HAT Journal 1

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 The book talked about the idea called eurhythmics. I understand the concept but it
mentioned doing it before 9 years old. Would this be done in a general music class or
band?
 The book mentioned a correlation between music reading and language reading. They
talked about the study done by Diana Nicholson where the music reading students score a
higher reading score but I disagree from what I’ve seen. Are there any other studies done
to support that claim?
 David Newell’s “musical algebra” made sense if you were playing in normal common or
simple meter time. A chart showed the representation of each note. However, I am
curious to see how this would hold up in compound. Would it be harder?
 When doing the group singing how do you make sure every students wants to participate?
Basically, how do you encourage the shy middle schooler to be involved and
participating in the singing. Even in a group setting.
 How do you fix students that can not match pitch? I have been to an observation before
where one or two students just could not match pitch and the teacher tried to help them
but ended up moving on due to time. (other than one on one time)
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 The book suggests using movement as a way to learn and internalize rhythm. Dalcroze
mentioned the importance of teaching rhythm as much as skill because the body is
naturally rhythmic. This is why movement is helpful.
 The 4 stages of teaching rhythm words are: 1. Learn what the words sound like, 2. attach
an aural words, 3. Learn to recognize a word by ear and then perform, 4. Associate
notation with the aural words. These 4 steps are done over time and should be done with
a stead beat.
 Teaching the theory behind rhythm can be hard to break down. Using a big web to should
the break down, like chart 2.24, can help students visually see that for example, 2 eight
notes equal a quarter note.
 One quick way to set up tonality is by using the piano. Just play I V I or I IV V I. This
allows the students to feel the root to sub dominate to dominate to a resolution. Even is
the students don’t know the terms, they can still hear/ feelin the tonality.
 Singing in the ensemble can help other sections get involved, even if you are focusing on
a different part. The book used the example of having your tubas sing the melody with
the flutes, since the tubas do not get the melody as often.
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 Takadimi is a great way to get any ensemble or general music class saying rhythms. You
do ta for quarter note, ta ka for eighth note, and ta ka di mi for sixth teen notes. This gives
a unified syllable and can be said quickly.
 The counting system is my favorite. It gives numbers to the beats and and be broken
down to 1 e (and) a. This is better used on higher level students so they can keep keep
track of more complex patterns.
 The sample lesson script on page 41is an example of how to execute the lesson and check
for comprehension. It included review, figurative language, new material, an assessment,
and a recap of the new material. This is a great way to teach rhythm to any young group.
 Why singing in all instrumental rehearsals? Because singing helps you internalize
intervals. This will help note accuracy, exceptionally in brass/ strings. Make sure students
are singing in a comfortable octave.
 Use the tuning pitch as a singing tool. When the oboe or tuning pitch is played have the
students sing the note before they play. This will help them “taste” the note before they
play. For string you can feel the instrument in tune with your voice better.