Beginner band conductor book formatting
- AndrewMeronek
- Posts: 1487
- Joined: Mar 30, 2018
This not really trombone-specific, more music-education general:
For those of you who teach beginner-level band programs, what books do you like and what do you like or dislike about them?
For those of you who teach beginner-level band programs, what books do you like and what do you like or dislike about them?
- Crazy4Tbone86
- Posts: 1654
- Joined: Jan 14, 2020
I taught public schools band and orchestra for 38 years. 24 of those with a concentration in elementary band and orchestra. My colleagues and I always agreed on one thing…..all of the books had major weaknesses.
Pretty much all of the books have one thing in common. We referred to it as “page 8 syndrome.” Most books introduce the first three pitches on the first page of music, which is usually page 5. On page 8, the book introduces 2 more pitches. The problem is that those two new pitches should be presented in isolation…..only the new pitch(es) would be best presented as a single pitch per piece in simple half note and whole note rhythms. Unfortunately, modern method books introduce the new pitches in pieces that also include the original three pitches in wide variety of rhythms that include different combinations of quarter, half and whole notes.
The result is a bunch of very confused students that cannot juggle so many musical variables. Some students can only get the new pitch(es), others only understand the original 3 pitches, and some concentrate on rhythm and miss every fingering. Page 8 is always a mess and sometimes needs to be reviewed for more than a year.
Pretty much all of the books have one thing in common. We referred to it as “page 8 syndrome.” Most books introduce the first three pitches on the first page of music, which is usually page 5. On page 8, the book introduces 2 more pitches. The problem is that those two new pitches should be presented in isolation…..only the new pitch(es) would be best presented as a single pitch per piece in simple half note and whole note rhythms. Unfortunately, modern method books introduce the new pitches in pieces that also include the original three pitches in wide variety of rhythms that include different combinations of quarter, half and whole notes.
The result is a bunch of very confused students that cannot juggle so many musical variables. Some students can only get the new pitch(es), others only understand the original 3 pitches, and some concentrate on rhythm and miss every fingering. Page 8 is always a mess and sometimes needs to be reviewed for more than a year.
- harrisonreed
- Posts: 6479
- Joined: Aug 17, 2018
[quote="Crazy4Tbone86"]Page 8 is always a mess and sometimes needs to be reviewed for more than a year.[/quote]
:shock: :shock:
I had a good friend who claimed that teachers should start kids in the very back of the Arbans book and tell them that those are the easiest pieces, no sweat.
:shock: :shock:
I had a good friend who claimed that teachers should start kids in the very back of the Arbans book and tell them that those are the easiest pieces, no sweat.
- AndrewMeronek
- Posts: 1487
- Joined: Mar 30, 2018
[quote="Crazy4Tbone86"]Pretty much all of the books have one thing in common. We referred to it as “page 8 syndrome.”[/quote]
Not being an educator myself, I find this pretty surprising and interesting, actually. I can see why band directors at that level would want to have a pretty steady rollout of information.
I've taught some private lessons, but that's not the same at all. I've also taught very briefly at a couple of jazz camps, but the focus there was very different: a massive information and inspiration dump thrown at the kids, and they soak up what they can to digest over the next year at their regular schools.
Not being an educator myself, I find this pretty surprising and interesting, actually. I can see why band directors at that level would want to have a pretty steady rollout of information.
I've taught some private lessons, but that's not the same at all. I've also taught very briefly at a couple of jazz camps, but the focus there was very different: a massive information and inspiration dump thrown at the kids, and they soak up what they can to digest over the next year at their regular schools.