raystrobel47: (Default)
Howdy y'all. It's been a while.

I am relatively pleased with the progress of the elementary band so far. I am incorporating new teaching methods/tricks/tools with some success. I had my first principal's visit earlier this week and she was seemed to like what I was doing. I have been incorporating Kodály's solfege hand signs to gesture non-verbally what notes to play. I'm just starting with the first five, and am trying to get them familiar enough with them to get more flexible and even do two-part harmony, signaling different notes on each hand.

There are about 68 kids returning this year, up from 54 last year. I have, so far, 54 new kids on the roster, and have yet to finalize the roster for the third school. We might top 150 to start this year, and I'm hopeful. I'm hoping I can get more kids renting instruments. I've given more info out about that, but am still waiting for the applications to come back.

The Volkwein's music rep who's been helping me with trying kids out did me a huge favor. She left 4 boxes of reeds (2 clarinet, 2 sax) and two bottles of sterilizing spray for me to keep. That was really kind of her, and she didn't have to do it.

I have *got* to remember to bring in the flute and trombone from our house to donate. There's a cornet and trombone also making their way to Wilkinsburg, hopefully by next week.

I am still waiting on my budget requests to be ordered from one of my schools. I have been trying to get this done since school started, when I realized that two schools didn't order *anything* I'd submitted. Of course, the fact that in all three elementary schools the principals, secretaries, and heads of maintenance were switched. Rotated, as it were, and the secretaries were placed with new principals, all of them in new buildings. So I guess I shouldn't be surprised that things got dropped, should I? Frustrating...

Holy cow, is this disjointed. Does it read that way? I'm out of practice. It's been really busy, I've neglected LJ for over a month, maybe two, and I'm just not writing like this that often.

It's frustrating, as I stated before. Frustrating to constantly fight for students' attention, and frustrating to not have what I need. But the support is still there, and the joy of the students' success still motivates and excites.

Let's see if I can stay more current with this.

DONE!

Jun. 15th, 2009 11:04 pm
raystrobel47: (South Park teacher)
Yay! School's finally over for me!! Wheeeee!!!!! Four entire days of not having to be somewhere until Chatham starts next Monday!! And then six weeks of Chatham. But still.
raystrobel47: (South Park teacher)
The tie goes back on Tuesday.
raystrobel47: (Trumpet)
1. The school year is down to 10 calendar days/8 weekdays/4 days where kids are actually gonna show up! Yay!
2. [livejournal.com profile] fiannaharpar's all day presentation today went super-duper well, despite her having a sore throat! Double-yay!!
3. I will be receiving mp3s of "Dans Profundo", as well as the good version of "People Rejoice" and "I Seek Your Face" in the near future! Triple-yay!!!!

I admit to being a selfish artist and being most excited about #2, but the thought of getting those tracks on mp3, and then being able to burn a CD with *several* (though not all) of my recent works, plus capability of mass-burning (sounds religious, no?) 4 CDs at a time on my colleague's machine, is making me more giddy than I think I ought to be. But what the hey.
raystrobel47: (Default)
I'd still like to know how it got passed that this year's spring break got shortened from three days (Thu, Fri, and Mon) to just two this year (Fri and Mon). I'm feeling a twinge gypped.
raystrobel47: (Music)
Wow, good thing I scrolled down my own journal! I would've missed this question from [livejournal.com profile] baronalejandro:
How come Middle-eastern music sounds different from western-style music, even when it's played on western insturments?

It's all about the scales, bro. I posted about the pattern for the major scale. Very western. Middle eastern music (and similarly Indian and Asian music) has a different basic pattern of going from one pitch to the next octave up. Many more half steps are used, and in much of middle eastern music quarter steps can be found. What's a quarter step? Well, it's a note that's halfway between two keys on the piano, like halfway from E to F, or G to G#.

In fact, there's a thing known as the "Arabesque" scale used by many western composers in the Romantic period (late 1800s to early 1900s). Think "Scheherezade" by Rimsky-Korsakov. If a C major scale is C-D-E-F-G-A-B-C, then the "arabesque" scale is this: C-Dflat-E-F-G-Aflat-B-C. If you break that down further you'll see that it's the same pattern of steps repeated. C-Dflat-E-F follows the same pattern as G-Aflat-B-C. That pattern is what sounds middle eastern, whether played on an Oud, a Turkish Baglama Saz or an accordion.

The other element that gives middle eastern music away is the embellishments to some of the notes, those dips and bumps in the melodic line you hear. They may sound random, but they are very much on purpose. That treatment of a melody can make even a western melody like Happy Birthday sound almost acceptable at a Hafla. Well, having a tabla or bendir play along wouldn't hurt.

Mo' music

Jun. 29th, 2007 09:31 pm
raystrobel47: (Play brass)
From [livejournal.com profile] warrewyk: So, if you play a C on a clarinet, it's really a B-flat on a piano? Please explain pitch, so my brain will stop twitching. (This question comes to you from a former trombone player, which is not a transposing instrument.)

Ok, for the cessation of brain twitching, because transposing instruments can be, er, a mental pain at the least.

It's all about the name of the pitch. It was decided that on a clarinet that particular size, if you hold the thumb, 1st, 2nd and 3rd fingers down on the left hand and play, they're gonna call that note 'C'. It just so happens it sounds as a B-flat on the piano. Why do that? Some of it has to do with similarity of instrument fingerings more valued than pitch names. Take that clarinet, and add the register key, and now you'll be playing a high G. Take a flute, and finger thumb, 1st, 2nd, and 3rd finger on the left hand, and you'll play another G. Same thing on all saxophones. You can take the knowledge of one instrument and transfer it to another easily without having to relearn note-to-fingering relationships. Only the sounding pitch will change. (The flute G will of course sound as G. The clarinet G will sound as F, as will the tenor sax. And the alto and bari saxes' G will sound as B-flat.)

Now, to something closer to your area of expertise- low brass. You play trombone, a non-transposing instrument as you said. You had to deal with a butt load of flats, along with the flutes, and any oboes and bassoons. Were there baritones in your band? If so, did they read bass or treble clef? Because if they read bass clef (as they should) then they read the same music as you, keyed in concert pitch. The lowest open tone for them was a B-flat, just like your lowest 1st position. However, if they were baritones in treble clef, then they're written like trumpets, only an octave lower, and their lowest open tone would be a C. Why?? Because band directors need to offer bribes to get more low brass, and if a kid who's not gonna rock anyone's world on trumpet could be convinced to switch to baritone and help the low end of the works, then that's helping everyone. And one way to do this is tell 'em, "The fingerings and notes are the same, it's just a bigger horn." And it is! But, if they show promise, it's better to teach them bass clef and transition them into the world of concert pitch.

Does that help at all? Really, it breaks down to what names to give pitches with various conditions, like fingering similarities and horn size.

Ok, another from [livejournal.com profile] madbard: Who was the principal manufacturer of Ophicleide valve oil?

I worry about this guy...

*sigh* Well, to begin, the ophicleide is a keyed instrument, not a valved instrument. So, valve oil would not be appropriate for such a purpose. And damned if I could find even a hint of any oil manufacturer for Adolphe Sax as he was fixing ophecleides and perfecting the bass clarinet. Sorry, that's all I got.

Ok, I'm on the current last question, from [livejournal.com profile] tangerinpenguin: Question for the trumpet player:

On your typical C trumpet, moving up the lowest C major octave in normal use (the one beginning one ledger below the staff) the C, G and C (root, fifth and octave, respectively) can be played with no valves pressed. In the octave above that, you get the same fingerings for those notes, but you add an E (third) that can be played open.

The same pattern occurs in the baritone horn and the tuba, for their appropriate ranges.

Does this pattern (of an increasing number of notes within the octave that can be played with no valves) continue as the octaves go up, and if so, how high would you have to go before you could play a full C major scale with no valves (in principle, at least)?


Yes, the pattern continues, and the best example you can hear this is on the French Horn. Because the horn has been blessed (or cursed) with a trombone-length tube to be played using a trumpet-sized mouthpiece, you get interesting properties. Your lowest tones are difficult to produce, but it doesn't take long to work up the notes before you're an octave or two above where you'd be comparatively on the trumpet or trombone.

It's all due to the harmonic series, based on ratios. There is a fundamental tone on all brass instruments, but due to mouthpiece construction it cannot be played reliably on any of them. The next open tone is an octave above that (2:1 relationship in tone frequency), which I'll call the low C since I am a trumpet player. The next open tone is a fifth above low C, G (3:2 relationship in frequency). Here's a chart so I don't ramble on for 14 more lines:

Note....................Frequency ratio to previous note
Low-low C (fundamental)...........1:1 (it's the lowest note possible)
Low C (ledger line below staff)...2:1 (an octave higher, twice the frequency)
Middle G .........................3:2 (3*G's frequency = 2*C's frequency)
C (in the staff, 3rd space).......4:3 (follow the pattern)
E (4th space).....................5:4
G (on top of staff)...............6:5
B-flat (out-of-tune, but there)...7:6
C (2 ledger lines above staff)....8:7 (high C is a little more than a whole step above the 'false' B-flat)
D (a step above high C)...........9:8
E (a step above D)................10:9 (this is where it starts to look promising
F# (repeat).......................11:10 (this is where it blows chunks)

So, once you get *three octaves* above the fundamental (or two above the lowest playable open note) you can begin to play melodies like "Three Blind Mice", but no major scale. The reason is that it takes more steps on the harmonic series before you get a true half step, and then you're so high that you're either shredding your lip muscles or you're Arturo Santobal. Now, on the French horn, these notes are much more accessible, but it takes painfully accurate precision to play a scale, all open, in tune, so it's almost as equally as hard. But I would say that you need to be four octaves above the fundamental pitch of the instrument, or three octaves above the lowest playable in-tune note.
raystrobel47: (Trumpet)
Follow up from [livejournal.com profile] drquuxum: Follow-up question: Whenabouts/whereabouts did those notations become standard (or at least commonplace)?

Blame Guido d'Arezzo [~991-1033CE]for the staff notation and unifying music written on a 5-line staff, not some on a 4-line staff or a 3-line staff depending on region.

Clef history from Wikipedia: The clefs developed at the same time as the staff, in the 10th century. Originally, instead of a special clef symbol, the reference line of the staff was simply labeled with the name of the note it was intended to bear: either G, F, or C. These were the 'clefs' used for Gregorian chant. Over time, the shapes of these letters became stylized, eventually resulting in the shapes we have today.

From [livejournal.com profile] psywildfire: New question: what are the differences between major, minor, and 7th keys and how did they get those names?

New answer: Major and minor describe different scale patterns. They are not 'keys' as such, even though you'll hear a certain piece described as in "a major key." Major and minor are modes. Go grab a piano. Done? Now, play from C to the next C up, only the white keys. Congrats, you've just played the C major scale. The major scale pattern is a series of whole and half steps. A half step is the interval of two keys directly adjacent, with no other keys in between. A whole step, then, is two half steps put together, so that there's one piano key (white or black) in between. C to D is a whole step. So is D to E. Not E to F, that's a half step.

So, if the C major scale is C - D - E - F - G - A - B - C, the steps in between are W, W, 1/2, W, W, W, 1/2. Any scale that follows that pattern of whole and half steps is a major scale. There are 12 different major scales, making the 12 different keys.

Now, minor. A minor scale is simply a major scale that starts in a different place. Still got that piano? Good. Play from A to A, no black keys. That's the A minor scale. Where is A in the C major scale? The 6th tone, or degree. So, to get a minor scale simply play a major scale starting on the 6th degree of any major scale.

I need to move on cuz there's lots to explain. :-) '7th' describes an interval, two tones that are 7 names apart. Count all the notes in the C scale above. You'll get 8. So, from C to C is an 8th, better known as an octave. A 7th, then, would be from C to B. Now, no matter what you add to the C or B, it's still a 7th, whether it's C-sharp to B or C to B-flat, or C-double-flat to B-double-sharp. The name of the tone determines the interval degree (7th, 5th, etc.) The usage you've probably heard is with a chord, like an F7, or "F seventh" chord, or maybe a G dominant 7th chord. Well, an earlier answer defined a chord as three or more notes played at once, like F-A-C. If you count those tones, and F=1, then A=3 and C=5. So, take a note and add the third and fifth above it and you get a chord. A seventh chord simply also adds the seventh degree from the first note of the chord. In the case of F, that would be E. So, F-A-C-E played together would be an F major seventh. F-A-C-E-flat would be an F dominant seventh chord.

Lastly, why the names? Simply, a major interval is larger than a minor interval by one half step. Take whole and half steps themselves. C-D is a whole step. If C=1, what will D=? Yes, '2'. So, C-D is also called a major 2nd. Now, there's a black key between C and D. In order to keep the interval a 2nd, we need to call that black key a D-flat. So, from C to D-flat is a half step, but it's smaller than C to D, so that interval is a minor 2nd. Why call the scales that? Because in all major scales the intervals of a 2nd, 3rd, 6th and 7th are major. In all minor scales those same intervals are one half step smaller, so they're minor intervals.

*whew!!*

From [livejournal.com profile] madbard: What equations best describe how 19th century French violin purfing impacts the instrument's resonance?

I don't like you. :-P

Firstly, it's purfling, and secondly, I'm not into what the French did with violins in the 19th century. So there.

Last one for tonight, folks:

From [livejournal.com profile] klari: Oooh! Do C clef! Why does it move?

Easy- To avoid ledger lines!! In fact, if you check out the Wikipedia article on clefs, you'll see that all the clefs move/d! And it's all just to avoid having to read a bunch of ledger lines! Sing-- er, vocalists have used this more than others historically, but today it's down to tenor and alto clef both using the C clef. You will also hear European conductors (moreso than our US counterparts) say how they can read so many different keys at once by changing the clef of the instrument rather than transpose mentally. It's like reading a trombone part on alto sax. It works so long as you change the key signature correctly (which requires you add three sharps).

More answers to come!
raystrobel47: (Default)
From [livejournal.com profile] mister_robinson: 1. What is the relationship between chords and the melody?

The melody is the horizontal line of notes that one can sing, hum, or play on a melodic instrument. Think "Happy Birthday", "Row, Row, Row Your Boat," "Head Like A Hole," and the like.

A chord is three or more notes played simultaneously. The notes of a chord often contain notes of the melody and define the harmony of the song. So, if Row Your Boat is in the key of F, the F chord would be F-A-C. The notes up to "..up the stream" are F-F-F--G-A------A--G-A--Bflat-C. This melody can be played while the F chord (F-A-C) is sounding along with it.

2. Do you know a good source for mandolin based sheet music?

I am sorry, I do not.

3. What is a back beat?

A back beat is a beat, or rhythm, that is in the background, but is clearly driving the tempo and energy of the song. Back beats are often associated with techno and hip-hop music, and the simplest back beat is that OOM-chh-OOM-chh-OOM-chh-OOM-chh you hear with so much dance music. The back beat is always percussion/percussive, and never part of the bass line (in my opinion)
raystrobel47: (Play brass)
From [livejournal.com profile] alfiechat: So, how much do you charge to teach piano?

My standard rate is $15 per half hour, $30 per hour.

From [livejournal.com profile] greenpear: Why do they talk about the clarinet playing in the key of B-flat instead of A-sharp?

It has to do with the distance from concert pitch, as opposed to the tone itself. Yes, B-flat and A-sharp are indeed the same little black key on the piano. But concert key is C, meaning that the easiest key to play (without any sharps or flats [black keys on the piano]) is C Major. The clarinet is pitched one whole step lower from concert pitch. That means if you play a C on a clarinet, to match that exact pitch you need to play a B-flat on the piano.

The next important term is: step. A step implies the note names are consecutive, or right next to each other. If you strip away the flats or sharps, C to A is a skip. C to B is a step. So, C to B-flat is a whole step. Even though C to A-sharp sounds the same, you have to look at the note names themselves, and C to A-anything is technically a skip.

To take it one step further- the B-flat clarinet is only one of many transposing instruments. The trumpet and tenor sax are also pitched in B-flat. The alto sax is pitched in E-flat, meaning that if you play a C on the alto sax you need to play an E-flat on the piano to match that pitch. And the french horn is played in F.

From [livejournal.com profile] drquuxum: How did the shapes for Treble Clef and Bass Clef come about?

The clefs are like keys to the puzzle of the staff, and provide two pieces of information. 1, What note is identified by the clef and 2, where that note is on the staff. Let's look at both clefs.



The treble clef is also known as the 'G clef'. It is a stylized 'G'. See it? If you take a 'G' and make it look almost like a '6', but start drawing from the bottom, then loop around to the right, and then draw the 'G' you'd have a treble clef. And because the loop of the 'G' is around the second line of the staff (from the bottom), that second line is G.

The bass clef is also known as the 'F clef'. Connect the dots to the round part of the clef. Looks like an F, don't it? And between the dots, the fourth line of the staff, is where F is in the bass clef.

<<>><<>><<>><<>><<>><<>><<>><<>>

I hope this answers all the questions adequately! Feel free to ask more, or for follow-up!
raystrobel47: (Feh)
Today did not go as originally scheduled. Poor [livejournal.com profile] lstrobel gave her first "...I don't feel good" comment, and hearing as how she sounded like the glazed donut monster from Cosby fame when she was snuggled with us in bed, I didn't blame her. Dude, it was so sad. She couldn't breathe through her nose becuase it was so stuffed. Even mouth breathing, she was wheezing. So, I took the day off.

Now, of all the days coming up, today was the third worst day to have to take off. You see, Monday is District Chorus auditions and I'm taking a student to Latrobe HS to try out, and Tuesday morning is a Thanksgiving Breakfast that my HS choir is performing for. Today I was going to continue solidifying the choir's performance, do one last session with my District auditioner, and, oh yeah, do some needed grading and lesson plan completion. None of that got done. I had to balance the realization of needing to take care of my daughter with the nervous and skittish choir director going, "Ngaaahaahaaang...." I am also inclined to report I now have whatever ikkiness is going around. Whee.

So, what will happen will happen. It will all work out. Die Pookie had fun watching four episodes of Sesame Street, and I was really proud that she announced around 10:30 "It's time for my nap." She needed one, too. Two solid hours.

There were high points of the day, though, most notably marked by my dear sweet wife's proclomation of dinner consisting of pizza and popcorn. That was followed closely by loudly playing ska music on Pandora, with my daughter's help. Pookie asked to play the trumpet (she even got a C in the staff!), played the keyboard, while I was soloing over some mad rude tunez. [livejournal.com profile] shifrin15203, I am aching to play again!

The weekend is here, followed by a short week. The holidays, they's upon us.
raystrobel47: (Music)
So, things are going noticably better at WHS, and the HS choir is not excluded. I am now excited, because I just got off the phone with Thomas Douglas, notable tenor and vocal instructor at CMU. He's agreed to come to see my HS choir and give something of a master class, as well as some advice for me. Oh, he's also a Wilkinsburg graduate, so it's helping his alma mater. This is great. The steps seem like small ones, but I hope it will pay off in the future. He even mentioned the concept of a side-by-side concert with the Bach Choir, which would rock my Baroque socks off, cuz you know I'm gonna be all up in that m'self. Just sayin'.

So. Make the change, because it won't happen by itself.
raystrobel47: (Default)
I have to say that quite a bit got done today. Among the list:

-I graded all the pre-activities I'd brought home with me, and trimmed and labeled the folders of my first three classes (all but my choir classes). That will help me organize student work and pull out proof of grade come parent/teacher conference evening next month.

-Got to sing at church today, Jenn, Tim, and myself, on now standards of ours. It was so enjoyable to spend a Sunday morning with bagels and coffee, socializing in our choir director's office, with our daughter there, and rehearsing for about 10 minutes. It made the whole morning.

-I managed to put my car in the shop for a trunk that wouldn't close and a tire that was deflating, bring it back the same day, and have the total less than $30. Oh, if only they were all like that. I was told that my rear tires will need replacing soon, so I think we can budget winter tires to be put on in October or November.

-Since our entire routine is changing as of tomorrow and Jenn will be driving my car more, we cleaned the piles of trash and ...stuff... that's been accumulating for a number of months now. We even vacuumed it out with a mini-vac we have in the garage. It's sooo much better now.

Oh, much is still on the 'to do' list, but overall today has been a nice day. And I can't help but enjoy a day where I get to hear from another room, "I love you daddy! You're cute!" :-)
raystrobel47: (South Park teacher)
On Saturday, I recieved my permanent certificate of education. How do I know it's permanent? Because under the 'years valid' column, it reads '99'. :-D
raystrobel47: (South Park teacher)
Quick reflection of the week:

-The procedure enforcement in class is going well. Kids are writing in allclasses.
-I'm still underprepared in content, and am behind on lesson plans. i.e. next week's plans are due Friday, and I don't have this week's done yet.
-I think HS choir might go better simply because more kids give a damn, but I don't. know. what. repertoire to give them, balancing education and interest.
-I've not recieved anything ordered from the choir director's budget in two years, minus new chairs. Nothing. Not from spring '06, not from spring '05.
-It's still hard teaching 5 different classes.

Gotta catch up on lesson plans, get reportoire, and keep going.
raystrobel47: (South Park teacher)
That's the down-hill feeling of the rest of the school. Over the next two weeks there will be a total of 5 days of instruction. There're (can you do that??) only two days next week, Thu/Fri, because of Memorial day and two in-service days, and the last week is Mon-Wed, with Thu being a clerical day and Fri is when kids come for... and hour or so and are out by noon. (still haven't figured out that one yet) A wrap-up post for this school year will be forthcoming, but not yet.

While there is a week between the end of school and the beginning of Chatham Day Camp, I will be spending about 20 hours or so back at Wilkinsburg for a curriculum workshop. This is useful because it will let me finish this damn project and get extra pay for it, too. I've been responsible for writing music curricula for grades 7-12, for classes I hadn't taught yet. So, now that I have some experience (hoo-boy), I can eek out a document.

I'm so glad it's the weekend. Gonna get a haircut tomorrow, and see what day we can let Die Pookiemuffin sleep over at her Nanny's. We'll deal with other things after that.

Concertage

May. 18th, 2006 10:12 pm
raystrobel47: (South Park teacher)
The Spring Concert is over, and everyone survived. The kids pulled it off pretty well, despite my best male middle schooler inexplicably not showing up, and my problem high school soloist showing up. I'm glad it's over. The rest of the concert was nice. There were two elementary groups performing, one recorder and the other African drum. The steel drum portion sounded good. The high school band sounded better than I expected, but still has a long way to go. I need to get more out of my kids. A lot more. But that's a goal for next year. Now I just need to get them to hang their damn robes up on the hangers, give them a vocal test, and work on material for next year.
raystrobel47: (Trumpet)
I'm back from the 1st Wilkinsburg Black History Month Extravaganza. I directed the "Wilkinsburg Chamber Singers," a spiffy way of saying there were only 7 girls who volunteered. I must say that despite 3 or 4 being sick, it sounded nice. They definitely saved their best performance for tonight, but their projection still needs work.

The rest of the program was nice. Many kids read poems, there was the World Drumming Ensemble joined by two wonderful African drummers from I-forget-where, but they were great, a dance troupe taught by one of the associate teachers (in-house sub) complete with traditional garb, and they were great too. Unfortunately, it wasn't that well attended, but it was the first one. Maybe next year's will be better. I'm glad I stayed. A lot of kids put in a lot of effort, and many of them I have in one class or another.

This was a change in attitude from earlier today/this week. Not that I would've paid money to get out of doing this, but with the pressure in class and the frustrations I have every day, I had no happy enthusiasm. I wanted them to do a good job, to be sure, but it just felt fruitless. Again, they did well tonight, and I also had some pleasant comraderie with of the kids. I can't tell you how much a little bit of that means to me. It's like I'm talking with different kids with some of them. Nice to see now, frustrating again once they turn back into stand-offish don't-wanna-do-nuthins come Monday.

Many, many thanks to [livejournal.com profile] warrewyk for staying at the house so [livejournal.com profile] fiannaharpar could go do scribble at [livejournal.com profile] ariannawyn's tonight. And many thanks to my dear sweet wife for leaving some smiley fries for me to supplement my dinner tonight. :-D You are the best, sweetie.

On a completely different note, I just recently got attention-attacked by our cat Tiger, something which never happens. He jumped in my lap to get scritches. Only Henry jumps in laps, but Tiger seems desperate. Of course, it's his own damn fault as he never visits us in bed, whereas Henry gets all the pettins cuz he's there. Hmph. Crazy cat.

I wish everyone a good weekend. Pooky's getting her hair cut tomorrow, finally, and I'm sure she'll be cuter than ever.

Ok folks, this is about an awkward a sign-off as you'll get, so why try harder?
raystrobel47: (South Park teacher)
On the first day of HS Music Appreciation, I was discussing with the class what they thought music was made of and the different styles it came in. I gave them a writing assignment: "How do you describe music?" I was expecting answers like fast and slow, loud and soft, rhythms, etc. A lot of kids explained what music was to them, which I accepted in my lack of specificity. But then I read this:

How do I describe music...?


I describe music as being a sorce[sic] of power to people all over the world. Music has the power to do many things. It can open someone's heart, or it could demonstrate someone's pain. Music can make you cheerful -- even on the worse[sic] of days. Music can make someone get up and move -- even when their souls are broken.

In general, music is a sorce[sic] of energy that has the power to influence the human mind.


This is from a 9th grader. He plays trumpet in the band, too. Quiet kid. But still waters run deep, man.

I am uplifted by his statement, and am inspired to do better by this class than I did last semester. I feel in my gut that it's unfair to want to do better because I have a good kid in here- all kids deserve a good and well taught class, but that's just how I feel. I'll ride it, though.

I'm also going to have posters of this statement made and posted in my room, maybe also the band room. I'm going to distribute this to other teachers in the district and to Dr. Ozeas at CMU (possible next president of the MENC, too).

Music man

Nov. 22nd, 2005 09:28 pm
raystrobel47: (Play brass)
As I pondered the answer to [livejournal.com profile] unadestluc's questions, the more I figured I'd put it in a separate entry. So here it is.

The questions. )

Profile

raystrobel47: (Default)
raystrobel47

January 2011

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