Transcript Lessons and Strategies

Successful Composing and Arranging
for ALL Students:
Lessons and Strategies
Sandi MacLeod
Coordinator, Vermont MIDI Project
University of Vermont
[email protected]
Anne K. Hamilton
Teacher and trainer
North Country Union High School
[email protected]
Lullaby Dreams
Created by three
fifth graders as
part of their
regular music
class
Vermont MIDI screen shot
Vermont MIDI Project encourages
and supports students in composing
and arranging music
(MENC Standard #4)
• Professional composers, teachers, and other
students critique in a password protected
website.
•Professional Development for teachers
•Live performances with professional musicians
Here’s how it works . . .
• Elementary/Middle
• Often work in small groups
• Discuss together musical decisions,
developing vocabulary and knowledge of
theory
• High School - individual student
• Class critiques
Composition using technology
as a tool . . .
Without technology or a
combination of both . .
Suggested Strategies for
Elementary Classroom
Basic Ideas
• Begin by looking at and listening to the
work of others
• Start small
• Specify assignment
• Have students describe 1) what they see
and
2) what they hear
• Aim for success for all students
• Share and critique often
Suggested Strategies for
Elementary Classroom
• Old Abram Brown - “discover” the
need for traditional notation
• Create templates
• Use a familiar rhyme
• “Create Like Beethoven”
• Develop a motif
Old Abram Brown
• Use a familiar song
• Discuss ostinato patterns
• Using Orff instruments, students each create an
eight beat ostinato . Write it down
• Direction - “Write it down so you can remember it.”
• Play each one while class sings song
• Next class session, pass out papers randomly
• Ask students to play what’s written
Use a rhyme
• Fifth graders in a
small group
• The King’s Last
Dance
• Complete lesson
available at
www.vtmidi.org
See a pin, pick it up,
All the day you’ll have good luck.
Beethoven Copycat
• Using Ode to Joy as a model
• Students discuss the form and limited
variety of pitch and rhythm
• Add countermelody consonance/dissonance
• Add chordal harmony
• Either 1, IV, V or chords that naturally
occur in the key
Developing a Motif
• Develop a motif and complement it with a
rhythmic ostinato
• Complete lesson plan in session handout Motif and Rhythmic Accompaniment
by Carolyn Keck
Suggested Strategies for Middle
and High School
•Basic Ideas
• Begin with what they know
• Specify guidelines- allow variation
• Start small
• Don’t assume that they know anything
• Share and critique often
Strategies-Middle and High School
• Develop motif
• Repeat the Rhythm:
•4 measure phrases, ABAB rhythmic pattern
• Arrange known melodies
• Begin with harmonic progression in bass clef:
• add treble matching up first note of measure
with chord.
• Overall Form: ABA, ABAA, Rondo
Strategies-Middle and High School
•Theme and Variations-: start with familiar tunes
nursery rhymes, Christmas carols
•Music to Create a Mood or Tell a Story
Fairy tale
• Commercials
Strategies-Middle and High School
Chorus/Band:
• Create sightreading examples using known
elements
• Write for instruments or voices
Me and My Friend
Issues of playability and transposition
• Compose canons for class to sing or play
Critique
• Part of the composition process
• Develops vocabulary and deeper
understanding
• Planned, guided and practiced
• Visual aspect important
• Worth the time
Generic Rubric for Assessing
Student Responses
Level 1
Gives general comments that could apply to other situations
as well as the one under discussion.
Level 2
Accurately describes the area being discussed.
Uses a mix of arts vocabulary and general terms.
Level 3
Accurately describes the area being discussed. Gives detailed examples,
references, connections or responses to general insights.
Uses arts vocabulary.
Adapted from the Arts Assessment Design Team and used in the WEB Project – www.webproject.org
Sample Critique Assignment
Structure your critique as follows
•Begin with “affective” comments.
•Make a positive observation about the piece.
•Analyze the piece according to those factors that we
discussed in class.
•Address the “requested feedback.”
•Make any other suggestions that you have for
improvement, but not too many.
•End your critique with positive comments, but be sure
not to go overboard. Be sincere!
Professional Development
and support are
KEY
Vermont MIDI Project
Arts and Technology
Summer Institute
July 8-11, 2003
Vermont MIDI Project
www.vtmidi.org
Sandi MacLeod
[email protected]
Anne Hamilton
ahamlton@together .net