to learn and how long to study it for? It certainly challenges the current climate of “not only do we not trust our students, we don’t trust our teachers, as well!”. Here we have 2 sides of the spectrum: total trust and none at all. Again, where is the balance?

I would imagine most of us fall somewhere in the middle. We should trust our students (and us!!) more, but we also need educators teaching children concepts that may not initially interest them, but will prove to be beneficial later on. There are so many wonderful experiences that occur in a school environment, that I find a democratic school as limiting as a traditional one.

So where does this leave us? Most of us only have control over what happens in our classrooms….most of the time. A lot of us are doing great things already. We put our students in small groups to explore materials (Note Knacks, for example ), we promote a learning environment where children feel free to share their thoughts and we encourage improvisation as much as possible. It is in these experiences that students open up and contribute meaningfully to the class. As far as how far to push this, it is up to you. I have tried to ask kids what they want to study and I often get a big “I don’t know!”. Perhaps the direct approach isn’t the best way to handle it. After all, no one has ever asked them this before….I would imagine. So I have learned to present a few ideas and activities and see where the kids take me. When a great idea presents itself, I drop my agenda and encourage the students to explore it, but weave the concepts for the day into it. This way, everyone wins.

Have you ever had your students plan your lessons? Write below to let us know!

Helping ADHD Students Succeed!

According to the Center for Disease Control (From the CDC website):

  • Approximately 11% of children 4-17 years of age (6.4 million) have been diagnosed with ADHD as of 2011.
  • The percentage of children with an ADHD diagnosis continues to increase, from 7.8% in 2003 to 9.5% in 2007 and to 11.0% in 2011.
  • Rates of ADHD diagnosis increased an average of 3% per year from 1997 to 2006 and an average of approximately 5% per year from 2003 to 2011.
  • Boys (13.2%) were more likely than girls (5.6%) to have ever been diagnosed with ADHD.
  • The average age of ADHD diagnosis was 7 years of age, but children reported by their parents as having more severe ADHD were diagnosed earlier.
  • Prevalence of ADHD diagnosis varied substantially by state, from a low of 5.6% in Nevada to a high of 18.7% in Kentucky.

Wow! So what are the underlying causes and what can we do?

I read a wonderful article in the Washington Post entitled The right — and surprisingly wrong — ways to get kids to sit still in class by Angela Hanscom and posted by Valerie Strauss. Hanscom highlights the challenges our students are facing by the “need to sit still as much as possible” policy so prevalent in schools today. She states “we will continue to see significant sensory and behavioral problems, as well as a decline in children’s overall health (i.e., rise in obesity, decrease strength, and poor body awareness) if we don’t start allowing for adequate time in which children can get up and out of their seats to move.” She also stresses the importance of specific kinds of movement that are most helpful to brain development. The experience of going upside down, twirling and the like ultimately create a balance system that will lead to better attention. This is where we come in! We rock at this!! Furthermore, we can use this to remind parents and administration that our programs contribute a great deal to the physical health of our students IN ADDITION to the hundreds of other benefits we provide!! (Imagine that!!)

We should be very proud of ourselves for already knowing this! We move with our kids all the time…whether we are folk dancing or participating in creative movement, our students rarely sit still! However, with this new knowledge, I will add much more twirling, rolling and upside down play to my repertoire. The kids will love it and it will help them concentrate better in the rest of the class!

The Experience

When popular business books speak about marketing, a large majority of them emphasize the importance of an enjoyable and memorable experience when they use your service or product. For teachers, our clients are our students…(even though it sometimes feels like we need to please parents and administrators). When kids step into our classrooms, what kind of experience are we providing?

Before we answer that question, we must first decide what are our goals? Clearly stated, we want our students to feel empowered and excited about singing, playing and creating music, while still grasping the necessary concepts to enhance their music making! The environment that we set up directly affects this outcome. Unfortunately, so does the school culture, which we have little control over in most cases. We do, however, have control over our lessons and the space we create. (This is especially difficult for those of you that do not have a classroom and are on a cart!)

So, how do we design this desired learning community? It must start with our expectations. Behavior management is an important part of our classroom culture, but it must not dominate it, although I have certainly been in situations where it has. When students have major learning and behavioral issues that are not being supported, the results can be a disaster. We all make the extra effort to try and connect with our students on a personal level so they know that we care, but it doesn’t always work. So we do the best we can. When it does work, however, it is awesome! Students feel safe and are excited about learning. Respect and kindness help to facilitate exploration and risk taking! Important components in a child’s education.

In the end, we all want to feel like we matter; that we have something meaningful to contribute to the group. Our clients want to feel special ~ as they should! It is only in this mindset that great things can happen! So this week I want to keep in mind the needs of those I serve. How am I speaking to my clients? Am I connecting with them? Do they know how very wonderful I think they are (ok, most of the time :-)? When I present material, is it possible for them to be successful at it with a bit of effort? As I continue to design lessons, this will be among the first things I consider. Stay tuned for next week’s newsletter to get some ideas!

The Art Of Code Breaking

Today I came back from a short business trip and couldn’t wait to see my youth choir students! (Grades 4-8) Although I had a great time in Texas, I was excited to dive back into the work with these very talented young musicians. Little by little they are digging deeper into conventional notation to understand what the composer intended his/ her piece to sound like. It is not only very rewarding, but fascinating to see how their minds work. We are all code breakers and we are working together to understand the message.

Why is there a Forte here and a Piano there? Where do we go back to when we see a first ending? These are the kinds of questions that are immediate and obvious, but the fun for me really starts when we ask questions about choice of notation and  texture. Why is it in 3/4 and not in 6/8? How would the feel of the piece change if it were in 6/8? Could we compose a 6/8 section to add? Would that enhance the piece or take away from it? How much do we want to honor the composer’s intention? Etc…

This is when we can get out of the teacher role and get into the facilitator role. We can step back and let the students discuss it while we interject here and there to make sure everyone is heard or (in addition) we can participate in the conversation. The only side note to that would be to make sure the students know that the teacher does not necessarily have all of the answers (Insert gasp here!). We do have a lot of knowledge and experience, but that does not negate a student’s opinion. Everyone has something important to contribute.

The goal is for students to understand the purpose of notation. There are reasons why composers write their works in a certain time signature and a certain key. There are reasons for using first and second endings etc. How a piece is written down ultimately will determine, to a certain extent, what the piece will sound like long after the composer is dead and gone, so it is important that he/ she notate it as precisely as possible. Otherwise, the meaning will get lost in translation and subsequently the brilliance will be lost with it.

The Thursday Night Line Up

Every week I look forward to Thursday nights! I love to watch “Project Runway” and “Grey’s Anatomy” …..(although the latter needs to end already) and of course, “Scandal”. Now Ms. Shonda Rhimes has come out with a new fabulous Thursday night drama called “How To Get Away With Murder”…..yet ANOTHER show to become addicted to (as if I need any more!). In it, the lead character is a professor at a university and a practicing lawyer. I watched the pilot the other night and a particular line struck me; “Never interrupt another student’s learning opportunity…”. One of the main character’s students called out when it was another student’s turn and this is how the professor handled it. I loved it! Granted, she said it more harshly than one would in an elementary classroom, but the point was important.

There are always those students that call out a great deal and demand everyone’s attention as much as possible. This comment shifts the focus from the interrupter to the student answering the question. It isn’t about scolding a student, rather it is about community. We are here to help each other. She was saying that every single member of that class deserves a chance to learn and it is our job to help make that happen.

It is always wonderful when we can help students take ownership of their learning and that of their classmates. Each is not only responsible for their own learning, but to help those in need when they can. Our class is the perfect environment for this. A piece of music doesn’t quite work until all of the parts are either sung or played. It is in everyone’s best interest to help each other so that the outcome is the best it can be. Music is brilliant that way!

Our Limiting Beliefs

I read a story in Jack Canfield’s book “The Success Principles” that was very powerful. He recounts a story from 1977 in Tallahassee, FL. A woman who was 63 at the time, picked up the back end of a Buick to get it off her grandson’s arm. Before that time, she had never lifted anything other than a large bag of pet food. When she was asked about it later in an interview conducted by Dr. Charles Garfield, author of Peak Performance, she said she didn’t like to think about it because it challenged her beliefs about what she could and couldn’t do, about what was possible. If she was able to do this, what else could she accomplish that she thought she couldn’t?

What do our students think about what they can or cannot accomplish? Where are they getting their information?

As an educator, I immediately want to look at the messages I send my students when they are in my class. As I have written before, music is still thought of as a subject where talent is a requirement for success. Do our students know of this false belief and do they buy into it? Do we?

When I started teaching music many years ago, it never occurred to me that I should be composing. When you read Lucy Calkin’s (a big wig in the language arts world who wrote The Art of Teaching Writing), she emphasizes the importance of being a writer as you teach writing to students. We too need to experience the process, for it will make us better teachers. It would stand to reason, then, that we should be composing, as well, if we want to teach it; but the voice in the back of my mind is screaming “Are you nuts??? You are a violinist, not a composer”. I, too, have been conditioned to think that only the “chosen” are able to compose.

It is certainly time to let go of that limiting belief! …imagine what is possible if we think we can accomplish absolutely anything that pops into our heads!! So here we go……