Carol,
I'm curious to know why you chose the teacher training as opposed to the music
teacher training? It is probably because the regular teacher training is nearer
to you and therefore more accessible. Thanks for your rhythm ideas. There are
so many different ways to do these things! It is hard to write them down with
words, isn't it? I mean, it would be so much easier if we could just observe
someone doing them. Wishful thinking....
Will you be able to attend the conference next summer if it is the first week of
July (as I think it will be)? It would be ghastly if you weren't there - I can't
imagine the conference without you, you add SO much!
Take care, Andrea


----- Original Message -----
From: Mark CarolAdee Culbertson
To: anawme@yahoogroups.com
Sent: 10/1/2006 3:43:45 PM
Subject: RE: [anawme] music reading


Hi there,
For rhythm, I have been using some ideas from "Music Mind Games". There are lots
of games that are fun and useful. Separating note reading from rhythm is
important. We look at lots of rhythmic groups that each have a name, like
"huckleberry" for 4 16ths, "gooseberry" for 1 8th, 2 16ths and get fluent at
recognizing the units, putting them together and then clapping without speaking.
Then there's BINGO using these same rhythms (you make the cards with them) and
more and more and more! I think we could probably get the gooseberries,
huckleberries and other fruits to grow on the fence with the flowers if we
thought it out! Thanks everyone!
I have a question: Has anyone written up your program for AWSNA accreditation? I
think they want a grade by grade list of what is taught but I wonder if I need
to say to them what each particular activity is addressing in the child's
development. If I could see samples, that would be great!
By the way, I have just started the 3 year teacher training here at the Bay Area
Center for Waldorf Teacher Training with Dorit Winter. I am loving it even
though it's every Friday night and Sat. Morning. and lots of homework. The
summer session is all of July so may I put in my request for an August
conference if others are interested?
Thanks, Carol


Richard Holden <SkimpyRapper@...> wrote:

Dear All,

The fence picture is nice. I used something similar. Do you have overhead
phone wires in the US? I used a picture of five wires, with the posts
eventually becoming bar lines, and the notes were represented by various
birds. Initially the birds were in free flight but over a week's main
lessons they came closer to earth and landed on the wires, creating a more
formed picture that eventually became "adult" notation.

Richard

>From: "Andrea Lyman"
>Reply-To: anawme@yahoogroups.com
>To: anawme@yahoogroups.com
>Subject: RE: [anawme] music reading
>Date: Sun, 24 Sep 2006 21:47:47 -0700
>
>Nils,
>I have used an imaginative method for a long time and it seems to meet the
>children and is effective in their learning the treble staff. There is the
>opinion that it is too "cutesy" and not the "real world" but I have found
>it to be very well-received. I tell a story about Gardener Gregory and his
>garden. He has a fence around it with fence posts and five wires strung
>between them. These of course, evetually become the bar lines and staff
>lines, respectively. But at this stage, they are just a picture. Then, I
>explain how he has designed and made a beautiful gate that has his inital
>(G) on it. It is, of course a very fancy, stylized 'G' and this becomes
>the G clef. All of this connection is not spoken of just now, it will come
>up naturally later on. Then, I proceed to talk about the different flowers
>he grows in his garden, some of which only grow up to a certain fence wire
>or perhaps between them. The bachelor button, for instance, only grows up
>to the middle fence wire, the foxglove grows up to the top fence wire, and
>so on. You can make up your own flowers, as long as the first letter
>corresponds to the line or space (carnations grow up to between the 3rd and
>4th wire, etc. I have the children draw this picture many times, drawing
>the different flower heads on the line or space with a (plant) stem, and
>practice the beautiful garden gate design; we do wire flowers one day,
>"space" flowers another day. Then we just shorten the names to the
>beginning letter and then drop the stem. We do little word games to see how
>many words we can make with just the letters found in his garden (a-g).
>Eventually, someone ALWAYS says, "Hey, that's music writing" or something
>like that. You can then praise their sharpness and go from there. I have
>them continue drawing these things to practice correct music writing, just
>as we do with penmanship. Staying between the lines in the space or
>centering a notehead over the line, for example, are practiced skills. I
>also make a large staff on the floor with masking tape and have the
>children actually stand on the lines or spaces. Then sometimes we "sing"
>them standing there. I also make large note heads for them to place on
>given spaces or lines, or we make words or they guess the words I have put
>there. We practice sight reading two notes, then three and SLOWLY progress
>from there. We sing the note names and we also play them on our flutes.
>Later, I tell a different story to start working with note values (the
>stems on the heads). There is a lot more that follows but I hope this gives
>you a little taste of one person's experiences in teaching note reading.
>It is one of my most favorite times in the curriculum.
>Hope this helps! Andrea
>
>----- Original Message -----
>From: nilfred
>To: anawme@yahoogroups.com
>Sent: 9/23/2006 10:23:47 AM
>Subject: [anawme] music reading
>
>
>hello everyone.
>i'm in the process of figuring out effective ways of bringing the
>musical staff to my 4th graders...thinking of it as a journey and not
>something to be hurried, i'm going to begin with a treble clef form
>drawing and move forward from there. any dynamic ways that have
>worked for you folks that you'd be willing to share?
>nils
>
>
>
>
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>

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