Education Nation is open to teachers to blog with MSNBC. They have a special focused, showing Teacher Town Hall.
Here is MY NEW FAVORITE MOVIE http://www.waitingforsuperman.com/
Kudos to Mark Zuckerberg (founder and CEO of Facebook) for donating $100 million to Newark Public Schools!!!!!!!!!!
Sunday, September 26, 2010
Thursday, September 23, 2010
MIDI and MIDI Shuffle Reflection for saving money
How on earth does everyone manage to have such amazing ringtones? I never thought I would see the day when my phone could do everything my computer does. The MIDI explanations from the readings was something I wish I had when I was bumping around trying to figure out why my Roland R5 was making my Roland Juno 2 sound like it was rhythmically possessed years ago. The functions of MIDI IN, OUT, and THRU was something I knew based on, "don't plug that there, it sounds bad", or "I'M NOT GETTING ANYTHING FROM THE KEYBOARD", or "Why is my piano patch coming out of your EWI".
The hardware and software setups have got to be the easiest way of explaining, versus a couple 100 pages of a manual from 1 instrument. I was the Music Director in a theater that had a budget of wish money. They wish they had the money to that kind of production. MIDI gave me the ability to have the sound of a full orchestra using 3 bodies. I requested a grant for some really good multimedia speakers to fill a theater, and let a combination of keyboards, samplers, and an electronic drum set do the work. MIDI out, came from the samplers to one board and the drums. The MIDI THRU meant the Alesis board passed on the message from the samplers, while it's own MIDI OUT sent a message to the slave keyboard's MIDI THRU which meant I played from 1 Kurzweil board. *SIGH*
My explanation from the last paragraph shows why the MIDI Pros explain it best. MIDI controllers attach to instruments as big as pipe organs. Nothing like going out into the big hall and hearing everything you played down to the nearest "oops". This has allowed me to teach piano from long distances. Some piano students don't have access to Internet, or know what artists we listen to. The diskclavier MIDI allows me to record on an acoustic piano, or some even have the living masters on a file, so you can see actually how they played it as the keys move.
The greatest feeling, is playing the piano sounding like a full orchestra. The downside is not having the orchestra and the natural tuning. MIDI, in the past, set their keyboards to A=442. I know this from years of Vegas shows. Live musicians are mixed in with effects like thunder, background singers, etc, and winds players have to make sure their instrument is tuned sharp. Singers also struggle, if they have sung the natural pitch of A=440 and have extreme high notes set at 442. The upside to that are "sick tracks" or a recording made that syncs with the MIDI tracks, when a singer cannot use their voice.
Thanks MIDI for saving us money, just don't replace us from playing.
The hardware and software setups have got to be the easiest way of explaining, versus a couple 100 pages of a manual from 1 instrument. I was the Music Director in a theater that had a budget of wish money. They wish they had the money to that kind of production. MIDI gave me the ability to have the sound of a full orchestra using 3 bodies. I requested a grant for some really good multimedia speakers to fill a theater, and let a combination of keyboards, samplers, and an electronic drum set do the work. MIDI out, came from the samplers to one board and the drums. The MIDI THRU meant the Alesis board passed on the message from the samplers, while it's own MIDI OUT sent a message to the slave keyboard's MIDI THRU which meant I played from 1 Kurzweil board. *SIGH*
My explanation from the last paragraph shows why the MIDI Pros explain it best. MIDI controllers attach to instruments as big as pipe organs. Nothing like going out into the big hall and hearing everything you played down to the nearest "oops". This has allowed me to teach piano from long distances. Some piano students don't have access to Internet, or know what artists we listen to. The diskclavier MIDI allows me to record on an acoustic piano, or some even have the living masters on a file, so you can see actually how they played it as the keys move.
The greatest feeling, is playing the piano sounding like a full orchestra. The downside is not having the orchestra and the natural tuning. MIDI, in the past, set their keyboards to A=442. I know this from years of Vegas shows. Live musicians are mixed in with effects like thunder, background singers, etc, and winds players have to make sure their instrument is tuned sharp. Singers also struggle, if they have sung the natural pitch of A=440 and have extreme high notes set at 442. The upside to that are "sick tracks" or a recording made that syncs with the MIDI tracks, when a singer cannot use their voice.
Thanks MIDI for saving us money, just don't replace us from playing.
Wednesday, September 22, 2010
PLN: 10 Things A First Year MAL Should Do
The transition into the world of academia has been interesting. I feel like I am completing assignments today that were due last week, and I missed something. Ah well, and then I saw this blog http://www.soyouwanttoteach.com/10-things-for-a-first-year-teacher-to-do/ and realized there was nothing wrong with me saying no to extra functions, performances, duties, gigs, etc. The time I set aside to take my mind elsewhere is a must, and it leaves me that more energized when I return.
I made the mistake of complaining in front of Dr. Bauer Monday about another class, and he reminded me to do something about it. It's articles like this that remind me to step away from school after a hard time's work, and enjoy something completely different.
I made the mistake of complaining in front of Dr. Bauer Monday about another class, and he reminded me to do something about it. It's articles like this that remind me to step away from school after a hard time's work, and enjoy something completely different.
Monday, September 20, 2010
Creative Thinking and Music Technology keeps one on their toes
I had the recent pleasure of watching high school students become more addicted to Sibelius than PSP, Xbox 360, and Wii. The band director started the music lab last week, but had many students confused at his delivery. He, himself, has been in the classroom and performance area of education for 20 years and needs to stay ahead of what is going on. His instructions needed to show the various ways one could input music, for instance, or he needed to have a creative working knowledge of Sibelius.
Webster, like other writers, mentioned the values of technology in music education, but suggests ways to bridge old machines with current. He immediately addresses the importance of the teachers, themselves, having a creative mind to pass it on to the students. I experienced a minute where I had to sing the correct rhythm, and know how to subdivide the music correctly to create the appropriated time signature that is easy to follow.
The playback option on Sibelius gives immediate feedback to students, and it is that feature I witnessed that opened up this side of creativity. The nuts and bolts necessary to build an assisted technology program requires knowledge of the 9 Standards, and how to use them effectly to fulfill them.
Webster, like other writers, mentioned the values of technology in music education, but suggests ways to bridge old machines with current. He immediately addresses the importance of the teachers, themselves, having a creative mind to pass it on to the students. I experienced a minute where I had to sing the correct rhythm, and know how to subdivide the music correctly to create the appropriated time signature that is easy to follow.
The playback option on Sibelius gives immediate feedback to students, and it is that feature I witnessed that opened up this side of creativity. The nuts and bolts necessary to build an assisted technology program requires knowledge of the 9 Standards, and how to use them effectly to fulfill them.
PLN: Positive Steps to Fix a Problematic Band
The Six positive steps, to fix a problematic band, is this article is like going to a market to pick out produce. Some of the fruits were eatable while the rest needed to remain in the bin.
http://www.soyouwanttoteach.com/positive-steps-to-fix-a-problematic-band/
I love the idea of pointing out things positively. I just deplore the thought of teaching students to tap their feet. I can understand tapping the toe so it is not visual to the audience, but to teach something so unprofessional and distracting. Yes, each student needs to keep their own sense of time, and moving feet in a marching situation is crucial for being in step, let's just practice good performance habits.
http://www.soyouwanttoteach.com/positive-steps-to-fix-a-problematic-band/
I love the idea of pointing out things positively. I just deplore the thought of teaching students to tap their feet. I can understand tapping the toe so it is not visual to the audience, but to teach something so unprofessional and distracting. Yes, each student needs to keep their own sense of time, and moving feet in a marching situation is crucial for being in step, let's just practice good performance habits.
Monday, September 13, 2010
PLN for Sibelius tutorial
The Sibelius tutorial made me wish I studied it before I developed my bad habits. I normally have to get "READY" to do my absolute best performance during the flexi input only to find the speed adjusts. How many times have I deleted my work, because I reduced the subdivision where it's too sensitive.
How many times have a contorted my wrists to highlight more than one measure when all I had to do was triple click. If I followed directions the first time, I would have known to press tab to start. I was so excited with the fast pace of learning the note writing software I didn't make the time to read the tutorials.
Shift clicking was my best friend, now I find all my wind slurs just need an s, and the space bar extends a key stroke. My biggest frustration is finding a way to change the metronome marking indicating the note value = a #.
The other is showing the rhythmic value instead of a word. Any helpers?
How many times have a contorted my wrists to highlight more than one measure when all I had to do was triple click. If I followed directions the first time, I would have known to press tab to start. I was so excited with the fast pace of learning the note writing software I didn't make the time to read the tutorials.
Shift clicking was my best friend, now I find all my wind slurs just need an s, and the space bar extends a key stroke. My biggest frustration is finding a way to change the metronome marking indicating the note value = a #.
The other is showing the rhythmic value instead of a word. Any helpers?
Technology makes the 9 possible
I started composing at a very young age, was guided by my dad, and loved to create music until I met my first composition teacher. All of a sudden, I experienced the disappointment of feeling my music wasn't good enough, because I didn't compose in a particular style. The Vermont MIDI Project eliminates that kind of experience. Students can compose in a safe and positive environment with a "take it, or leave it" rule. It inspired me to see if the 2 schools I've observed, in fact, have the 9 National Standards, or even know about 5, 6, &, 7 (read, notate, compose, and analyze).
Friday, I went to Bedford High School to meet my cousin, Darren (a sophomore section leader of the drum line) and introduced him to Sibelius. He transcribes, composes, and arranges music, but did not have the technology to print out his work until this school year. 5 minutes later, he was hooked. I walked away, and did not even show him how to start a new score. He knew right away how many instruments he needed, and what font he wanted to use. He then said, "WOW, this is so much easier than FINALE".
Later on, the drum line started coming in to get ready for the game. The percussion teacher wasn't there which meant Darren was in charge. His fellow classmates showed a respect for him, but could not understand some of the warm ups. I also noticed him teaching rudiments to the drum line by rote. A few minutes later he tells me, "I can't wait to score everything so they understand what I'm trying to say."
The Band Master and I had a nice long talk. Mr. Nichols (Band Master) has been trying to get technology in the school for 4 years, and at 12:30 today (Monday) he will be able to start his dream. Mr. Nichols mentioned the first program from the website, musictheory.com and talked about the importance of the students balancing the National Standards. With marching season, it has been difficult since they prepare a 1/2 time show, pregame, and contest memorized. He will now has a class everyday devoted to music technology. His has a specific order of programs that he will introduce, but he will not proceed until the students have a firm grasp of theory.
I have seen with my own eyes what these articles mean. Music Educators have a responsibility to teach the National Standards, but it becomes a challenge when administration puts more emphasis on the finished product. Rudolph mentions in his article, arranging tricks to work with what you have in an ensemble. National Standards 1,2, and 3 is what most people see, 4-9 are the standards that make it possible. Many factors impede these standards, but technology has made it possible for the teacher to reach each student individually at the stroke of a mouse.
Friday, I went to Bedford High School to meet my cousin, Darren (a sophomore section leader of the drum line) and introduced him to Sibelius. He transcribes, composes, and arranges music, but did not have the technology to print out his work until this school year. 5 minutes later, he was hooked. I walked away, and did not even show him how to start a new score. He knew right away how many instruments he needed, and what font he wanted to use. He then said, "WOW, this is so much easier than FINALE".
Later on, the drum line started coming in to get ready for the game. The percussion teacher wasn't there which meant Darren was in charge. His fellow classmates showed a respect for him, but could not understand some of the warm ups. I also noticed him teaching rudiments to the drum line by rote. A few minutes later he tells me, "I can't wait to score everything so they understand what I'm trying to say."
The Band Master and I had a nice long talk. Mr. Nichols (Band Master) has been trying to get technology in the school for 4 years, and at 12:30 today (Monday) he will be able to start his dream. Mr. Nichols mentioned the first program from the website, musictheory.com and talked about the importance of the students balancing the National Standards. With marching season, it has been difficult since they prepare a 1/2 time show, pregame, and contest memorized. He will now has a class everyday devoted to music technology. His has a specific order of programs that he will introduce, but he will not proceed until the students have a firm grasp of theory.
I have seen with my own eyes what these articles mean. Music Educators have a responsibility to teach the National Standards, but it becomes a challenge when administration puts more emphasis on the finished product. Rudolph mentions in his article, arranging tricks to work with what you have in an ensemble. National Standards 1,2, and 3 is what most people see, 4-9 are the standards that make it possible. Many factors impede these standards, but technology has made it possible for the teacher to reach each student individually at the stroke of a mouse.
Sunday, September 12, 2010
PLN Noteflight, I stand corrected
I took Dr. Bauer's suggestion, and checked one high school to see what, in fact, they were using in their computer lab. 28 machines had Finale Notepad and Sibelius Scorch which means they would be able to compose a limited amount of majors, just not save anything.
This changed my whole perspective on Noteflight. After going in and seeing how Noteflight was compatible with my computer, I agree with this program. As a habit, I print my scores in Adobe Creator after scoring them in Sibelius or Finale and found I could also achieve this with Noteflight.
I tried a different approach, after converting my Noteflight score to PDF, I then copied it into a picture managing program to achieve this (click on the image):
This changed my whole perspective on Noteflight. After going in and seeing how Noteflight was compatible with my computer, I agree with this program. As a habit, I print my scores in Adobe Creator after scoring them in Sibelius or Finale and found I could also achieve this with Noteflight.
I tried a different approach, after converting my Noteflight score to PDF, I then copied it into a picture managing program to achieve this (click on the image):
This might be a 'round the mulberry bush' way of posting a chart, but it saves on people having to have the updated versions on software, because the picture is there. My only problem is getting more than one page to show.
Noteflight is an excellent program in the educational setting, because students can save their work, return, and not have to pay a dime.
Tuesday, September 7, 2010
PLN
Noteflight is a definite program that shows you get what you pay for. Kudos to crescendo for making this a free program. I would not use it. I have logged into our collaborative project to find notes have shifted on my 4 bars, and that shows the PLN for it, must not be very good.
I would use it if I was at an Internet cafe somewhere trying to get a chart to someone that wasn't that important. It's just not fast enough, because I can't use an external MIDI to input the notes.
I would however recommend it to people that cannot afford a software writing program that wanted to do more than the notepads and light scribes from Finale and Sibelius.
I would use it if I was at an Internet cafe somewhere trying to get a chart to someone that wasn't that important. It's just not fast enough, because I can't use an external MIDI to input the notes.
I would however recommend it to people that cannot afford a software writing program that wanted to do more than the notepads and light scribes from Finale and Sibelius.
6 to 11 uses for notation software
I couldn't help but smile when I saw Jeff's blog, because he raised a major point about "I am not a fan of using arrangements of classical works for ensembles because I am a true advocate of the original piece." I was a major stickler to this as well. Then I heard the arrangements for orchestra made from pieces originally for piano, or organ for example. I stand by Jeff's point, however, because it makes me cringe when I hear piano reductions of an actual piano piece. Teach the student the appropriate piece, there is enough repertoire out that will get them to that level.
As for ensembles, however, my current project has me writing a 1/2 time show for an urban high school. I want the percussion feature to be from a classical work. Many times, pop music takes an idea from the classics and kills it into a top 40 hit. In education, that did me a favor, because that gives me the opportunity to play the original classical composition to show the origins of that pop tune.
Dr. Richmond touches on 6 uses for notating software.
As a professional arranger, I can tailor a particular piece of music for a performance group or individual. Teachers must take special care in knowing the students' abilities to bring out the best in their learning, confidence, and performance.
Composition is a vital component in teaching students to create something out of nothing. Like arranging, I still have yet to see a con listed in the article about students not forced to learn how to transpose instruments, or the importance of their ranges. I know the average program will automatically correct, or remind someone of these problems, but it makes them lazy since most scores play them back in concert.
Analysis of existing pieces definitely important to learn tonal structure, figured basses, harmonies, rhythms, coupled with other sources comes the historical aspect and how other pieces are similar for study. The listening activity is a major builder on repertoire.
Performance practice has been a staple for the choirs here in learning their parts. Once again, it is an improvement, and facilitates learning. Testing has been a heaven send from "drop the needle", which was a nightmare trying to line up the correct groove from the records. The various games to enforce learning have been a major tool for me.
Urban education needs music technology, because it reaches them immediately and keeps their attention. The average kid is use to using some form of track, especially Garage Band, and needs that instant gratification of what they created. It's so much better than them having nothing to do. This is a distraction from destroying, which is why Scott's 11 uses brings that out.
Scott talks about the instant gratification in playback, especially sequencing which is what rap is. His classroom management is enhanced by tailoring the parts for his performance group as his mentions with his sax players. Show bands on land and see have to get the rehearsal and showtime correct from sight reading. Notation from Finale and Sibelius make it easier to read with the stage and house lights are flying all over the place.
Scott also takes a stand in his suggestions of having students compose away from the computer. He also explains how to get students to make creativity a part of their lives outside of school, and ways to make it affordable. I appreciated Scott's suggestions in helping me with my current project with an urban high school marching band.
As for ensembles, however, my current project has me writing a 1/2 time show for an urban high school. I want the percussion feature to be from a classical work. Many times, pop music takes an idea from the classics and kills it into a top 40 hit. In education, that did me a favor, because that gives me the opportunity to play the original classical composition to show the origins of that pop tune.
Dr. Richmond touches on 6 uses for notating software.
As a professional arranger, I can tailor a particular piece of music for a performance group or individual. Teachers must take special care in knowing the students' abilities to bring out the best in their learning, confidence, and performance.
Composition is a vital component in teaching students to create something out of nothing. Like arranging, I still have yet to see a con listed in the article about students not forced to learn how to transpose instruments, or the importance of their ranges. I know the average program will automatically correct, or remind someone of these problems, but it makes them lazy since most scores play them back in concert.
Analysis of existing pieces definitely important to learn tonal structure, figured basses, harmonies, rhythms, coupled with other sources comes the historical aspect and how other pieces are similar for study. The listening activity is a major builder on repertoire.
Performance practice has been a staple for the choirs here in learning their parts. Once again, it is an improvement, and facilitates learning. Testing has been a heaven send from "drop the needle", which was a nightmare trying to line up the correct groove from the records. The various games to enforce learning have been a major tool for me.
Urban education needs music technology, because it reaches them immediately and keeps their attention. The average kid is use to using some form of track, especially Garage Band, and needs that instant gratification of what they created. It's so much better than them having nothing to do. This is a distraction from destroying, which is why Scott's 11 uses brings that out.
Scott talks about the instant gratification in playback, especially sequencing which is what rap is. His classroom management is enhanced by tailoring the parts for his performance group as his mentions with his sax players. Show bands on land and see have to get the rehearsal and showtime correct from sight reading. Notation from Finale and Sibelius make it easier to read with the stage and house lights are flying all over the place.
Scott also takes a stand in his suggestions of having students compose away from the computer. He also explains how to get students to make creativity a part of their lives outside of school, and ways to make it affordable. I appreciated Scott's suggestions in helping me with my current project with an urban high school marching band.
Subscribe to:
Comments (Atom)