Klarinet Archive - Posting 000602.txt from 1996/03

From: "Gregory T. Wright" <103147.1471@-----.COM>
Subj: Recorders & small children
Date: Sun, 24 Mar 1996 02:16:18 -0500

On March 10, David Niethamer wrote, in part:

>*Once* I started a student on Eb clarinet. I was a new teacher, and when
>some very enthusiastic parents of a third grader with quite small hands
>inquired about the options for immediately beginning lessons, I had the
>brainstorm to use the Eb clarinet.
>
>The student did quite well for a year and a half, at which time it was
>time to switch to the Bb clarinet (as discussed from the very beginning).
>After the switch, she lost interest in the instrument, mostly because she
>was no longer the center of attention with her "special" instrument.
>Within the year she stopped playing.

My own experience with band instruments vs. recorder is in some ways
similar, though not for the same reason. I am a music teacher in two public
elementary elementary schools. In my third year of teaching, I had a
"brainstorm" similar to the one above: In order to foster a better grasp of
music fundamentals, especially rhythmic notation, my idea was to start _all_ of
my instrumental music students on recorder. That way, they would all have the
same physical problems at the same time, they would be able to produce actual
mi-re-do melodies very quickly, and they would have knowledge and skills to
carry over to their "real" (using the term VERY loosely! I used "regular" with
them.) instruments. None would have chipped reeds or "lipping" problems to
worry about, except for overblowing a low note to the upper octave. I
introduced clefs as they were originally used (IMH music history memory) - as
variable pitch placeholders. I did NOT go into great detail (soprano clef,
mezzo-soprano clef, alto clef, tenor clef, either baritone clef; French violin
clef... ... ...), but I did introduce bass clef's "Good Boys Do Fine Always" &
"All Cows Eat Grass" along with "FACE" & "Every Good Boy Does Fine" (which my
students immediately replaced with "Even George Bush Drives Fast"), so that
trombone and euphonium players-elect wouldn't be completely lost when the change
occurred.
Recorder was my own first instrument (in my 3rd grade), and I remember
the relief I felt when I started sax two years later, and to my amazement, I
ALREADY KNEW some of the notes (Left hand g,a,b,c). Flute players would have 3
of those notes to help them. Clarinet beginners wouldn't see the _exact_
relationship (an octave off) until they started the clarion register, and
players of other instrument families wouldn't see it at all. They _would_
still have musical skills to transfer to their new instrument.
So I thought.

What REALLY happened took me by _complete_ surprise. I kept the student
s
on recorder longer than I had originally intended - up until winter break
("Christmas break" for those politically indifferent). This way, they could
perform simple tunes in programs with instruments familiar to them. The problem
came In January, when I switched students over to the instrument which they
knew had been assigned them (Very few of my students own instruments. Where
possible, they had choice.) in September. Very quickly, the eager expectation
shown in December evaporated into a sensation of hitting a musical brick wall.
"You mean <pout, sniff> we've got to <whine>start OVER? I interpreted this to
be "What do you mean, WORK?" This feeling was reenforced by the fact that the
students doing the best job (at both schools) were the STRING players (I am a
SAX player), who had the least to immediately transfer from the recorder.
The one great success I had that year was ALMOST worth the problems (I
have not used this plan again). As I (mentioned) ;-/ earlier, most instruments
in my program are school-owned. The numerical and musical limitations imposed
are DWARFED by the psychological problems, i.e.

"Gee, I got this thing when I gave the school a $5.00 ( $ Five
point zero zero ) deposit.
I'll get that back in June if my instrument is in good shape whe
n
I give it back.
Therefore, this music is *free*.
Free things aren't worth anything.
Therefore, music is worthless.
Why should I spend any time on something which is worthless?"

So, the great success I had was only a success when considering _percentages_.
Kids who were going to drop out of the music program quickly did so without
displacing resources (I had LOTS of recorders, my own + the school's) or another
student. The "regular" instrument (my apologies, really!) could easily be
reassigned, without having to worry about a student catching "The Dread
Mahoccas" from a former player. If the problems for the *individual student*
were not so steep, I would reccommend this to everyone.

The other "recorder" success I can claim is this: In my district,
instrumental music begins in the fifth grade. With other teachers' help, I have
also taught "Honors Recorders 4" to the 4th grade Honor Roll's top 10-12
students. If there are any students who can "afford the time out of class",
they are these students. "Three Blind Mice" is a good tune to use with them.
Most go on to the "official" instrumental music program; in any case they have
learned about music fundamentals, notation, a wind instrument, following a
director, and most importantly for them and for all of us (IMHO),

W O R K I N G T O G E T H E R I N A G R O
U
P.

C O - O P E R A T I O N.

Could that be- Ensemble? ;-)

Gregory T. Wright
103147.1471@-----.com

PS- Sorry I'm so late in my mail! I'll catch up, really!