The Four Arts of Music A Pedagogy for Creativity

Someone with a command of language can talk, tell stories, read, and write. Likewise, whole musicians can freely express themselves in music’s main modalities. They can improvise (speak spontaneously), arrange (restate traditional themes in a personal way), read and interpret the works of others, and compose (write musical essays).These arts can be taught, learned, and practiced in intuitive, creative ways or cognitive, analytical ways. To be fully expressive, we need the ability to learn and practice in both ways.

As we develop, the Four Arts blend and cross-pollinate, further deepening our creative connection with music. In this way, the Four Arts can keep expanding throughout a lifetime, like a spiral. Here are some ways to begin teaching the Four Arts to beginning students in intuitive ways that invite creativity.

The Four Arts of Music

Improvise

Compose

Arrange Interpret

ImprovisingBeginning students can improvise duets with their teachers from the first lesson. The teacher plays an accompan-iment, then invites the student to play along (usually with one hand) using a specific set of keys. The student plays with the notes shown in the Melody sections below. The teacher’s part is made of a Pattern and a Vacation. Repeat the Pattern as many times as you like, then go to the Vacation. Then return to the Pattern. Cycle through the Pattern and Vacation as many times as you like. Vary the accompaniment as you repeat. Add counter melodies with your right hand.

Later, switch places with your student. Show your student how to play the left-hand accompaniment. When the studentis ready (this may be much later), ask the student to add right-hand melodies and play with both hands together.

Pattern (“Persia”) Vacation

Improvisation offers a musical and imaginative way to teach scales, chords, and technique, as well as rhythm, flow, music theory, ensemble playing (including trios and quartets), listening, phrasing, touch, and tone. Students often say afterwards, “That was fun!” Above all, it invites us to play from intuition and deep feelings.

Melody

Melody

“Play with meon black keys.”

Pattern (“World Piece”) Vacation

Pattern (“Reflecting”) Melody

“Play with me on white keys.”

Vacation

Arranging

Interpreting

Composing (Songwriting)

C

C

C

C

C

G

Am

F

Beginning students can make simple arrangements of familiar tunes long before they can read (as Clara Schumann did). After a few months, they can play a small “repertoire” of familiar tunes by memory using both hands.

The teacher says to the student in the first lesson, “Let’s find a song that is hidden in the piano.” The teacher helps the student to play a simple song such as Happy Birthday by ear (not by rote). This is the most natural and musi-cal way to develop the ear, as well as the most practical. Once the student can play the tune, the teacher asks the student to add single bass tones to the melody. When the student is ready, he or she can add a fifth above the bass tones, and later add the tone in the middle to make a triad. At this point, the student is ready to “style” the chord and begin the art of arranging. Here are some ways to play a C chord in simple styles in 4/4.

Here are some familiar tunes that use just three chords (C, F, and G in the key of C): Happy Birthday to You; Amazing Grace; Auld Lang Syne; Twinkle Twinkle, Little Star; Silent Night; Jingle Bells.

C

C

C

C

C

G

Am

F

Composers carefully choose their final notes from among a plenitude of possibilities. One way to develop a deeper understanding and appreciation for the masters and their music is to explore these possibilities by impro-vising new melodies above their accompaniments. For example, a student can improvise melodies in the key of A natural minor above the accompaniment to Mist by Clifford Poole. Or improvise in B harmonic minor above the left-hand part of the Schubert Waltz. The students gets a musical feeling for both the accompaniment and the melody. And this provides another foundation for composition.

Though beginning students do not have the knowledge to notate pieces, many can begin the process of composing by learning the other three arts. Another way is to encourage them to write songs. Here’s an approach: teach them to play the following four chords in Basic Accompaniment Position. Then ask them to accompany themselves while singing familiar tunes such as Let It Be (which uses these chords) or perhaps the tunes mentioned above.

Then ask your students to sing the chord tones as they play. Then make new melodies using both chord tones and non-chord tones. Next, ask the students to change the words to the song, keeping the same general phrasing. Next, make new chord progressions using the same four chords. Then, make melodies with this new progression. Perhaps add lyrics. In this way, students learn to accompany themselves, create melodies, make lyrics, and make chord progressions. Often, it is only a matter of time until they “put it all together” to create songs of their own.

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Alberti Ragtime Boogie-Woogie Chopin

This handout is to accompany a presentation given by Forrest Kinney. For more about the Four Arts, go to www.forrestkinney.com/ Forrest can be reached at forrestkinney@yahoo.com.

Creative Practicing —“Repetition is the mother of skill.” Mechanical practice is efficient, yet it dulls sensitivity and responsiveness, and isn’t creative. Can we have creative repetition (which is enlivening) rather than mechanical repetition (which is deadening)? Liszt said, “Technique must flow from spirit, not mechanics.” —The main idea: “Birds do not fly because they have wings, they have wings because they fly.” Habits and skills do not need to be “foundations” or necessary precursors to creative activity; they can emerge in an artistic way as the result of it. —The big picture: This approach is geared toward developing prolific, joyous creators, not proficient, efficient techni-cians. It is a Creator Paradigm that incorporates the Four Arts of Music rather than the 19th-century Performer Paradigm.

Scales and Modes in All Keys —“Melody is the essence of music.” —Mozart “A scale dreams of being a melody someday.” —The Sage of Mt. Si —Learn scales by creating music with them. Introduce students to scales through a musical, creative experience. Duet improvisations first. No set fingering at first. Improvise with four or five notes, then the rest of the scale.—For solo playing, student can first improvise melodies above simple accompaniments in the key. Here are some simple accompaniments made of fifths. Fifths also work for right-hand accompaniments, so the left hand can also create melo-dies. Students create music and, as a by-product, gain facility in a key and develop a unique, creative friendship with it.

—Introduce the standard scale fingering(s) after the need for it has been established. —What does it mean to “know” a scale? A different kind of standard is needed for creators.—The needs of students in the 21st century and drawbacks of the 19th-century model. Bach’s musical approach.

Intervals (and Keys) —Returning to the original intention of practicing sixths and thirds—for creativity rather than finger exercise.

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

Pattern

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

Create melodies in D major.

Create in G natural minor.

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

Pattern

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

Pattern

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

Create melodies on white keys using 6ths, 3rds, or single keys. Transpose?

—Making theoretical distinctions in musical ways. Here, distinguish perfect and diminished fifths (diabolus in musica).

From Reflecting in Pattern Play 1 published by Frederick Harris Music. Used by permission.

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

Pattern

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

Create melodies on white keys using fifths or single notes.

From Medieval Story in Pattern Play 2 published by Frederick Harris Music. Used by permission.

Triads in Root Position—Play chords with the right hand in Basic Ac-companiment Position. Use these chords to ac-company songs. Or play Canon in D in the key of C (include Em). Break up these chords.

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Am

Am

2

From No Limits in Pattern Play 1 published by Frederick Harris Music.

TitleSubtitle

by Forrest Kinney

© 2013 Two Streams Press

Vacation

at least 6 times

Pattern

Vacation

2x

2x

C

G

C

G

Am

F

—Learn triads by common shapes in rhythms (i.e., Cuban rhythm). —Add LH chords to folk or pop songs to make simple arrangements.—Improvise: Play these chords in different rhythms. Break them up.

Create in G natural minor.

Inversions —Create melodies using inversions with No Limits.

More Chords —Cadence Chords (I, IV, V): Break them up and improvise above them. Change the style of the chords, such as playing them in “open voicing,” as shown here. Pattern Play pieces such as Africa, Caribbean Dance, and Tango use I, IV, and V chords. Transpose to other keys.

—Learn these complex chords while creating melodies in the key. Transpose.

General Technique—Learn to release tension in the hands by creating freely with LH fifths and RH sixths on white keys. An “indirect” method of teaching technique. —Practice figures (such as those in Hanon) by creating music with them rather than executing them mechanically. The trap of believing “creativity will come later.”

Ear Training—Play familiar tunes by ear in multiple keys. Then add chords. Then style the chords (rag, boogie, etc.) and add color tones. This is probably the most musical and practical way to develop the ear. Chord Play provides a step-by-step approach.

Literature— The goal is to maintain a fresh, creative relationship with a piece as we learn it and play it over a lifetime. But how? By playing it differently every time—not mechanically! This is the foundation for the art of spontaneous interpretation. —“Variety is the Spice of Life” Approach: Vary aspects on repeats: tempo, articulation, and dynamics (TAD). In some cases, vary the rhythm, pedaling, voicing/balance, or range. * Incorrect? * Confusing? * Outlining. —Creating Approach: Create with the general materials of a piece first (the key, intervals, or chords). *Learn the accompaniment while improvising fresh melodies above it (duet and solo). *Add rhythmic pedal points or simple ac-companiments while learning RH melodies. *Create something using the same harmonic progression. *Rearranging.

Conclusion—The essence of art is creativity. Creativity brings joy—and discipline. Let students fly, and their wings will get strong.

By Forrest Kinney Questions? forrestkinney@yahoo.com More information: www.forrestkinney.com

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Am

Am

2

Dm9

G13

Cmaj9

R.H

L.H.

LH

RH

G

4x

C

2x

D

2x

3

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Dm9

G13

Cmaj9

2

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Am

Am

2

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Dm9

G13

Cmaj9

2

Dm9

G13

Cmaj9

R.H

L.H.

LH

RH

G

4x

C

2x

D

2x

3

—Improvise above the Canon in D chord progression in C major, then transpose. Move the middle note of each chord up an octave to create an open voicing.

—“Fun run.” Convert a student’s desire to show off into the skillful playing of inversions!

—Learning All the Chords in a Key (Major and Minor): Explore various chord progressions, and improvise melodies above them. For example, create with these progressions in a minor key: i ,VI, iv, V, i or i, iio V7, i. Then transpose.—Arpeggios: Make arpeggios into accompaniments for improvisations. Add bass lines to right-hand arpeggios.

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Am

Am

2

Change the top note of the chords to make melodies.

Dm9

G13

Cmaj9

R.H

L.H.

LH

RH

G

4x

C

2x

D

2x

3

Dm9

G13

Cmaj9

R.H

L.H.

LH

RH

G

4x

C

2x

D

2x

3

A

D

E

D

G

Em

C

C

G/B

Am

Em/G

F

C/E

F

G

Am

G

F

E

Dm9

G13

Cmaj9

2

to G, Am, etc.

Canon for the right hand.

    

Best Stress­free Business Practices for your Studio 

Presented by Wendy Stevens, M.M., NCTM 

Correct False Narratives False Narrative ­ Incorrect things that we tell ourselves or allow ourselves to think (either consciously or subconsciously) that keep us from making good business decisions or implementing these decisions.   False Narrative #1 ­ I’m just teaching for fun. True Narrative: I may be having fun teaching, but ______________________________. False Narrative #2 ­ “I can run my business with empathy in the driver’s seat.” I must keep  _______________  ______________  _____________ in the driver’s seat. False Narrative #3 ­ I’m just a piano teacher. We undervalue our _______ & ________. True Narrative: I teach a ____________  ________________  ______________ and shouldn’t be afraid to treat it as such! False Narrative #4 ­ I don’t need to make as much money as my spouse. True Narrative: What I offer has _____________________________________________. False Narrative #5 ­ I am afraid of how my families will respond. [ _______ motivates us.] True Narrative: I must stop _________________________________________________ and just do what I _____________________________________________.  Adopt this “True Narrative:”  “I am an experienced, educated, and highly trained piano teacher who is the CEO of my company.  I alone have control over my schedule and my salary. I must seek to make wise business decisions so that I can minimize my stress and give more energy to helping my students be successful.” 

Set Reasonable Rates 1.  Look at your competitors. Who are they?  2.  Ask specific questions. ● Considering my research, what would be fair to charge for one to one tutoring in 

music?  Do not ask: ______________________________________________ ● Pick a price, then continue onto the next step.  3.  Consider all the facts.  Your “per­hour rate” is not comparable to other employees. As a self­employed individual, you have additional expenses that an hourly employee does not have. Make your list of expenses first:  

      Copyright 2015 by Wendy Stevens All Rights Reserved.   

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 Then note what you are really making per hour:  

  *Remember that only you should be thinking about a “per lesson” price as you will be using this in the next step. When you communicate price to parents, always remember to frame it as the “yearly package” or refer to it as “tuition” divided evenly across the year.  

Making a Consistent Income  You can make the same amount of money every month no matter how many lessons you teach during that month! Three rules:  1. Never charge _____________________________. 2. Always charge ____________________________. 3. Offer a ______________  ________________, not a weekly appointment. 

 “Where Does My Tuition Go?” free brochure can be printed here:   www.composecreate.com/where­does­my­tuition­go­brochure/  

 Steps to make this work:  1. Divide your year. Some choices include:  

a. The entire school year + summer b. Two separate semesters + summer c. The full year  

      2.  Calculate how many weeks you want to teach in each.       3.  Multiply this number of weeks by your “per lesson” price. 

      Copyright 2015 by Wendy Stevens All Rights Reserved.   

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      4.   Decide how often you want to be paid (divide previous number by this) and collect  equal amounts of tuition each month or semester! Sample plans are found here: www.ComposeCreate.com/no­more­charging­lessons­by­the­week  How to deal with a student starting mid­year: www.composecreate.com/pro­rating­for­students­starting­mid­year/  

Price Increases When we don’t increase our price yearly, we are really giving ourselves a pay cut because we are asking ourselves to live on the same income when things cost us more!  Consider the increased cost of your yearly expenses as well as this inflation calculator to help you know how much to increase yearly: www.bls.gov/data/inflation_calculator.htm    Sample wording for your policy:  “Families should expect a yearly increase in tuition appropriate to cost of living increases, expenses, and services offered.”  Here is an article further discussing this: www.ComposeCreate.com/why­you­should­institute­yearly­price­increases  

Taking Time Off How much is normal for a teacher (of children)? __________________________ How many overtime/weekend hours do you work?________________________ Consider ___________________ days to plan…. 

Create Flex Weeks (for sickness, jury duty, snow days, surgery, etc.) Flex weeks are an __________________________________________________________  It’s a cushion of weeks that you allow at the end of your semester where you don’t ___________ to teach, but __________ teach if you need to take time off.   How do you do this?   

a. Plan your scheduled time off (7 weeks is normal for a teacher) b. Add a few flex weeks (unscheduled time off)  c. Calculate tuition based on total weeks teaching (add your scheduled and unscheduled time 

and subtract it from 52 weeks. Then multiply your lesson price by this number.) 

d. Send out your teaching schedule by the season (showing your scheduled time off) e. Take off extra time as needed (keep track) f. Take off unused flex weeks at the end of your term (e.g. If you have 2 flex weeks left, you 

      Copyright 2015 by Wendy Stevens All Rights Reserved.   

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can take these off in the summer if you are on a yearly tuition plan. If you have no flex weeks left, then you will take only the scheduled time off. If you choose to use the school year plan + summer, you can take the rest of your flex weeks off at the end of the school year.)  

 Note: When using a flex week, remind parents they they are not paying for the week that you are taking off. Your policy should say about your tuition, “This tuition price guarantees that I will teach xx weeks per year.” If you need to cancel lessons, you can send out an email that says,   “I need to take this week off. You will not be paying for this week since I will still schedule myself to teach xx weeks by the end of the year as stated in the policy. Tuition will be the same for this month.”  More information in this article: www.composecreate.com/snow­days­jury­duty­illness­oh­my/  www.composecreate.com/more­on­unscheduled­time­off/ 

Stand Firm about Makeup Lessons Ask: “If it’s so stressful, why do I do them?” Correct your false narratives about makeup lessons:  False Narrative #1: “It’s only fair to my students.”  Consider:   False Narrative #2 “I’ll lose money if I don’t do makeup lessons.” Consider:   False Narrative #3 “I’ll feel guilty if I don’t give makeup lessons.” Consider: 

  The least stressful solution? ______  ______________.  The fewer times you have to make small decisions, the more energy and brain power you have for the larger, more important decisions. Eliminate the possibility of makeups and you will save time and energy and experience less stress.       

      Copyright 2015 by Wendy Stevens All Rights Reserved.   

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 Top 5 Reasons for Giving Makeup Lessons:  1.   2.   3.   4.  5. 

 Sample wording for your policy:  “Because specific times are set aside for specific students, a student who does not attend a lesson will simply miss the benefit of that lesson.  There are no makeups given for missed lessons. Your tuition pays for more than your weekly lesson. See Where Does My Tuition Go?”   Free brochure:  www.ComposeCreate.com/where­does­my­tuition­go­brochure/   Allow wiggle room that fits your situation:  ● _________________________ ● _________________________ ● _________________________ ● _________________________ (fill in your own ideas) ● _________________________ ● _________________________  ● _________________________ For a detailed discussion options for make­up lessons: www.composecreate.com/to­give­or­not­give­makeup­lessons/  For a step­by­step guide to moving to a no make­ups policy:  www.composecreate.com/no­makeups/      

Communicate Wisely 1. Always remind parents of the ________________________________________. 2. Explain changes clearly but _________________. 3. Package everything with your __________________________________ in mind. 4. Continue ________________________________________________________. 

       Copyright 2015 by Wendy Stevens 

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General Tips Learn how to make any policy change without a revolt:  http://www.composecreate.com/how­to­increase­tuition­without­a­revolt/ Free Newsletter template:  http://www.composecreate.com/free­studio­newsletter­template/  Sign up for newsletter updates!  http://www.composecreate.com/newsletter   

      Copyright 2015 by Wendy Stevens All Rights Reserved.   

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Shall We Play A Game? Pete Jutras

Selected Sources and Resources

Books: Practice – General Csikszentmihalyi, M. (1990). Flow: The psychology of optimal performance. Steps towards enhancing the quality of life. New York: Harper Collins. Ericsson, K. A. (Ed.). (1996). The road to excellence: The acquisition of expert performance in the arts and sciences, sports, and games. Mahwah, NJ: Earlbaum. Ericsson, K. A. (Ed.). (2006). The Cambridge handbook of expertise and expert performance. New York: Cambridge University Press. Practice – Musical Jorgenson, H. & Lehmann, A. C. (Eds.). (1997). Does practice make perfect? Current theory and research on instrumental music practice. Oslo: Norges Musikkhogskole. McPherson, G. & Parncutt, R. (2002). The science and psychology of music performance: Creative strategies for teaching and learning. New York: Oxford University Press. Sloboda, J. A. (Ed.). (1988). Generative processes in music. The Psychology of performance, improvisation, and composition. New York: Oxford University Press. Williamon, A. (Ed.). (2004). Musical excellence: Strategies and techniques to enhance performance. New York: Oxford University Press. Articles: Kostka, M. (2002). Practice expectations and attitudes: A survey of college-level music teachers and students. Journal of Research in Music Education (50), 145-154. McPherson, G. & Renwick, J. (2001). A longitudinal study of self-regulation in children’s musical practice. Music Education Research (3) 169-188. McPherson, G. & Renwick, J. (2002). Interest and choice: Student selected repertoire and its effect on practicing behavior. British Journal Of Music Education (19) 173-188. Sloboda, J., Davidson, J., Howe, M., & Moore, D. (1996). The role of practice in the development of performing musicians. British Journal Of Psychology (87), 287-309. Williamon, A. & Valentine, E. (2000). Quantity and quality of musical practice as predictors of performance quality. British Journal of Psychology (91), 353-376.

pjutras@uga.edu

Have You Forgotten What It’s Like to be a Child?5 forgotten characteristics of childhood and 25 ways to apply them for better progress

Presented by Wendy Stevens, M.M., NCTM

I. Children have little sense of __________ or the ____________.A. The Pre-frontal cortex is responsible for: ••••

B. Everything is about _____________.

C. How does this affect the way students see lessons?

1. Children have trouble _______________ and ________________for future events.

2. Children have trouble seeing _____________________________________.

3. Children want to ________________________________________________.

4. Children believe it’s possible to ___________________________________.

D. How does this impact the way we teach? 1. Teach the skill of ________________________________________________.

2. Strive for one _____________________________________ they can do now.

3. Remind them _____________________________ about their progress.

4. Give at least one piece that makes them __________________________ now.

E.“Sound Good Now” Music: You Don’t Scare Me Now! Elementary (from

www.ComposeCreate.com) Stunt Double - Intermediate (Willis Music) Black Key Blast! - Pre-reading (Willis Music) Deck the Hall - Elementary (from www.ComposeCreate.com Happy, Happy Birthday - Elementary (from

www.ComposeCreate.com)

II. Two words: __________________ vs. ____________________

A. What is competency? The sense that you are __________________________________________________.

B. How to help develop competency: Break apart concepts into ____________________________________ steps that can be easily ____________________________ and _______________built on.

C. How does this impact the way children see lessons? 1. Children enjoy lessons if they leave feeling _________________________.

2. If it’s hard, it’s __________________ and ______________ is less likely to occur.

3. If it’s easy, they feel __________________ and _______________ is more likely.

4. High pressure ____________________ may inhibit competency development.

5. Children want to feel that they are _____________________________________.

6. Music can be the area of competency to _______________________________.

D. How does this impact the way we teach? 1. ___________________________ something every week.

http://www.composecreate.com/take-the-30-piece-challenge/ 2. Give _____________________________ pieces.

3. Weekly accomplishments promoting competency can be _______________________.

4. Give _________________ affirmation.

5. Give age appropriate _______________________.

6. Set reasonable _______________________ expectations.

7. Reward ___________________________ accomplishments.

E. Industry vs. Inferiority Music Barn Dance - Intermediate (Willis Music Stunt Double - Intermediate (Willis Music Drastic Measures - Intermediate (from www.ComposeCreate.com) Whirling Shadows - Late elementary (Willis Music) Easy Hymn Solos - Early elementary to early intermediate (Hal Leonard)

III. Children transition from ________________________ learning more slowly than we think!

A. Much of music teaching just engages their ______________________.

B. If we engage _____________________________, suddenly the mind becomes more involved.

C. New ___________________________________________ are created.

D. How does this affect the way children see lessons? 1. They have more ________________________________________ associated

with kinesthetic activities 2. Kids have more _________________ when there is _____________________. 3. Do kids learn better when they are having fun? ;)

E. How does this impact how we teach? 1. Take inventory:

a) Talking b) Off the bench c) Exploring d) Demonstration e) Mirroring, practicing

F. Kinesthetic Music The Candy Nabber (Willis Music) Rhythm Menagerie, Manipulations, Rhythm Cup Explorations (www.composecreate.com) A Scream on Halloween (Willis Music) Sneezes, Snorts, and Sniffles (Willis Music)

IV. _______________________ is the natural language of a child.

A. Definition: “Something so ________________________ that you lose your sense of ______________ and want it to keep on going __________________.” - Brène Brown. Watch: http://youtu.be/JJo4qXbz4G4 for a good intro to Brène Brown

B. Children sort things out as they ______________________.

C. ______________________________ lasts longer than we think.

D. Invitations into a child’s world are ___________________________.

E. Take this seriously: “Don’t be ________________________________ all the time.”

F. How does this impact the way children see lessons? A. Children don’t now how to tell you how they ____________________________.

B. The more ________________________ the lesson, the less engaged they are.

C. The more ________________________ the lesson, the more engaged they are.

G. How does this impact how we teach?

A. Allow for more opportunities of _______________________________________.

B. Use pretending to communicate _____________________________________.

C. Use _________________________. Period.

H. Play is My Language Music The Knights’ Quest (Willis Music) P-yew - Early elementary (Willis Music) Tasty Tunes - Elementary (Willis Music) Mob Bop - Elementary (“play” with the audience) (from www.ComposeCreate.com)

V. _____________________ is extremely important.

A. This is the ________________ and ___________________ to do or decide something for yourself.

B. How does this impact the way children see lessons?

1. Students _____________________ and make more ____________________ when they have autonomy.

2. Students love having _________________________.

3. Making choices = taking ___________________________________________.

C. How does this impact how we teach? 1. Take inventory.

2. Use easy ways to allow ___________________ without sacrificing good curriculum.

3. Whatever they are _____________________ about, do this _______________!

D. Music Encouraging Autonomy 1. Any piece _____________________________________. 2. Create their own _______________________________. 3. Make their own ________________________________. 4. Add their own _________________________________.

Sale today!I want this!

Item Details Price

Deck the Hall - elementary Studio license - Use for entire studio!

$9.99$8.99

Mob Bop - elementary (with audience participating)

Studio licenseUse for entire studio!

$9.99$8.99

You Don’t Scare Me Now! - elementary

Studio licenseUse for entire studio!

$8.99$7.99

Happy, Happy Birthday - elementary

Studio licenseUse for entire studio!

$8.99$7.99

Drastic Measures - intermediate

Studio license Use for entire studio!

$9.99$8.99

Rhythm Cup Explorations Fun for all levels $10.99

Rhythm Cup Explorations 2 More fun for all levels $12.99

BEATS for RCE1 (mp3) mp3s for all pages $5.99

Holiday Rhythm Cup Explorations

Piano music + cups

$12.99$11.99

Rhythm Menagerie -PIANO

Elementary $34.99 $29.99

Rhythm Menagerie - CLASSROOM

Elementary $34.99 $29.99

Rhythm Manipulations - For both piano or classroom

Intermediate $34.99 $29.99

Bundle: Menagerie, Manipulations, Cup Explorations - Piano

All 3 for the best value!

$86.96 $75

Bundle: Menagerie, Manipulations, Cup Explorations - Classroom

All 3 for the best value!

$86.96 $75

Pian

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I am still every age that I have been. Because I was once a child, I am always a child. Because I was

once a searching adolescent, given to moods and ecstasies, these are still part of me, and always will be... This does not mean that I ought to be trapped or enclosed in any of

these ages...the delayed adolescent, the childish adult, but that they are in me to be drawn

on; to forget is a form of suicide… I think that forgetting what it is like to think and feel and touch and smell and taste and see and hear like a

three-year-old or a thirteen-year-old or a twenty-three-year-old means

being grownup. [But] When I'm with these people I, like the kids, feel

that if this is what it means to be a grown-up, then I don't ever want to be one. Instead of which, if I can retain a child's awareness and

joy, and *be* fifty-one, then I will really learn what it means to be grownup.

- Madeline L’Engle

“

“

Order today at the back of the room for the sale.All products are reproducible PDFs and delivered to your email.

It’s never too late: Bringing the joy of music to adult students

Pete Jutras, Ph.D., NCTM pjutras@uga.edu

Presenter’s Research: Jutras, P. (2006). The benefits of adult piano study: As self-reported by selected

adult piano students. The Journal of Research in Music Education (54) 2, 97-110. (Based on 2003 Ph.D. Dissertation, University of North Texas.) Jutras, P. (2009). The benefits of adult music study. American Music Teacher (59) 2, 21-22. Jutras, P. (2011). The Benefits of New Horizons band participation. Bulletin for the

Council of Research on Music Education, (187), 65-84. Jutras, P., & Roulston, K. (2012). Adults’ perspectives of learning musical instruments. Paper presented at the American Educational Research Association Annual Meeting, Vancouver, CA. Jutras, P. (2012). Investigating the purpose and benefits of learning an instrument as an adult. Scientia Paedagogica Experimentalis (in press). Jutras, P., & Roulston, K. (in press, 2016). Adult’s perspectives of learning musical

instruments. International Journal of Music Education. Selected Adult Learning Theory Resources: Horn, J. L., & Cattell, R. B. (1966a). Refinement and test of the theory of fluid and crystallized general intelligences. Journal of Educational Psychology, 57, 253- 270.

Horn, J. L., & Cattell, R. B. (1967). Age differences in fluid and crystallized intelligence. Acta Psychologica, 26, 107-129.

Knowles, M.S., Holton, E.F., & Swanson, R.A. (2008). The adult learner: A neglected species. (6th Ed.). New York: Elsevier, Butterworth-Heinemann. Tough, A.M. (1979). The adult’s learning projects: a fresh approach to theory and practice in adult learning. (2nd. Ed.). Toronto: Ontario Institute for Studies in Education. Favorite Adult Music Readings (good for students to read): Adams, N. (1997). Piano lessons: Music, love, and true adventures. New York: Delta. Holt, J. (1991). Never too late: My musical life story. Cambrige: Perseus (Originally published 1978, New York: Delacorte.) Maris, B.E. (2000). Making music at the piano: Learning strategies for adult students. New York: Oxford University Press.

    

Rhythm Training SHOULD Be Fun!  presented by Wendy Stevens, M.M., NCTM 

What’s Wrong with Random Rhythms? 1. Rhythm is rarely ______________________________________________.  2. Random is not ______________.  3. Random inhibits ___________________.  4. Random is good for ______________________, but that’s not very _____________!   Here are examples of free (random) rhythms helpful for testing (but not training) students (so use carefully):  http://www.composecreate.com/rhythm­worksheets/ 

Principles of Teaching Rhythm 1. Rhythm is _______________ but...  2. Rhythm has to be ____________________.  3. Rhythm deserves __________________________________________________________.  4. Rhythm needs to be ___________________________.  5. Rhythm needs to get past the _____________________________ stage.  

Rhythm Menagerie The first book in the comprehensive “core” series, this book covers quarters, halves, wholes, rests, eights, eight rests, and dotted quarters. Three levels per unit and each level includes single line rhythms, 2­handed rhythms for coordination, and “fun with sounds” pages! Reproducible to use with students in your studio!  http://www.composecreate.com/store/rhythm­menagerie/  

Rhythm Manipulations The second book in the comprehensive “core” series, continues where Menagerie left off and features activities that are especially appealing to pre­teen and teenage students (but younger students will love it too). This book covers cut time, compound time, triplets, sixteeths, sixteenths expanded, dotted eighths, and polyrhythms. Reproducible to use with students in your studio!  http://www.composecreate.com/store/rhythm­manipulations/  http://www.composecreate.com/rm2challenge/ Have your students take the challenge! 

Rhythm Cup Explorations 1 This book has 4 units, Quarters/halves, Eighths, Triplets, and Sixteenths, so there is something in it for everyone! Accompaniment beats (3 tempos per page) can also be purchased 

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separately). http://youtu.be/nFtfk0bZVRM Watch this to see a room full of students doing the pop piece! http://www.composecreate.com/jelly­beans­rhythm­cups/ ­ Fun incentive! http://www.composecreate.com/ways­to­get­rhythm­cups­to­explode­in­your­studio/ ­ The fun just keeps going and going! http://www.composecreate.com/store/rhythm­cup­explorations/  

Rhythm Cup Explorations 2 This second book has 5 units, Triple Meter, Dotted Quarter, Compound Meter, Eighth Syncopation, and Sixteenth Syncopation. More cup tapping techniques are included in this book but there is still something for all levels...beginning to advanced! http://www.composecreate.com/store/rhythm­cup­exploration­2   

Holiday Rhythm Cup Explorations Three holiday songs (piano music included) along with three different levels of rhythms per song, so any level of student can perform this for fun or at a recital and impress everyone!  http://www.composecreate.com/store/rhythm­cup­explorations­holiday/  

   Menagerie + Manipulations ­ CORE Curriculum Comprehensive and carefully graded ­ Reproducible! The piano edition features activities on the introductory pages that can be played on the piano. If you use this in groups with not enough keyboards per student, the classroom edition may work well for you as you can use the classroom edition with piano students and student of any other instrument! 

  Rhythm Cup Explorations 1 and 2 ­Super fun supplement! ­ Reproducible! Super easy, these are guaranteed fun with students. See above for contents. There’s something here for all levels of students, including adults!  Beats for book 1 also available. ====>   Holiday Rhythm Cup Explorations ­ Piano music to go along with a specific cup tapping piece. ­ Reproducible! Three pieces with three different levels of rhythm tapping sequences for each piece:  ● We Wish You a Merry Christmas ● Deck the Hall ● Joy to the World ComposeCreate.com/store/  

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Cultivating the Art of InterpretingNotes on a Presentation by Forrest Kinney

Introduction * What is the art of interpretation (AOI)? Symbol back to sound. Reading words vs. realizing meanings.* What makes an activity an art rather than a skill? Creativity. While notes remain the same, creative playing is alive and different every time. Some examples: Chopin, Casals, Horowitz. * The Shakespearian actor who finds new meanings each night, and says the same words differently. * If creative artists play the same notes differently each time, what does “definitive” now mean?* This talk won’t be about “rules” of interpreting, but about freeing ourselves to go “beyond correct” and invite intuitive, spontaneous, creative responses. The goal is to cultivate creators more than performers. * These thoughts are intended to be freeing, so they are to be taken like an editor’s markings—as sug-gestions or challenges, not commands. Each person has a unique path.

Some Basics: Cultivating a Creative Response* Two main aspects: the note/movement structure (sameness) and the creative response (newness). * We can’t have an AOI when we are concerned with notes or movements—when there is a cognitive or technical burden. Example: “His artwork looked like many minimalist aluminum chrysanthemums.” * Daily practice over years makes movements “second nature” so there is room for creativity. How can a beginning student attain this? By playing while having a minimal cognitive burden. Suggestions:* Assigning one easier piece (for interpreting), and one harder piece (for reading and technique). * Getting “off the page” sooner to focus on tones and movements rather than notes. After all, learning a piece is learning movements—a choreography. *Playing with eyes closed to focus on movements.* Staying with some pieces longer than usual to focus on interpretative options. * Revisiting pieces. * Creative practicing, not mechanical practicing. The Variety Approach and the Creating Approach. * Don’t tell; educate. “Teaching is not telling. Tellers belong in banks, behind bars.” –Frances Clark The music should suggest the crescendo, not the teacher. The IDK Syndrome and making choices.

Cultivating the Art of Interpreting in the Context of the “Four Arts of Music”* Imagine we only taught foreigners to read English aloud, but not to talk, tell stories, or write. * Teaching improvising and listening from the first lesson. My approach is based on having a “minimal cognitive burden.” Duet-to-solo approach. World Piece. A creative experience from the first lesson. * Teaching arranging. Playing tunes by ear at the beginning (as Clara Schumann did), then adding chords in various styles. Students hear notes grouped into melodies, so phrasing comes naturally. They hear notes grouped into harmonies so their memory is more secure and their movements more flowing.* Teaching composing through literature. A score is the end of a composer’s creative process, the begin-ning of an interpreter’s. Entering into the composer’s process. What might happen next? Explore!* The art of interpreting informs and enriches the other arts, and needs to be enriched by them or it be-comes about correction, not creation. *The original intent of composition: making models for creating.

Always Exploring: Cultivating Freedom in the Art of Interpreting * The AOI is based on hearing and feeling musical differences (slow vs. fast, loud vs. soft, etc.) until they make a difference. We must constantly explore ranges of musical options to be able to feel what to do next. * Artists accept that uncertainty (having many choices) is the price of liberty and of intuitive guidance. * When we play slowly because we can’t play fast, that’s not a choice. Artists know that any act done by choice is radically different from one done by habit, rule, carelessness, or because of inability. * With a score, what can’t we change? “Taking liberties” vs. “having liberty.” Gould’s lifelong adventure.Notes—Pitches Notes in Baroque and Classical period were not so fixed. Manuscript culture vs. print culture. C.P.E. Bach’s 43 pages on ornaments. *Figured bass. * Embellishing on repeats (Mozart’s auto-graph of K. 457 & 332). *Orchestral reductions. *Arrangements *Scores by big-handed composers. Notes—Rhythms French Overture rhythm *Straight or swing? “Notes inegales.” *Song arrangements.

Markings The absence of markings doesn’t mean “don’t.” Their presence doesn’t always mean “do.”*Markings by composers vs. editors. *Consulting various sources. Manuscripts on the Internet. Fingering “Everything is a matter of knowing good fingering.”—Chopin Most important interpretative choice? Choreography. *Brahms and Debussy refused to write it. * C.P.E. Bach vs. Czerny (effect vs. ef-ficiency). Chopin’s “555” fingering. Beethoven’s fingerings and Schnabel. *”Big muscle” fingering. Tempo Tempo and character. *Schumann: “ inner measure.” *Tempo mark vs. mood mark. *Only 5 tempo markings in entire WTC. Tempo ranges in Bach recordings. *Same tempo throughout? Dance vs. song. Examples: Milonga del Angel. Brahms’ Intermezzo. Bach’s Adagio mark. *Faster and faster we go. Metronome Markings Debussy: “all right for one bar...” *Brahms’ view. Heartbeat vs. clock. *Sandor on Bartok’s playing (mood, not speed). * Beethoven, Schumann, and Bartok—wrong MM markings? Rubato Notes are the robbers; rubato is Robin Hood. *Steady pulse gives it structure. *Grove’s change. Phrasing, Breaks, and Melodic Inflection Importance of phrasing: “Let’s eat! John! Quickly!” *Breaks of various kinds. *Adding lyrics to melodies. *Vocal training in India. *The “Fur Elise trick” with E7. Dynamics Dynamic marks are not written with words. *The micro-managing issue. Mozart’s sparse markings (just p for pp to mp and f for mf to ff) *Brahms removing markings. * “Orchestrating” pieces. Articulation Musical diction: individual vs. group. *Using more staccato than usual (out-of-tune piano, bass register) or less (boogie bass). *Shiff’s comments on Bach. *The idea of mimicking a harpsichord vs. the “vocal ideal.” Voicing/Balancing Voicing parts. *Voicing to adjust dissonance. *Voicing a chord (flat vs. glossy). Pedaling Rachmoninoff: too many variables to prescribe pedaling. Debussy: less than 20 marks in all of his piano music. *Dance vs. song. *Beethoven’s marks and his pianos. *Pedal in Scarlatti. *The tech-nique of highlighting. *Fractional pedaling. Mistakes 19th century attitude vs. 21st century. *Liszt saying, “I could do better than that!”

Cultivating a Creative Relationship with Composers* Does there need to be an AOI? Stravinsky was “against interpretation” and demanded his scores be “performed, not interpreted.” His use of piano rolls. Ravel’s “slave” comment. Ravel’s brush with Tosca-nini. *The master/servant model. The AOI necessitates a co-creator model. *Ownership of ideas.* The AOI is shaped by our conception of composers, our teachers’ attitudes, and our deep fears of dis-approval. Is the composer a cranky dictator or a loving mentor? Do we allow exploring and creativity? * Relationship of composer and performer in the pre-print era. A score was akin to a recipe, coloring book, or outline. Music was sound, not score. “Correct” wasn’t the issue. *The performer was trusted. * Brahms’ co-creative attitude. There are many ways to be correct. (There must be. Stravinsky’s five different recordings of Rite of Spring.) Stravinsky’s and Ravel’s extreme personalities (rather than their musical genius) made their attitudes toward other musicians dictatorial rather than co-creative. Exploring is the creator’s way! * We are often taught to do things by following rules. But creating music is an art; its not driving a car! Rules are orientation, not destination. Following directions can be valuable, but not creative. *Until we honor our inner directives and feelings, we will be directed by rules and a master/servant model rather than intuition and a co-creator model. * ”Respect for a composer” is a modern print-based notion. It is ideally a way of honoring our latent po-tentials to create, but it often results in disrespect for the student and their creative potentials. Noah story (playing with “wrong” dynamics). Prioritizing the feelings and creative potentials of the student. * Two meanings of authenticity: Being true to one’s self vs. conforming to an original. Creator’s view.

Conclusion: Life, Liberty, and the Pursuit of Happiness* Does practicing literature make you feel more alive? *Does your dialogue with master composers bring you happiness? *Are you taking liberties when you play or giving liberties to yourself as a co-creator?

Questions? forrestkinney@yahoo.com For more information: www.forrestkinney.com