Look Out ! Activity book

Teacher Tips and Music Activities to Fill the School Year-Looking for new activities? Need more assessment ideas? How about new tips for classroom management and discipline? And some motivation too? You'll have all that and much much more at your fingertips every day withAround the Music Room in 180 Days. This one-of-a-kind compilation of ideas tips and activities come from the classrooms of music teachers across America who know what it takes to get the job done. From Day 1 to Day 180 add new spark to your classroom with a presidential rhythm roundup dynamics composers avoiding classroom distractions assessment movement charades singing roll call a salute to America holiday trivia 10 ways to avoidburnout and much much more! Available: Activity Book (with reproducible activity pages). For all ages!

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Featuring technical exercises educational games teacher-student duets and a range of activities for developing musicianship Piano Stories applies the concept of holistic music learning to Trinity's core exam repertoire. Beautifully illustrated in full colour throughout each book is brimming with extra in-lesson activities that encourage students to explore experiment and look at the music they are learning in a new way covering every piece in Trinity's 2018?2020 piano books (Initial?Grade 3).

Featuring technical exercises educational games teacher-student duets and a range of activities for developing musicianship Piano Stories applies the concept of holistic music learning to Trinity's core exam repertoire. Beautifully illustrated in full colour throughout each book is brimming with extra in-lesson activities that encourage students to explore experiment and look at the music they are learning in a new way covering every piece in Trinity's 2018–2020 piano books (Initial–Grade 3).

Media Type : Book Level : Beginning Musical Genre : All Styles Series : Mastering Guitar Number of pages : 32 This supplement works with either edition of the Mastering the Guitar: Class Method, Level 1 to help give students a conceptual look at the guitar and a sense of familiarity with the instrument. It includes twelve exercises and quizzes which coincide with various points in the Class Method to reinforce key concepts. In addition, there is a Teacher's Class Planner section which explains the objective of the exercises and describes learning activities which can be implemented in the classroom setting.

Jerry Coker's Creative Nudge is an HGH (human growth harmone) for jazz musicians - only legal and void of dangerous side effects. It is an improviser's steroid that stimulates artistic growth by refocusing energy into specific areas of study and practice. Coker speaks candidly to all jazz musicians - from beginners to advanced players - in a manner that is structured, but not pedantic; conversational, yet impassioned. Its 63 pages contain wisdom gleaned by a life dedicated to and enriched by jazz improvisation. -- Steve Crews, master Jazz Pianist and member of the Jamey Aebersold Jazz Quartet I'm all of one chapter into this pamphlet and am blown away by the positive nature of Coker's outlook. I am so glad I bought this and cannot put it down! -- Rick Schrenker, Jamey Aebersold Jazz customer from Massachussetts I love your new book! I just read it and really identified with much of the book - particularly melodies and tunes in my head all day & night. I have also always felt that the pinnacle of playing is not a performance but the practicing. I get a lot more pleasure practicing that I do performing - often because it's my escape into a world all my own and my performances don't compare to what I play at home. I also loved the aesthetics chapter and couldn't agree more. You really brightened up my world! Your teaching guidelines mirror your love of teaching and should be guidelines for all of us! You continue to inspire! -- Rick Simerly, jazz trombonist and Summer Jazz Workshops faculty member Explores the hows, whats, and whys of practice, performance, technique, and musicianship. Sometimes, it only takes a nudge to move your playing to the next level. 6x9 paperback. Why do musicians choose Jazz Improvisation as an outlet for creativity? Why are we creating this music and who are we creating it for? All you need is a little information. Master Jazz Educator Jerry Coker has put together this wonderfully structured text summarizing several important topics regarding Jazz and Jazz Improvisation; giving us all that much needed nudge. Features: Jazz Study Preparation Achieving Maximum Results Vehicle/Tune-Types Instrumental Techniques and Tone Scales and Keyboard Activities Listening and Ear Training Teaching Jazz Repertoire and Much More!

The Associated Board's Jazz Piano series is a comprehensive introduction to the world of jazz. A pioneering set of publications and a rigorously planned syllabus provide the building blocks you need to play jazz with imagination understanding and style and to improvise effectively right from the start.The skill of playing unpreparedly in a lively musical creative and accurate way is at the very heart of every jazz performance. the quick study requiring the recreation of a previously unseen or unheard short head followed by an improvised response practices this crucial skill. It will give you the confidence to learn repertoire more effectively and toprepare for the very real demands of busking through those unrehearsed situations which are a regular feature in a jazz musician's life.As an accompaniment to the Board's jazz piano syllabus this book contains a set of practice quick studies for Grades 1 to 5. Covering a wide variety of jazz styles the studies will require you to play in both swing and straight quavers from Grade 1 and to use swing rock and latin grooves. An invaluable introduction to the book explains the concept behind quick study useful ways to extend and develop activities related to it details of the exam and what the examiner will be looking for.

Once upon a time, a hardworking music teacher was determined to slay the dragons of student doldrums. She looked far and wide for meaningful yet entertaining lessons that would engage her students while addressing the Common Core music standards. One day, she happened upon a set of enchanting books filled with folk tales, fairy tales, nursery rhymes, myths, legends, and more. As they dove into the grade-appropriate literature and music activities, her students became active musicians and lived happily ever after! Each volume of Once Upon a Music Class includes 20 lessons, complete with objectives, procedures, reproducible student pages, and all necessary recordings. Recommended for grades Pre-K through two. / Formation Musicale

Revised-The Con Brio Teacher Guide is the ideal partner for the teacher working through the creative Theory Gymnastics curriculum of music theory and ear-training.This TeacherGuide contains everything you will need to teach level D of Theory Gymnastics so is intended for those teachers whose students have progressed past Con Moto and are ready for a greater challenge.Concepts taught at this level include simple and compound meters the circle of fifths and a deeper level of rhythmic harmonic and melodic ear-training. The comprehensive and well-organised nature of the book means that teachingwhat is normally a difficult and boring topic becomes easy and entertaining. With features like answers to all the student workbook activities notated listening examples and reproducible testing resources ConBrio enables you to efficiently teach theoretical concepts while effectively tracking your student’s progress.So if you are looking for a creative and original way to teach music theory and ear-training make sureyou pick up the Con Brio Teacher Guide as a companion to the student workbook. You will quickly find that teaching becomes simple easy and even fun for you. Furthermore you are able to access free recordings ofthe ear-training units at the Kjos Music Company website.