1. Scott Rush – teaching strategies that lead to music making
  1. Cool tips
  1. Rule of 7s
  2. Inversion principle
  3. McGrew’s 4ths
  1. WHAM
  1. What to teach
  2. How to teach it
  3. Assess for Mastery
  4. Music-making
  1. Components of Playing (pg9)
  1. Chocolate Cake
  2. See them listed on pg 9 – it needs to be adjusted
  3. This ties in with the TEACHING INVENTORY SHEET (pg10)
  1. The 4 T’s Self-Assessment model (pg13)
  2. 3-tiered assessment model (pg14[a])
  1. MASTER musician
  2. ADVANCED musician
  3. INTERMEDIATE musician
  4. Individual performance rubric (pg15-17)
  1. Tuning Concepts (much more with Lisk) (pg11-12)
  1. Only ½ of these are useful for my kids
  1. Smartmusic (more later, too)
  1. School buys subscription for everyone
  2. Parameters can be set
  3. Goes directly to gradebook
  1. Student-centered assessment[b]
  1. ONE YEAR GOAL (for senior project)
  1. Scott Rush – Evolution of a Successful Band Director
  1. Very little teaching of musical concepts
  2. It’s what’s not on the page
  1. 6-note improve
  1. Russian typewriter
  2. Solfege[c]
  3. Note weighting
  1. Were YOU there last night?
  2. Were you THERE last night?
  3. Were you there LAST night?
  4. Were you there last NIGHT?
  1. Music Selection List (pg20-22[d])
  1. Edward Lisk[e]
  1. “intelligent repetition”
  2. Align “internal ensemble pulse”
  1. Ruler of Time (pg29)
  2. Ensemble must be “as one”
  3. NO notation
  4. Counting to 8 gets kids thinking outside of the barlines
  5. Exercise 1
  1. Count to 8
  2. Listen to space of silence between pulses
  3. Hands up, count out loud
  4. Hands down, count internally
  1. Exercise 2
  1. Count to 8 internally
  2. Clap on 2 5 6 8 or 3 5 8 or 2+ 5 7+ or 1+ 3e 4 6 etc
  1. Circle of 4ths[f] (pg36)
  1. In Kindergarten we learned 26 letters, why can’t 5th graders learn 15 notes[g]??
  2. How can kids sight-read without proper vocabulary[h]
  3. When playing this, “concert pitches” are easy to figure out
  1. Bb instr count back 2
  2. Eb instr count back 3
  3. F instr count back 1
  1. All kids should have the Co4 on their stands every time they play it[i]
  2. Kids are divided into groups to make it easier to play chords through the Co4
  1. Grand Master Scale
  2. Dynamics
  3. Tuning
  4. Director Awareness Scale
  5. Expressiveness
  1. Count/sing rhythms expressively
  1. Melodic notes
  1. Score-order release
  1. Michael Haithcock – Making Musical Decisions
  1. SCORE STUDY
  1. How will I teach my students this piece?
  2. What did the composer do?
  1. Form
  2. Always looking for someplace to go, orchestration, chords
  1. Why did the composer do that?
  1. Aesthetic principles
  1. MARK important chords
  2. Don’t conduct while studying score
  3. All scores boil down to about four lines
  4. THE STORY
  1. PROGRAMS must be balanced
  1. Include variety
  2. Repeat music- these are the pieces you know the best!
  1. Michael Haithcock – Conducting with expressive intent and Rehearsing for accuracy & expression
  1. Trained body + prepared mind = good conducting
  1. Trained body = the flexibility to say what you want
  1. Conducting warm-ups
  1. Praise
  2. Swish arms forward & up one at a time
  3. Inch arms up
  4. Beach ball
  1. Conducting
  1. Painting a wall
  2. “open” gestures
  3. Counter & shape of conducting is more important than the patterns
  4. Facial expressions should just happen
  5. The breath & body before the gesture is JUST as important
  6. TENSION IS BAD
  1. Keep shoulders lower
  2. Do not lock spine or ankles or anything
  1. Wrist moves first, everything else follows
  1. Rehearsals
  1. If possible, try changing the gesture instead of speaking
  2. Create games for the kids to follow you
  1. Warm-ups will serve to warm their instr AND their minds to follow
  1. Interesting chords can be  s t r e t c h e d
  2. Think about bowing
  3. POST IT notes in the score DIRECTLY after a rehearsal
  4. Stop conducting – just listen – then conduct again, with gestures they need
  5. MARCH-style
  1. Remember these are created as marches – think LEFT-RIGHT
  2. Cymbals should be between bass & snare
  3. Stingers PLASTERED on the back wall
  1. Engage everyone
  2. Note groupings
  1. Just because it’s written a certain way doesn’t make it “right”
  1. 6/8
  1. DO BA BEE
  1. Use the story
  1. David Holsinger
  1. WOW – difficult to take notes
  2. THE STORY again
  3. Fast-speaking enthusiastic character
  4. Truly loves what he’s doing
  5. Gets lost in what he’s doing (injury to his left hand from baton stabbing)
  6. Knows his music INSIDE & OUT
  1. Seems obvious, but I forget everything about my own music
  1. At the same time he inspired me I felt overwhelmed
  2. 911 story

[a]Mixed feelings here: I want “chairs” but I don’t want to turn kids off by turning up the competiveness.

His standards would have to be adapted for my kids.

wprue

[b]He mentioned a JAZZ HORN QUARTET, possibly called “Fiberees.”

wprue

[c]It was at this time that I had a random thought: the CD player I brought to Derby should be brought to NEWPORT!!!  I probably thought of this because Cindy’s kids will know Do,Re,Mi, etc but I’ll have to explain it to Chris’ kids.

I think every presenter mentioned solfege at some point in their presentations….

wprue

[d]OK, I think “middle school” refers to gr6-8.

wprue

[e]Incredible amount of information from this guy.  Need to email him re:beginners row

wprue

[f]My 5th-6th graders WILL be playing through this.  Soon.

wprue

[g]15 scales would be more difficult

wprue

[h]I can create sight-reading to go in the advanced band packets.

wprue

[i]Another thing to go in the band packet (Beginner’s Row will go in their packet)

wprue