Klarinet Archive - Posting 000304.txt from 2003/07

From: CBA <clarinet10001@-----.com>
Subj: [kl] accidentals/crossing out inaccuracies in text books
Date: Wed, 9 Jul 2003 16:03:55 -0400

Christy,

First off (no offense taken) is just a note...I'm a guy. Just
thought I would mention that first and get it out of the way. It
comes up in conversation on the list here occasionally when
someone says she in reference to something I said, and I don't
take offense. I just correct it when it comes up. I don't want
to scare anyone if I meet them in person after chatting on the
list, and they find out, much to their dismay I am a 5'1"
balding, slightly heavy GUY, and not a female centerfold model.
HEHE...

About the crossing out of rules I find to be incorrect...or
anything else in print, for that matter, if my students are
using it as a reference...I do it for correction of incorrect
material. I *NEVER* dumb down materials for students, regardless
of how young they are. The beginner books, unless marked
specifically "for adults" should, and usually do have VERY
accessible text. If the student is unable to understand basic
theory concepts, because of youth, I don't teach them, as most
of these theory concepts should be accessible with the right
instruction and teaching interraction for a student old enough
to start a musical instrument. I don't teach 3 year old Suzuki
students, so this has never been a problem for me, and I have
taught all the way down to 7 and 8 year olds. I am a big
proponent on children younger than 7 or 8 taking piano first
anyway, before tackling all the difficulties of a wind
instrument (or string instrument, for that matter.) If they are
that young, having a visual of WHERE the notes are on the piano
is indispensable, in my opinion, and should be a prerequisite to
taking a wind or string instrument.

By the way, when I teach theory to my students, I don't require
them to have a keyboard at home, but I suggest it. I use my
keyboard here for visual representation of the theory, so the
student can grasp what is in the book. It makes a world of
difference with ALL ages to actually SEE middle C instead of
conceptualize WHY it is middle C. In reality it is called middle
C because of staff placement, but seeing it on a piano gives
reinforcement to where the staff in music actually divides.

I always adjust my pace of theory work with the individual
student, regardless of age. If a concept doesn't come right
away, we take as many weeks on it doing different angles of the
thought process for that theory concept until it clicks. I
actually FORBID students from working ahead in the theory books,
unless the pages immediately ahead build on the same concept. I
amways break at the end of each conceptual section, and drill
the student to make sure there are no ambiguities in how they
understand it.

Kelly Abraham
Woodwinds - New York City
~~~~~~~~~~~~~~~~~~~~~~~
--- Christy Erickson <perickso@-----.net> wrote:
> Doug, You may be correct and I can't find Kelly's post at the
> moment, but I
> believe she was talking about teaching notation practices and
> theory to
> young students. Too much information would simply confuse the
> little ones
> and I can understand why Kelly would be sure to cross out the
> bit about
> accidental signs, no matter which way Bach might have done it.
> This would
> definitely be something to get into more extensively with
> older students but
> my littlies could never understand all of that.
>
> Christy

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