successful composing and arranging for all students: lessons and strategies sandi macleod...

Successful Composing and Arranging for ALL Students:

Lessons and Strategies

Sandi MacLeodCoordinator, Vermont MIDI

ProjectUniversity of Vermont

sandi@vtmidi.org

Anne K. HamiltonTeacher and trainer

North Country Union High Schoolahamlton@together.net

Lullaby Dreams

Created by three fifth graders as part of their regular music class

Vermont MIDI screen shot

Vermont MIDI Project encourages and supports students in composing and arranging music (MENC Standard #4)

• Professional composers, teachers, and other students critique in a password protected website.

•Professional Development for teachers

•Live performances with professional musicians

Here’s how it works . . .• Elementary/Middle

• Often work in small groups

• Discuss together musical decisions, developing vocabulary and knowledge of theory

• High School - individual student

• Class critiques

Composition using technology as a tool . . .

Without technology or a combination of both . .

Suggested Strategies for

Elementary Classroom Basic Ideas

• Begin by looking at and listening to the work of others

• Start small• Specify assignment • Have students describe 1) what they see

and 2) what they hear• Aim for success for all students• Share and critique often

Suggested Strategies for

Elementary Classroom

• Old Abram Brown - “discover” the need for traditional

notation• Create templates• Use a familiar rhyme• “Create Like Beethoven”• Develop a motif

Old Abram Brown

• Use a familiar song• Discuss ostinato patterns• Using Orff instruments, students each create an

eight beat ostinato . Write it down• Direction - “Write it down so you can remember it.”• Play each one while class sings song• Next class session, pass out papers randomly• Ask students to play what’s written

Use a rhyme

• Fifth graders in a small group

• The King’s Last Dance

• Complete lesson available at www.vtmidi.org

See a pin, pick it up,All the day you’ll have good luck..

Beethoven Copycat

• Using Ode to Joy as a model• Students discuss the form and limited variety of pitch and rhythm• Add countermelody -

consonance/dissonance • Add chordal harmony

• Either 1, IV, V or chords that naturally occur in the key

Developing a Motif

• Develop a motif and complement it with a rhythmic ostinato

• Complete lesson plan in session handout - Motif and Rhythmic Accompaniment by Carolyn Keck

Suggested Strategies for Middle and High School

•Basic Ideas• Begin with what they know• Specify guidelines- allow variation• Start small• Don’t assume that they know anything• Share and critique often

Strategies-Middle and High School

• Develop motif• Repeat the Rhythm:

•4 measure phrases, ABAB rhythmic pattern• Arrange known melodies

• Begin with harmonic progression in bass clef:• add treble matching up first note of measure with chord.

• Overall Form: ABA, ABAA, Rondo

Strategies-Middle and High School

•Theme and Variations-: start with familiar tunes nursery rhymes, Christmas carols

•Music to Create a Mood or Tell a StoryFairy tale

• Commercials

Strategies-Middle and High School

Chorus/Band:

• Create sightreading examples using known elements

• Write for instruments or voicesMe and My FriendIssues of playability and transposition

• Compose canons for class to sing or play

Critique

• Part of the composition process• Develops vocabulary and deeper

understanding• Planned, guided and practiced• Visual aspect important• Worth the time

Generic Rubric for AssessingStudent Responses

Level 1 Gives general comments that could apply to other situations as well as the one under discussion.

Level 2 Accurately describes the area being discussed.

Uses a mix of arts vocabulary and general terms.

Level 3Accurately describes the area being discussed. Gives detailed examples, references, connections or responses to general insights. Uses arts vocabulary.

Adapted from the Arts Assessment Design Team and used in the WEB Project – www.webproject.org

Sample Critique AssignmentStructure your critique as follows

•Begin with “affective” comments.•Make a positive observation about the piece. •Analyze the piece according to those factors that we

discussed in class. •Address the “requested feedback.”•Make any other suggestions that you have for

improvement, but not too many. •End your critique with positive comments, but be sure

not to go overboard. Be sincere!

Professional Development

and support are KEY

Vermont MIDI Project

Arts and Technology Summer Institute

July 8-11, 2003

Vermont MIDI Project

www.vtmidi.org

Sandi MacLeod

sandi@vtmidi.org

Anne Hamilton

ahamlton@together .net