Tag Archives: Performing

Should We Be Judging Our Kids’ Musical Performances? (Spoiler alert: I think no)

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Would this performance get a “I” rating? Probably not.  Is it a worthy musical experience? Yes!

I live and teach in a state where adjudicated events are a standard part of music education. Schools prove their worth – (read directors and students) – by the ratings they bring home from marching band contests, solo & ensemble contest, and large group contest.  The very high school I attended had a wall full of plaques declaring superior ratings at state contest. My band uniform was covered with blue ribbons I received at solo & ensemble contest.   The single II I received on a piano solo because of a memory lapse was a source of shame and disappointment.  My senior year, with a new, young band director, we received a II at state contest.  Even though that young man was (and still is) a fine musician and a remarkable teacher, we felt as though we had failed. It didn’t matter that we were playing college level music that had moments of brilliance.  We had failed to convince the judges we were worthy of a “superior” rating.  As far as I was concerned, our  worth and accomplishments as musicians were reflected in ratings at contest.

And, like many aspiring music teachers, this is the attitude and philosophy I took with me into my undergraduate music education program and first year of teaching.

Then I had my own bands and choirs.  And later my own children.

They didn’t all get Is. They didn’t even all get IIs. There were the dreaded IIIs and even an embedded IV from an occasional judge.

These ratings broke my heart. Not because of the crushing blow to the ego as a director, but because of the blow to the musical spirits of my students and my own children.

You see, there wasn’t one single judge who knew where those students started.

Not one who spoke to a student to learn how he or she connected with the music.

Not one measurement of the aesthetic experience on stage as everything faded away and a child became lost in the music (as if such a thing could be measured!)

No judge sees the band on the practice field for the sixth hour on a hot, summer day or the bruised lips from hours of playing.

No judge knows the courage it took for a particular soloist to decide to even try a solo, let alone walk into a room and play for someone they don’t even know.

No judge knows that a choir director lost 1/3 of her choir two months before contest because of schedule conflicts.

No judge knows the number of students that can’t afford to take private lessons even though their parents already work two jobs.

No judge knows that a band or choir lost a member earlier in the year and making music together has helped heal their hearts.

Judges are not heartless people – but their task is to evaluate the performance on a certain day at a certain time. Nothing more. Nothing less.

If one of the goals of music education is to instill a love of music making, a love for the experience of getting lost in the experience, how can we allow a rating to steal the joy and pride our students feel when they complete a performance they know was their best? How can we allow a judge to tell them that was nothing to be proud of?  I can think of no better way to crush the musical spirit of a student or director than to tell them it doesn’t matter what you felt as you were playing – the worth of that performance is decided by my rating. Is this said outright? No (at least I hope not) … but it is too often the message received from years of tradition and expectations.

Is there a place for adjudicating music? Yes – for those who wish to pursue professional careers in music performance, their playing ability will be judged – often harshly.  But even then, musical spirits are crushed when the love of creating something beautiful is found to not be beautiful enough.

So what is the alternative to judging our students? Allow them to experience the joy of making music together. Easy music. Difficult music. Songs we love. Songs we’ve heard. Songs that are new to us. Music from far away places and music from our past. And don’t forget listening to music. Listen to music together. Listen to different styles, different performances of the same piece, listen to instruments you play and those you don’t.

Standards don’t need to be lowered, but perhaps they need to be changed. Instead of judging a performance by being “grand champion” or getting a I, look at the young musicians reactions. How did they feel about their performance?  Was it something that instilled pride? Did it move them? Teach our students that a performance isn’t good because someone else says it was – they have the ability to determine its quality on their own, with their own ears.

Take it a step further and it doesn’t even have to be a performance. High quality musical experiences can happen in a drum circle in a middle school general music classroom where students improvise rhythms that gel into a groove that everyone in the room feels – and no one wants to stop playing.  They can happen the first time a student realizes she has the power to create her own music on a ukulele or guitar. They can even happen outside of school – as students jam together in a garage band (on instruments that often can’t seem to find a place in school music.)  They can happen as friends and family sit around on an evening singing songs of their faith or childhood. Maybe even at a barn dance as a hodgepodge of folk instruments compliment each others melodies and harmonies.

If we want the value of music education to extend beyond traditional ensembles and ratings, we must realize the harm we are doing to ourselves and our students when we make them compete to see who’s music is worthy of recognition. When students make music it is worthy of recognition. When this is the standard we strive to meet, we will truly be able to say we are providing music for all – for all times.

 

 

Improvising & Composing in Music+STEM

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As I mentioned in my last post, teaching kids to compose and improvise FullSizeRendercan be two of the hardest standards to address.  In it, I explained how my classes composed the blues by laying down the 12 bar blues chord progression and adding a melody based on the blues scale. When the kids finished this, they moved on to creating a background track they could improvise over.

When we start learning to play the blues on ukuleles I use a background track to beef up our sound and fill in the holes we’re not ready to play yet.  (You can read about how I introduce the blues on ukuleles in this post – just scroll down to Day 3.)  Because of this the kids have an idea of what a background track is and what it’s used for.

We again used Noteflight to create the background track – starting with the 12 bar blues chord progression and adding a drum part. Students were encouraged to create a rhythmically interesting chord progression and drum line.  They loved working on this because DRUMS!

There are several percussion instruments that can be added to a Noteflight score.  I had my students stick to “Unpitched percussion/Percussion 1 Line”.  The variation you see in the percussion “pitch” indicates low to high drum sounds and cymbals.

Here are a couple of examples of student work:

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The final piece of the students’ “Blues Portfolio” was a performance to improvise with the background track they composed.  When I was a young trumpet student I was terrified to improvise.  I’m sure it was because my teacher just said something like, “Ok, your turn, improvise!”  I had no idea what to do, because as we know, while improvising means you make it up as you go, you still need some rules and structure to follow.

The approach I’ve arrived at over the years is to provide a beginning structure with the fewest decisions possible.  That mean improvising a rhythm on one note.  When kids are comfortable with this, we move on and add another note.  In the key of C, this usually means we start on C and add E flat when they are ready.  As students progress they can add the rest of the notes in the Blues scale.  We used ukuleles to improvise but you could also you keyboards or even Orff instruments.  The Orff instruments are great because you can provide only the notes you want students to play.

The blues scale on the ukulele follows a simple pattern.  I learned how to do this from “Ukulele Mike” on youTube.

Mike teaches you how to improvise in the key of D.  To use the key of C you just shift everything down 2 frets.  So instead of playing frets 5-3 on the A string, you play 3-1 on the A string, then 3-1 on E string, and 3-0 on the C string.  I use this picture to help students remember the pattern.

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Finally, students performed their improvisation for me as their background track played.  Some students even performed for the class.

Improvising is a great way to individualize instruction for students.  As I said above, students can add notes as they are ready.  Some will stick to one or two pitches but many will challenge themselves to use all the notes of the blues scale.

I’ve learned that students need LOTS of modeling to learn to improvise.  They also need time to experiment and figure out what they can do – often without an audience.  This was the first time my students improvised.  It’s definitely something that we will spend more time on to develop their skills.


 

By the way, I was able to take a few of my students to demonstrate their learning for our district’s senior citizen luncheon.  They played the 12 bar blues and improvised!

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Build An Instrument: Part 4 – Compose & Perform

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Build An Instrument: Part 4 – Compose & Perform

Whew! Here we are at part 4 of the Build An Instrument unit posts! 20150910_120232-1

Let’s look back at what we’ve done so far …

Part 1 – Introduction

Part 2 – The Science of Sound

Part 3 – Building

and finally Part 4 – Compose and Perform!


Our principal came in when we were in the midst of composing and asked, “How do you teach a kid to compose?”  Luckily, I had an answer, but the truth is I taught many years before I figured out an approach. When I was in my undergrad theory classes and had to compose, the only guidance I remember is knowing some traditional chord progressions – and I wasn’t very successful.  I’ve found the key to teaching students to compose is starting with a very limited structure – the fewer choices the better.

For our middle school students, this meant composing in a modified Rondo form (ABACA) with 8 beats in each phrase.  Every student wrote a solo following this form.  They used traditional or non-traditional notation to indicate rhythm and where each note was to be played on their instrument.  Since we had a wide variety of instruments there were a lot of different sounds.  Another challenge was that most instruments didn’t play consistent pitches – so students notated pitches by labeling strings or making “fret” marks on their instruments and notating them in their music.

Once students wrote their solo, they teamed up in groups of 2, 3, or 4.  The group “sampled” their solos to create a new piece for their group.  This new piece also followed the Rondo form by adding “D” and “E” sections for the groups of 3 and 4.  Everyone agreed on a phrase for the group to play together for each recurring “A” phrase.  Then, each student chose their favorite composed phrase to play as a solo in each alternating section.  In the end, it looked something like this….

A – group

B – student 1 solo

A – group

C – student 2 solo

A – group

After a day of practicing with their group to perfect their piece, we celebrated with a day of performances!  Here’s an example …

Overall, the results of this unit were outstanding.  Students applied the science of sound to the instruments they built and more importantly, learned from trial and error.  Most students did not end up with the exact instrument they first conceived – but many of the results were even better.  Composing and performing was new for most kids, but many had very successful first attempts!  We’re looking forward to see what else they can accomplish throughout the semester!