Need a Little Fiddle?

I think Old Joe Clark was the first fiddle tune I taught a beginner class when I was a student teacher.  I taught it by rote and in unison.  The mixolydian flavor is so juicy and fun for beginners.  So, when I was looking for a fiddle tune to add to my concert this is the one I went to.
I needed it to reinforce G string notes, include both high 2 (F#) and low 2 (C natural), and be pretty simple for students.  I couldn't find an arrangement that fit my needs so I made one myself.  Please let me know how your students like it!  So far I've gotten, "This actually sounds pretty good already!"

3 Organization Tips for Music Teachers

My apologies to the rainforest.
Over my years as an itinerant music teacher, I have wasted many papers needlessly because I temporarily misplaced something- usually leaving something I needed at a different school.  It can be difficult for any disorganized person to have a handle on all the paperwork and non-instructional tasks of being a teacher, but travelling adds another layer of complexity.  I don't have a filing cabinet; I have a piling cabinet- at least one at each school.  My desks are covered with cups of pencils, highlighters, sharpies, finger tapes and stacks of articles to read, music to consider, and papers to return.  That's what desks are for- I'd prefer to sit on the floor to check my emails anyway.  It works for me because I know where things are...usually...

Actually, I admire those to whom organization comes naturally.  When a lack of organization gets in the way of instruction, it's time to make a plan of action.  If you've every looked at your materials and thought, "I know I have what I need in there somewhere, but finding it will take too much time," you know what I mean.  If you are with me in this, let's reframe this problem.  Organizing is no fun.  Instead, let's think of it as giving a little gift to "future-you".  Future-you would love to know exactly where extra copies of music are kept.  Future-you would love to find a few extra minutes in the school day to communicate to parents of awesome kids.  Future-you would love to walk out of school at an appropriate hour, proud of the day which went (mostly) as planned.

1. Make a List, Make a Plan.

Even if you don't have a typical type-A personality, you probably love lists.  Maybe your lists look more like webs and bubbles or maybe you are the bullet-journal type.  Whatever your style, make a list.  What resources do you want to optimize?  I break it down into time, teacher materials, and student materials but you can do as much as you need.  Then make a plan for each resource.  What system works best student to turn in papers? Where do you keep extra copies of music?  What is your policy on providing extra materials to students?  Be intentional about thinking through possible systems.  It may take some trial and error to find the best plan, but future-you will thank you for your effort.
I use a big rolling box with hanging files to keep organized.  It contains a folder for 5th grade handouts and another for 6th grade handouts.  Then there are have separate hanging folders for each school- one to keep papers to be graded and another for papers to be handed back.  The box is also the home to my toolbox, where I keep the supplies I need for most instrument maintenance such as pliers, rubber bands, tiny screwdrivers, peg dope, and finger tapes.  You could also keep a set of supplies at each school but I prefer to have them within easy reach.

2. Organize your most valuable resource: TIME

While it's great to keep reminders and events scheduled online,
I find it helpful to create systems for my time on paper.

I used to have a habit of losing time on unforeseen tasks.  If a parent emailed me first thing in the morning I would jump right in to responding and then rewriting the email, and by the time my first class rolled around, I was not in a good state of mind for teaching.  Now I realize that switching from task to task is counterproductive.  For me, the early morning is reserved for prepping for the day's lessons and interacting with students.  I check my emails at lunch time.  Once a week, my prep time is devoted to long-term planning.  When making a system for your time, don't forget to schedule in a few minutes for reflection on how each lesson went.  For big chunks of time (if you are lucky enough to have good prep time) consider your energy level when planning for the time.  Keep your creative time for lesson planning and use low-energy time for grading. 

3.  Empower your Students

Your students are your best allies in maintaining your systems of organization.  Even elementary students can turn in papers in a designated place or do basic filing.  In my classroom, one student has the job of collecting extra papers when they are handed out and putting them in an "extra assignments" folder by the door for students who are absent or lose the assignment.  Another student's job as "stage manager" is to ask me whether we need to stack or change the arrangement of chairs at the end of class.  Another job, "pencil police" is to maintain sharpened pencils at each stand and make sure they don't end up on the floor.  Create a list of jobs for students to do and rotate jobs monthly or quarterly.  The more jobs the better.  I was afraid I would have to work to get the kids to buy in to the system, but they have jumped right in.  When a child approaches me and asks whether I need them to pass anything out I am grateful because I know I won't repeat that time I forgot to pass out permission slips several classes in a row.

What about you?  Do you have any unique ways to keep yourself organized or your class running smoothly?  Feel free to share.

5 Strategies to Develop Grit in your Ensemble

Recently I've been frustrated by one of my classes. Let's call them "the whiny class". Kids in the whiny class say things like ...

"Do I HAVE to stand up?!?"

"My fingers hurt!"

"I don't get it!"

"We're playing this song AGAIN?"

and "I ALWAYS mess up this part"

Students' faces when I ask them to work

On top of the moaning and groaning, several students use negative self-talk or clown around when the going gets tough.

The behavior of this class was driving me up the wall! So I sat down to reflect on what the issues where and what I could do about it. I concluded that the whiny behaviors exhibited were reactions against challenges that the students weren't identifying or seeking to solve. A challenge is a roadblock for many students; a roadblock that causes some to shut-down or tune-out. These kids in my class didn't know how to react successfully to overcome challenges. So, rather than lament the helplessness of my students, I set out to try to teach them to use inquiry and persevere through the challenges.

The resilience we are all looking to develop in students is the buzzword known as Grit, which is related to having a "Growth Mindset". If this is new to you, check out the book Mindset by Carol Dweck or listen to one of many Ted Talks on the subject. (Check out this one given by a kid) Our music education classrooms are the PERFECT atmosphere to develop grit . We all want our kids to persevere and feel like they are in control of their progress through their practice. "Gritty" kids are humble and aspire towards success despite setbacks.

You can blame the immediacy of technology for lowering student's patience. You can blame helicopter parents for solving their children's problems for them. You can blame the schools for cutting out recess and other opportunities that allow children to learn problem-solving on their own terms. But after the blame game is over, we teachers need real strategies to teach grit in our music class. What tools can we give our students to overcome challenges?  Here are five strategies.

1. Help students visualize steps towards the goal.

Teach students to make small steps towards a goal in their practice time. Have them practice from slow tempos to faster ones, start with one measure at a time and work out towards the big picture. Kids need a toolbox of many ways to practice creatively and methodically so they don't get bored or stuck. I give my kids this list (free resource) of ways to practice and assign particular strategies on their Practice Journals.

With this particular class, I thought it was time to zoom out and focus on the question, "How do we become better musicians?" The first thing I did with my whiny class was to help them create a web-map/flow map hybrid (see image) around the question (my apologies to thinking maps purists out there). When I asked them how teachers helped them in becoming better musicians, they seemed to be stumped. That's when I brought up the words "constructive criticism", defined it and it's role in shaping what and how we practice.

Here's the web created by one of my classes.  When they were done, I erased the word "musicians" and connected this idea to how they become better at anything.  (Standard: MU:Cn11.0.T.8a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.)

2. Teach students how to give and receive constructive criticism.

I was surprised that few had heard of constructive criticism, but after a few examples from sports and our own orchestra class, it seemed to click. I was careful to clarify constructive criticism as being specific and presented in a positive way. Throughout the class, I then asked students if they had any constructive criticism about what we just played.

Student A: We need to work on EVERYTHING!
Student B: That's not constructive criticism because you weren't specific.
Teacher: Right, care to try again student A?
Student A: Uh, it wasn't together because need to work on our counting.
Teacher: Yes! Exactly! We were not all holding dotted half notes out for three beats, let's practice that...

Once students become used to giving constructive criticism and understand that the motive for the criticism is to lift everyone up, they will be more humble and thoughtful in accepting criticism. As an ensemble they are a team. Everyone is a helper sometimes and everyone needs help sometimes. Students need to be taught and encouraged to ask for help. They need to be proud to be helpers and grateful to be helped. As teachers, it's important that we model kind constructive feedback constantly and give students the opportunity to practice giving and receiving feedback. The class can practice constructive criticism (giving and receiving) in peer-assessment activities. I like to use this peer assessment worksheet (free resource) about a week before a more formal playing-test. 

3.  Teach students how to ask specific questions.

My next step with them will be to teach them how to ASK for constructive criticism.  I do believe this is something that needs to be explicitly taught. I LOVE it when students ask good questions and I bet you do too.  When students ask good questions it gives us feedback on our teaching and helps us decide what to do next. Sometimes it challenges us to reevaluate something we thought we already taught.

Student A: Mrs. B, every time the class gets to measure 21, I am already in measure 22 and I don't know why. Can you listen to me next time we play together to help me figure out what I'm doing wrong?
Teacher: Absolutely...(after listening)...you are speeding through your slurs, use a slower bow and change notes on the beat.

Student B: My violin sounds scratchy.
Teacher: Show me.
Teacher: It looks like your bow is not moving in a straight path. Try moving your arm more in front of you, using the elbow joint to move the bow, then practice it at home looking into a mirror.

What makes these good questions? They are specific.  The student is looking to improve. When a student makes a vague statement about something being difficult or "not getting it", I challenge students to reframe the thought into a specific question.  It may take some time for them to do, but it's important to give them the time to think it through. If they get stuck, ask them questions to try to figure out exactly what is difficult. Do they know what the notes should be?  Do they know what it should sound like? Can they demonstrate practicing it slowly? Maybe you will help them discover their question, OR maybe you will help them find out that they already have the knowledge they need to solve the problem.  If so, terrific! They are halfway there and just need to practice! Easy as pie!

4.  Teach students to ask for help.

I like to tell students, "Think of a question or a spot in your music that you need help with," and then I go around and visit each student as they practice independently.  Some will always say that they don't need any help and have no questions. When they do, say that you need THEM to help YOU with something. Ask a student with poor posture to teach you how to sit with your instrument.  Ask a student to explain a bowing to you as if you know nothing. In this way you model the vulnerability needed to ask for help while informally assessing the student's knowledge.

When they do speak up, praise students for asking good questions.  "What a good question!", "I'm so glad you asked!", "Thank you for speaking up", are all terrific responses to questions.  Be sure to make praise public when possible so that the hesitant speakers are encouraged. Always give students time to formulate a question and make sure that your classroom is a safe environment.    

5.  Reinforce Growth Mindset.

Make students aware of their progress often.  Instead of telling them how well they are doing, have them reflect- comparing current performance to past performance.  If they say they "can't" do something, reframe their thinking. They can't do it yet! (check out this cute Seseme Street music video on the power of yet)  We need to tell students they can do it with help and practice. We need to believe what we say to kids and eventually they will believe in themselves.  

In my whiny class, I identified a particular student who was constantly belittling himself and I took him into the hall for a pep-talk while the other kids were working.  I built him him up while setting the expectation that he ask for help when he feels frustrated instead of saying things like "I'm a failure". The student shared that he didn't really think he was a failure, but said that to "be silly".  Don't forget that social relationships are difficult and kids can be mean. It takes a proactive effort to make sure our classrooms are safe places for mistakes. If they aren't, students will focus on not looking dumb at the expense of actual learning.  I've identified this student as one who may need me to praise him more for his progress than students who have a more robust sense of self-worth.

What do you think?  How do you help develop grit in your students?  

Concert Music for Beginners

I can't stand having my beginner students perform in unison.

I do it anyway.  Why?  For one thing, it's much easier to teach pieces and keep them engaged when they all have the same notes.  You all know that moment when you turn to work with one section and suddenly the other sections instantly transform into a scurry of squirrels.  (Yes - scurry - look it up😊)  If everybody has the same part, that moment doesn't happen.  It's also easier for the kids who are struggling with their notes to be successful.  The sound of the group lifts them up, or worst case scenario, hides those kids a little.

But I can't stand the whole group playing everything together because it takes out what I think makes what they are doing sound like "real" music.  I'm talking about harmonic complexities that make the whole sound greater than it's parts.  Even when you have decent piano skills to lift up Twinkle and Hot Cross Buns (which I sure do NOT) , the best performance comment you can hope for is "that was cute" or "not as squeaky as I expected!"

So, as soon as I can (usually for one piece in December and all pieces in May) I have my students playing in parts.  But, in my experience my first year players are not yet ready for my favorite beginning string pieces by Richard Meyer, Soon Hee Newbold, and Brian Balmages.  By parts, I usually mean two parts, not four or five. 

I have liked using some pieces from the "Stringing Along" book by Albert Stoutamire.  Most are rhythmically in in unison with simple harmonies. My beef with that book is that the low strings parts are less interesting, and I'd like to hide the eventual fate of my viola players from them as long as I can.

The "Concert Tunes for Beginning Strings" by Dale Brubaker is one that is popular in my district.  Pedagogically, it's great.  The pieces are in unison therefore the piano part is absolutely necessary for every piece to be musically interesting.  That's not my cup of tea- I don't teach well from behind a piano.   

So, I love to make my own arrangements for beginner strings.  In my ideal arrangement, every section gets the exact same melody part- just at different times.  That way I can teach the melody in unison.  Same for the harmony part.  I make sure it's either exactly the same or rhythmically the same for each instrument group.  As for the piano-  I write a simple piano part that will fill out the harmony but isn't musically necessary.  Parents aren't there to hear me at the piano (and it's a good thing too).

Another pet peeve of mine:  Concerts filled with nothing but D major songs in common time.  I teach F natural and C natural right along with F# and C#.  Why not?  Most concepts we teach are only as complicated as we make them.  Switch time signatures with your students early and it won't be a big deal.  Even for the first concert, I make sure I program at least one piece in a minor key and one with a time signature other than 4/4.

Check out my latest arrangement of the Japanese melody, "Moon Over Ruined Castle".  My beginner students are loving it, saying "It's so sad!", "It feels dark", and "This is my new favorite song".  Heads up- it's got F naturals and C naturals plus a few G string notes.  If you like it, review & share :)  I'll be making more arrangements and original pieces in this style in the future.

Can we do something special for Halloween?

"Can we do something special for Halloween?"
This is what one of my students asked me only two weeks shy of the holiday in question.  My response was, "That would be tons of fun, unfortunately we only have two weeks!  There's no way we can get something together that fast".  These are second year students after all.  They are still a little uncertain with anything outside the D major scale.  The class completed and after the students left my room, the wheels in my brain started turning.  Could we get something together that fast?

I determined that with a simple enough part and dedicated enough students willing to give up some of their free-time, it could be done.  I also wanted to make sure that whatever we did was not too scary for elementary school listeners.  What I've come up with is a musical accompaniment for a dramatic reading of a Dr. Seuss story- "What was I Scared of".  It is part of the "Sneetches and Other Stories" Collection and features a pair of pale green pants with nobody inside 'em.  "And there I was!  Caught in the Snide!  And in that dreadful place, Those spooky, empty pants and I were standing face to face!"

The music includes repeating A minor ostinato parts, building in intensity, and the "Mysterioso pizzicato" theme, which I previously knew only as "that creepy, sneaky song".  Sounds effects include tremolo, glissando pizzicato for upper strings, heartbeat pounding on lower strings, and a whimpering cry for solo violin.  The words have been written out with musical cues.

My group of eight 6th grade students have been rehearsing during recess and will be performing this on stage in the lunchroom on Halloween.  The student whose idea it was to do something special for Halloween- he will be the narrator.  I could have left my answer at "no" but I have made the choice to say "yes" as much as I can.  This performance may have a glitch or two, but I believe that it will be worth it.  Validating student ideas- even risky ones- is important.  Encouraging kids to put themselves out there and take chances develops their confidence and creativity.  I also feel like it increases their ownership of the music program.  This is THEIR performance.  How much more likely is it that a student will continue playing in junior high school because he knows that he is empowered to make decisions in music class?

Check it out HERE

When can we play MY music?

"When can we play MY music?"

How often do your students come in asking to play their favorite song from the radio?  By the time they can hold the bow, kids are itching to connect their new instrumental knowledge to their previous musical experiences.  Sure, there are good intermediate arrangements of movie soundtracks and but do you expect kids to wait two or three years?  You don't need to wait until young musicians can read syncopated rhythms before letting them engage with their favorite music.  Beginners can play simplified along with music videos and recordings right away, and giving them that opportunity will strengthen your program.     

Occasionally with my bigger beginner classes, I find it simpler to only tune D and A strings while letting the class plays along with the cd that goes with the method book.  That gets dull really quickly if you do it every class.  Switch it up with a popular song that uses the D and A strings.  Whether you teach pizzicato or arco first, you can have students playing full length songs right away and solidifying their concept of a steady beat.  First, find a song in D or G so beginners can play open strings with the chord changes.  Then write out the letter names of the strings for a simplified notation and have students play along with the recording or music video.  They feel like they are playing a "real" song and you have a few minutes to tune or give feedback on posture and positions.  

Here's a tune using only open D and A strings, with only whole notes for the verse, and a repetitive quarter note & eighth note pattern for the chorus:

Want to use a song that doesn't work with open strings?  Find a karaoke version in your preferred key or alter the pitch using one of many software or app options such as Audacity or Anytune.

Alternatively, for students that are a bit further along, use fingered pitches within the chord structure when arranging the simplified part. 

I will be making a few more of these to use as tuning songs and warm-ups going forward.  Some will be pop songs, but I'd like to do some other genres as well such as Mariachi and Fiddle tunes.  As a travelling teacher, I am hoping to hone resources that are projector-friendly so I don't have to print copies of warm-ups for each school or frantically write notes on the board before my students walk in the door.  If you are interested in that kind of thing for your strings classroom, please subscribe!

-Laura Berra