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.
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