How to Make Octopus Hotdogs

Teach children about the fun adventures of the sea, with octopus hot dogs. This activity is perfect for home school lessons,  or any classroom setting!

Materials:

Hot Dogs
Cooking Pan
Water
Stove Top
Knife

Steps:

1. Cut the hot dog lengthwise into eights (be careful to leave the top inch of the hot dog whole)
2. Boil hot dogs
3. Make eyes with ketchup or mustard
4. Serve on blue plates
5. Pair with ocean-themed songs and lessons

This activity is from:
S.O.S. Songs of the Sea
By Lynn Kleiner

S.O.S. Songs of the Sea is the perfect mix of music, creativity, and fun for music teachers, classroom teachers, child care providers … and kids! Students will enjoy learning about the sea and its creatures through the engaging songs and reproducible activities. Classroom curriculum, music, crafts, and snacks are integrated, overlapped and joined to immerse students in a joyful, creative learning experience.

Book & CD………………………………………..$24.95
Click here to buy now!

Integrating Your Music Program into Daily School Life

By Anna Wentlent, Associate Editor of School Choral & Classroom Music

As school districts face another year of budget cuts, music programs and teacher positions continue to be in jeopardy. In addition to being a regular advocate for music to your administration and school board, one of the most important things you can do is integrate your program into daily school life. The arts should not relegated to separate classes that students go to as part of the “specials” cycle; but rather, artistic involvement should be a consistent, permeating aspect of life at school.

To begin with, remember that you are not alone! Even thought you may be the only music teacher in your building, there are bound to be teachers and staff members (don’t forget secretaries, guidance counselors, principals, etc.) who have some musical background and appreciation for the arts in general. Make this fact known! I used to start the school year by putting together a giant paper tree on the wall outside my room. On it were hung individual paper apples for every teacher and staff member, listing their name and musical experience, be that playing clarinet in fourth grade band, singing in collegiate ensembles, or spending time on the road as a sound technician for a rock band! (Yes, that last one is true.) Many musical conversations resulted from walking past that tree in the hallway.

Look for performance opportunities during the regular school day. That doesn’t mean adding extra concerts, but creating small opportunities to make performing a natural, enjoyable experience for your students, as well as showcase your program as a vibrant, living part of the school. Bring your “experienced” fifth and sixth graders into third grade to demonstrate band instruments. Teach your classes a funky version of “Happy Birthday” to sing for other students, teachers, and staff on their birthday. Does your school hold a regular school-wide morning program? Use that as often as possible for performance opportunities.

When designing large units, look for ways to connect your curriculum with that of classroom teachers. We often forget how interconnected our subject matter really is. When the second and third graders are heading outdoors to explore nature in the spring, teach them a few songs from Creepy Creatures, Weather the Weather!, or It’s Easy Being Green!  Learn multicultural songs to coincide with the students’ geography units. When the fourth graders are studying a particular country, incorporate a song, dance, or instrument from that culture into music class at the same time. Alfred offers many collections with appropriately arranged music, including Ready to Sing … Folk Songs, A Small Part of the World, Children of the World, and Celebrations Around the World!

Consider collaborating with a classroom teacher on an instrument design project. I did a yearly cartoon composition project using regular classroom instruments, until a classroom teacher approached me with the idea of having his students design and build their own instruments as part of a physics unit in class. The level of student effort and interest in the entire project was astounding. The following year, this same classroom teacher had his students make their own silent films, which we then orchestrated in music class. This was truly organic music making!

You don’t have to give over your entire curriculum to this effort—just take the opportunity to make small connections when possible. Of course, once you get going, it’s hard to stop. Consider working with the other “specials” teachers to designate a theme for a full semester or even the entire school year. Focus on a specific culture, genre, time period, or event. Use your combined resources to bring in special performers or an artist-in-resident. By organizing student learning on such a large-scale, you will give your students a unique opportunity to explore important topics from many different angles.

An excellent opportunity for this kind of large-scale collaboration is approaching—the 2012 Summer Olympics. Put your students’ crazy end-of-the-year energy to good use! I’ve seen elementary schools that actually held their own mini-Olympics, complete with organized athletic demonstrations, cultural performances, and a school-wide art competition to design an Olympic banner. Assign each class a country and get their classroom teachers involved in promoting a patriotic spirit for the big event. The sky is really the limit here.

Use as many opportunities as possible to integrate your music program into daily school life. Don’t just tell your administrators how important music is; rather, demonstrate that fact by making your program irreplaceable.

Tools to Help You Build Rhythmic Reading Skills

By Sally K. Albrecht
Director of School Choral & Classroom Music

It’s never too early to integrate rhythmic reading activities into your curriculum, and it’s important to teach and reinforce musical concepts in a variety of ways. For rhythmic reading, try clapping, tapping, chanting, and playing classroom instruments. Alfred offers a wonderful variety of reproducible publications to help!

Ready to Read Music
Sequential Lessons in Music Reading Readiness
By Jay Althouse
Just like you need to know the alphabet in order to read text, you need to know the symbols of music before singing or playing! Includes 4 sequential units of 8 lessons each. A very good place to start!

Schoolhouse Raps
8 Educational and Energetic Speech Choir Raps
By Sally K. Albrecht & Melinda B. Smith
This popular and innovative collection of 8 speech choir “raps” is ideal for interdisciplinary study and rhythmic reading!

Let’s Have a Musical Rhythm Band
15 Unique Studies and Arrangements for Rhythmic Reading
By Phoebe Diller
Play rhythm band instruments along with the music of famous classical composers.

Shakin’ It Up!
10 Unison Songs with Rhythm Instruments
By Sally K. Albrecht & Jay Althouse
Each song features a different rhythm band instrument. Some students play, some sing . . . then trade!

Rhythm to the Rescue!
10 Unison Songs in 10 Different Rhythmic Styles with Optional Rhythm Band
By Sally K. Albrecht
Combine clever songs with rhythmic reading and stylistic concepts. Learn the rhythms that go along with the different styles of music. A great way to put all your knowledge together, plus these songs make an entertaining 15-minute performance program.

Designing a Great Instrumental Music Curriculum

By Bob Phillips

I am often asked what the factors of success for instrumental music programs are. There are a variety of things to consider such as starting age, time on task, facilities, equipment, scheduling and many others. One of the most important resources for any instrumental teacher is a well thought out curriculum. A comprehensive curriculum paired with great supporting materials allows educators to teach with efficiency and success.

It was Lewis Carroll that said “If you don’t know where you are going, any road will get you there”. The best instrumental curriculums pair national/state standards and best practices with local situations and traditions. Teachers tend to be more successful when they have input into the curriculum and the strategies for implementation. There are many great resources for music curriculum design such as the Music Educators National Conference and the American String Teachers Association. Professional organizations such as these offer many ideas and resources online and through their member services departments. Local teachers can then use these resources to help them design curriculums that meet the needs of their individual students and communities.

The exit outcomes for each grade level or age must be determined. Knowing what we want our students to be able to do is the first step in creating a great program. The second step is assessment, so we can monitor students’ progress toward those outcomes as well as our own growth as teachers. Assessment is a key component of any curriculum and is what makes it a living, breathing document that will be used and revised.

Another important part of any curriculum is method books. Instrumental teachers have a wide variety of books to choose from. Ideally any materials chosen should be flexible enough to meet the needs of the curriculum. The best materials take into account the teacher’s teaching style and the learning styles of the students, schools, and community. Alfred Music Publishing’s new methods, Sound Innovations for Concert Band and Sound Innovations for String Orchestra allow teachers to create a Directors Choice edition. Teachers are able to make pedagogical decisions as well as select some of the music in the method. The customizable version allows teachers to choose tunes from a wide variety of genres include Christian, Jewish, Latino, African-American, American Folk and Patriotic and many others.

In a recent national poll over 93% of Americans thought that music should be taught to all students and was an important part of the curriculum. If music is to play an important role in the school curriculum then music curricula should be written that allow all of our students to be successful and participate in our instrumental ensembles.

Bob Phillips is well known in the music education community as a successful teacher, composer, teacher-trainer and conductor. He is the Director of String Publications for Alfred Music Publishing and the President-elect of the American String Teachers Association.

For a Better Ensemble, Give Your Attention to the Individual Student

Music ensembles in public schools are formed of students with varying degrees of musical ability and accomplishments. The ensemble, whether it be Concert Band, Orchestra, Jazz Band, Marching Band or small groups of like or unlike instruments, as the saying goes, is only as good as the weakest performer. Let’s think about individual performers and methods to improve the performance of each member of the ensemble.

Most schools offer instrumental music lessons in small groups of like instruments. It is possible for students to get “lost” in these groups and need individual attention, especially at the beginning level. You, the teacher, are completely scheduled and this individual attention is impossible in your availability. What do you do next?

Consider a “Buddy” Teacher, an older student playing the same instrument well, who can help the young student with basic musical problems (counting, fingerings, tone production, stickings for percussionists, etc.). Prepare the older student in basic teaching approaches and briefly view the two together during the first “lesson” to insure that the combination will work. This will be effective in two ways – for the older student who will take pride in helping another with his or her “expertise;” and the younger student who will look up to his “buddy teacher.”

On a broad basis, try a solo and ensemble requirement of every student in your program that will help all become better musicians. One teacher I observed had such a program and it was very successful. Each student had to perform in two recitals each school year, on one recital as a soloist and the other as part of an ensemble. The recitals were held in the school auditorium, sometimes in the evening after school hours or held during the regular daytime instrumental lesson classes. The performance materials were compatible to their ability and the older students were instructed to memorize their solo performance. Young students were given songs or exercises from their lesson books and performed them in class as a solo generally standing in front of the class.

Give each student in your program “individual” attention to their “individual” needs. Sounds tough for you? Probably, but it will make your ensembles better.

Good Habits Are the Key to Success

By Thomas Kikta,
Author, The Complete Idiot’s Guide to Classical Guitar Favorites
Co-author, Classic Guitar Technique, Vol. 1 (Revised Ed.)

It is my belief that good teachers have one primary goal in common; that is to see their students succeed at the subject they are being taught. The feeling of satisfaction that a student’s life has been changed for the better is truly a hope for all teachers. We have all experienced this life-changing power working with a musical instrument. The drive that is created from success with an instrument can be the difference between a motivated individual or one that simply floats through life. To this end, we try to help the student succeed as efficiently as possible. We have them practice scales, arpeggios, chords, theory, sight reading, ear training and repertoire―these are all details that help them not only become fine guitarists but well-rounded musicians. However one area that is overlooked and is the most important aspect of one’s progress is the awareness
of habits.

Habits are the fiber of our existence. Exercise, promptness, cleanliness, or moral direction are all habits that define who we are and how we are seen by our peers. If one is terribly out of shape, constantly late, or makes poor health choices then clearly their habits have made life far more difficult than necessary. The same holds true for our student’s musical development.
Poor habits of posture, concentration, practice, or physical movement can debilitate and ruin even the most gifted of students. These poor habits can cause pain, frustration, repetitive strain injury,and destroy security and confidence in one’s playing. These are all symptoms of poor habits that were not recognized, not brought to the student’s attention, and not replaced with habits that would have been more constructive. This is perhaps the most important role that a teacher plays in a student’s life.

It is not enough to simply teach someone how to read music, play their instrument, and learn repertoire. These are obviously important issues but they quickly become a second priority when a teacher begins to evaluate the quality by which they are done. If the student has poor concentration skills, tends to false start, makes errors then backs up and replays the section, then these are all bad habits that are not just happening in the teaching studio or on stage but are systematically being reinforced in the student’s practice room. The student must be given insight and an appreciation for recognizing their poor habits and realize the benefits they will experience when they replace them with more positive actions.

This is where the teacher plays the most pivotal role. Ask yourself the question “what habits does the student possess that you wouldn’t want them to bring to the stage?” Though at first this might be sobering, it will begin to give the student an appreciation of the areas that need the most attention. Once a bad habit is recognized by the teacher, it is essential that the student is made aware of the problem and shown the new habit that will replace it. The teacher is the first feedback mechanism to this process. Once the student is aware of the difference between the old and new habit then a regiment of reinforcement must take place. The more the new habit is reinforced, the quicker the old habit will be replaced. Again, a feedback mechanism is essential. Teachers may be the first mechanism but they might only have an impact of one hour per week. For the rest of the week, a feedback mechanism must be established to help them recognize right from wrong and keep them from straying back into old ways.

For physical movement or posture issues, a mirror strategically placed allows the student to see the problem and fix the issue. An audio recorder or video recorder can also be a fine feedback mechanism for monitoring undesirable performance habits. For issues of concentration, I have had continued success with students who solfège and visualize their repertoire without the guitar in their hands to help them foster deeper levels of concentration. Be creative, I have used rulers to help students monitor their crooked hands and electronic tuners to “tune up” monotone solfeggio students. Anything to help them instantly realize that they are straying and beginning to reinforce their old bad habit. Any feedback mechanism will help them recognize they are wrong, help them correct and continue to reinforce the new positive habit.

This process takes time and can sometimes be frustrating. Initially the student will complain that the new habit “feels uncomfortable.” Any new habit will feel unusual at first but settle in as time progresses. Help the student realize that this short term frustration is nothing compared to a lifetime of underachieving due to a few bad habits. This will be the difference between performing with frustration and disappointment or performing with security and confidence. Granted this subject is a far greater discussion than this space will allow, but if one begins to be sensitive to this issue, a world of difference can be made in a student’s life.

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Thomas Kikta is Director of Classic Guitar at Duquesne University in Pittsburgh, PA and cofounder of the Aaron Shearer Foundation―an organization dedicated to promoting quality guitar pedagogy. He is also the co-author of Aaron Shearer’s 3
rdedition of Classic Guitar Technique Vol. 1 and author of The Complete Idiots Guide to Classical Guitar Favorites, both published by Alfred Music Publishing.

For more information on classical guitar print music and books, visit alfred.com today!

Teaching Students to Teach Themselves

Amy Barlowe

Weekly or bi-weekly lessons generally build a healthy rapport and often begin a lifelong mentoring relationship between serious students and their teachers. However, concurrently, it is also easy for students to assume a sense of dependency stemming not only from the weekly assignment/check-up routine, but simply from the need for approval. What can we, as teachers, not only of string instruments, but individuals, do to help our students find a path to independence? The holidays are the perfect time for students to take short forays into new realms of self-enlightenment.

By cultivating an interest in discovery, and encouraging them to surround themselves with curiosity and wonder, not only can we keep fanned the joyful fires we’ve kindled throughout the first semester, but also, we can attain a sense of personal peace knowing that even while away from our students, they will continue to enjoy the rewards derived from effective practice.

Having taught young people since I was a teenager myself, I have found that “imagination” is the key component of meaningful teaching and learning at all levels. It is unfortunate, however, that although stimulated by the most compelling teachers, imagination often remains behind in the studio. Instead, boredom, its evil twin, invades the practice rooms of even the most gifted students. How then, can we teach students to bring home the enthusiasm that fuels productivity even at the most distracting of times – the holiday vacation? We need to teach them to be their own teachers.

Keen observation, imagination, a constructive internal monologue, patience, and passion are at the core of successful self-teaching. With guidance, these essential components of learning can be fostered at any level, becoming habitual by the time students must be left on their own. Removing the “drudgery” from practice will keep it challenging and fun!

Learning Together: Sequential Repertoire for Solo Strings or String Ensembles

By Laurie Scott, Winifred Crock, and William Dick

Recognized string educators Winifred Crock, William Dick, and Laurie Scott have collaborated to produce this new volume for beginning string players. The book is available for each individual instrument and in a piano/conductor score format. Each of the twenty main selections can be performed in a variety of ways: as a solo with piano accompaniment, as a three-part mixed ensemble, or as a trio of like instruments.

The student volume format includes:

* Unison sequenced repertoire for all instruments
* Bass line accompaniments
* Harmony parts
* Additional repertoire including songs to learn by ear, songs to introduce 6/8 meter, and simple canons to introduce part playing.
* Rhythm and meter training including early introduction of triple meter

The repertoire in the Learning Together books offers many opportunities for multi-layered instruction to students and teachers. The materials can be used to:

* Develop sequential technique
* Foster ear training
* Foster ensemble skills
* Develop music literacy and note reading skills

Additionally, the book features a live CD recording of all repertoire, including individual string solos with piano accompaniment, mixed string trio ensembles and piano accompaniments alone. These books reflect the belief that the first stages of study are the most important and set the tone and limits of further development. This volume can be used in the private string studio, in string classes and in university string methods courses in a variety of ways.

Alfred is proud to offer a free download of Rocky Mountain from Learning Together. Please click below for the melody, harmony, bass, and score.

  Score/Piano | Melody & Bass | Harmony

Show ‘em some SHOWBIZ!

By Sally K. Albrecht
Director of School Choral & Classroom Publications

How about adding a touch of “showbiz” to your holiday concert? This year, our new Showbiz! choral movement DVD is packed full of complete choreography for 12 great tunes. Here’s a quick look at the 4 smashing holiday numbers that are featured on the DVD.

Santa Mash-Up
This holiday novelty number actually combines two powerhouse favorites by Lois Brownsey and Marti Lunn Lantz into one Glee style mash-up! Funky and fun! But best of all, each vocal line has its own choreography to match. Part I has “Santa Fever” while Part II does a stomp-stomp-clap routine. Perfect when combining two classrooms or two choirs for a special knock-out number.

Showbiz Snowman!
By now, you know you can count on Andy Beck and Brian Fisher to deliver a “bring-down-the house” holiday number! This one has a “New York, New York” style intro and interludes with an easy-to-learn partner-song format. Andy has staged it on our DVD using top hats—either real or mimed. Sure to be a show-stopper!

Sing Noel, Noel!
Jay and I enjoyed experiencing the premier of this original gospel-style piece in nearby Wilson, NC. Features two short solos and a soulful descant group. Add handclaps at the key change and the audience will probably join in! Simple yet effective staging, using gospel step touches and heavenly arm reaches. Works well as a closer.

‘Zat You, Santa Claus?
A jazzy Kirby Shaw treatment with zingin’ rhythms and rhymes! And just wait until you teach your singers Andy’s clever choreography for this one, featuring everyone swingin’ their Santa hats on the scat section! You can feature a special dance group or have your entire choir join in.

Other titles featured on the new Showbiz! DVD include:
Con la Musica (Althouse)
Get Happy (Arr. Kern)
I Have a Voice (Althouse) (sign language)
If I Only Had a Brain (Arr. Albrecht)
Let Me Entertain You (Arr. Shackley)
Singing A-Round (Albrecht)
Tama Tu (A Maori Proverb) (Albrecht)
The Time Warp (Arr. Beck)

Santa and You— Looking and Working Ahead

By Sally K. Albrecht
Director of School Choral & Classroom Publications

As a child, I often wondered if Santa ever took any time off! I honestly pictured him on Christmas Day, just exhausted from his insane travels, sitting with his feet up in his pajamas, sipping on hot chocolate, with Mrs. Claus and the rest of the North Pole gang lounging nearby. But the day after Christmas, as we drove home from my grandmother’s house, I often imagined him starting the job of toy-making all over again for the next year!

Sound like your life as a music teacher? You have a big concert or musical performance, then take about a day to recover and reminisce (heavy sigh), then realize on the following day that you better start thinking about the next big project or concert! (I know, that’s how it is in the world of music publishing, too!)

So . . . now that we’re at the end of the traditional school year, perhaps it’s time to think ahead to your next seasonal show! Alfred offers a wide variety of holiday performance options. Several of our favorites are featured in this email.

This year, we also have three brand new reproducible publications you will want to consider:

Fiesta! The Legend of the Poinsettia is a 20-minute unison mini-musical, based on a Mexican folk tale and focusing on the holiday traditions of Mexico—including the candlelit processions of Las Posadas, the breaking of the piñata, and the magic of the first poinsettia plant. Staging notes are included.

Holiday Partners! is a new holiday song collection that includes ten selections for
2-part voices. You can easily select a 15-20 minute program grouping from these offerings, as there are songs to cover every seasonal celebration—or perform them all!

North Pole Diaries is a witty, fun, and easy-to-put-together 30-minute show for 2-part choirs. Eight songs are tied together with rhyming diary entries. Plus, each song includes complete choreography notes! Great for your beginning choir, or consider using this program for the whole school, utilizing a different class for each song/scene.

We hope you have time to sit back for a little while this summer. But, if you’re near your computer, perhaps you’ll take a moment to visit alfred.com to review the sample pages and audio excerpts we have available for you. Or, better yet, take your iPad to the pool! You’ll be glad you took the time to work ahead.

Now, if only I could help you do your holiday shopping . . . and wrapping . . . and decorating . . .