Chapter 11 10-7-09

Secondary Music Education
Kelsey Wilhelm
Chapter 11 10-7-09

#4 How can beginning experiences at improvising be included in the rehearsals of performing ensembles?
Integrating improvisation into everyday warm-ups and or rehearsals is very important. Different ideas to control this practice can be used. Limiting the range and amount of notes the student can play not only keeps them from feeling overwhelmed but helps them understand the different aspects of improve. Giving them three notes will help them stay focused and let them focus on not only the pitches but also rhythms and other ideas. Improvisation can be included in the repertoire by taking simple, well known melodies and letting the students embellish and play/sing around them, doing this can help release their inner musicality and help them express personal musical ideas. Having students practice or do it in small groups can also help them gain confidence and help them feel less exposed while expressing their ideas.
#5 Why is it important that students in high school performing ensembles learn more about music than the correct execution of notes.
Music is highly personal. Because of this, it should not be limited to other people’s ideas. Playing music accurately is very important because it helps the students learn and build a good aural idea. It expands their ideas and appreciation of music and also can be used as a guideline to understanding outside influences of music, culture and other educational factors. Also, using previously written music can be a guideline and gate to creating their own ideas and music.
Overall it is important for students to understand not only notes but where the notes came from. It is important to know why the music sounds good and where it came from. Understanding why, how, where and when it was written is also very valuable lessons and pertain directly to how the music should be performed and interpreted.
Go back to ch. 9-10 and create a list of things you would rehearse and "how." What would be some things to prepare in advance? Where would the trouble spots likely be? Do a quick analysis of cadences, keys, ranges, tessitura, etc. How do these analyses assist with your conducting and expressiveness?
Band- First Suite in Eb for Military Band
Score Preparation
1. Dynamic differences
2. Who holds melody/embellishments
3. Ending
4. Beginning- how to warm up band for preparation of this piece
5. Explain historical/ musical portions of this
a. Why was it written/ for what/who
Trouble Spots
1. The 16th note runs in upper woodwinds
2. Getting a good full sound out of brass section
3. Hearing lower parts that have a full accompaniment sound
4. Smoothing out lines
a. Along with different styled accompaniment
Analysis
1. No key change
2. Stylistic differences
a. Brilliante
b. 65- Dance like
c. 81- style difference- pesante
d. Maestoso Ending

Choral- Ave Maria Giulio Caccini
Score preparation
1. Explain time period- Late Renaissance – early baroque
2. Phrasing
3. Tempo and how expressive
a. Dynamics
4. Areas for Breathing
Trouble Spots
1. Unison areas
a. Vowels shape
b. Dynamics/phrasing
i. Ritards
c. Keeping piano accompaniment with little pedal and dampered
d. Adding flute
e. Keeping lines smooth
Analysis
2. Unison cadences- dynamics and musicality
3. Dynamic shading
4. Phrasing