Klarinet Archive - Posting 000233.txt from 2004/04

From: "Patricia A. Smith" <arlyss1@-----.net>
Subj: [kl] Teaching a variety of music; was, Favorite music
Date: Fri, 16 Apr 2004 09:10:46 -0400

Kelly wrote:

>Patricia,
>
>This is something I have been "infusing" into the lesson plan
>for students of mine who don't necessarily like the stuff we are
>studying at the time, or who aren't particularly interested in
>learning a piece. There are pieces that are fun to play, pieces
>that are great to listen to, pieces that are both, and pieces
>that are neither. I try to steer away from teaching ones that
>are *just* grea to listen to for lessons, and have them do that
>in their own time (pop music transcriptions would be a good
>example of that for me) and I also steer away from the ones that
>the student isn't interested in listening to or playing (we try
>to do a little with the piece first, if I think there is a merit
>in learning the piece anyway, and then abandon it for other
>things that can be more fun for the student *and* challenging
>with a learning experience attached if it's still not a match.)
>
>Before anyone flames me for my subjectivity, I am not making
>blanket judgements about music in general, mind you. I am
>subjective about my teaching with my students and their tastes,
>and do specifically try to expand their horizons on tastes in
>music, while not "beating a dead horse" if they aren't open to
>that particular genre of music. Many of my students are VERY
>jazz oriented, and others are very much classically bound, so we
>expand horizons without making them hate it.
>

Kelly,

I was going to put this in my other response, then realized I could end
up being SHOT for making the longest post on record to klarinet. No
matter that it is on topic - I'd still be shot! LOL I deceided to start
a new topic here, and go with this new topic in another post, because I
felt you brought up more than one good point in your excellent post.

I agree with you: In teaching students, we must make our best efforts to
introduce them to as wide a range of musical styles as possible. I'm
not a fan of a good deal of pop music, and I personally consider many
pop adaptations a huge moneymaking machine for the publishers; IMO, they
take advantage of those who are new to playing, and are willing to snap
up anything that is easy for them to play. I also realize they can be
useful teaching tools; I won't argue with that. I've used them, when
kids have brought them in, and when they've contained elements that I
feel the student needs to focus on. However, I prefer to be VERY
economical with what I ask parents to buy for their kids when first
starting out. This stuff is WAY DOWN LOW on the list, after buying a
good mouthpiece (Hi Clark Fobes!), appropriate reeds and ligature, and
either renting or buying a decent horn, making sure it is properly
adjusted (this sometimes takes up part or ALL of at least ONE lesson
sometimes!) and obtaining a decent method book. I also require them to
buy blank music writing paper.

One way I attempt to widen my students' horizons and at the same time
teach better reading/writing/notational skills is to have my students do
their best to play their favorite tunes BY EAR, then transcribe them -
first melodically, then rhythmically, or in the reverse, if that works
better for them. The more the kids can do this, 1) the better their ear
becomes; and 2) the more they learn the correlations between pitch,
rhythm and notation, which will serve them well in sightreading and
reading music in general. As long as we make kind of a game out of
this, and the parents understand that it IS a part of their lessons and
learning, it is great fun. We also do original composition and explore
basic forms. etc. In many ways, I do what I wish teachers had done with
me when I was young - explore what is INSIDE musically. I find it does
develop, as the student does more and more listening. I also try to
assign listening, based on what is available to the student, not only on
what they enjoy, but also to generate interest in music they don't
normally listen to (You'd be surprised how many get introduced to
classical music via the Star Wars and other John Williams film music
scores!)

When you say you have a number of students who enjoy jazz, Kelly, I'm
wondering, any particular era, players, etc. in jazz? Big band or
chamber jazz (as I call it - small jazz groups - quintet, quartet?)
Miles Davis stuff of the 60's & 70's ? Benny Goodman's stuff? Eddie
Daniels? There have been and still are so MANY fabulous female jazz
singers out there who are worth giving a listen to, because, again IMO,
so much can be learned, nearly by "osmosis" (don't you love THAT word!)
concerning phrasing, breathing... they are simply amazing! Also, there
is just so MUCH going on, worldwide, in so many genres, it is nearly
impossible to keep up with all the music that is out there! So-called
"world music" is something I've gotten into, as I've become familiar
with this in my ethno studies (going to reincarnate as a general music
teacher - got to make a living some way! *G*) and this also is some high
interest music for kids. Again, sometimes, you'll find adults who
really enjoy music from their own backgrounds and learning by ear then
transcribing offers them a way to not only learn the music of their
heritage, but also a way of preserving something that may not be
commercially available. (I believe we have a gentleman who plays Greek
music on the list. Perhaps he can speak to this issue)

Music education and teaching is something that has become quite close
to my heart for a variety of reasons, not the least of which is because
my own three younger children are now at the age and emotional maturity
where they are ready to begin piano and other instrumental lessons. (I
tend to wait a little later, because I find the ability to focus is VERY
important in student learning, as well). My oldest daughter, though not
a performer (she is a fine singer, though mostly in the alternative/punk
arena), IS a good, critical listener, and appreciates a variety of styles.

It is also important to me that, if we ARE going to continue the
tradition of music as we all know it, we are going to have to find new
means of doing so, as so many of the musical institutions we have come
up with are finding themselves beseiged from every side. I believe we
are more than up to the task. It lies not only in educating the next
generation of fine professional musicians, but also the next generation
of amateurs, AND the next generation of listeners, as well.

Patricia Smith

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