People, Get Ready!

Though it is unseasonably cool and cloudy in my beloved Denver today, I am nonetheless keenly aware that the sultry heat of July in Baltimore draws nigh. And, while I am likewise extremely grateful for the slower pace of life that I’ve been graced with since the end of the spring semester, I feel the pace quickening as “the other 49 weeks” draw to a close and the 3-week stint we all spend in the classroom together approaches.

So, as I pore over past lesson plans and materials, think through what worked and what didn’t, and begin the process of figuring out what to bring (I might get really clever this year and make a shiny, organized binder that is The Big Book of Musical Examples for Solfa....and perhaps discover a life without piles of random books and 3 bajillion pieces of loose paper EVERYWHERE), I’ve also begun to think about what I might do to get myself ready if I were a student in my own classroom:

1. I’d physically track down all my books and make sure that I have them all.

2. I’d find all my notes and handouts from last year (and the year before, if applicable)

3. I’d make myself a list of what supplies I knew I’d need (because trying to find a music store to buy a new tuning fork after class has already started is an annoying process).

4. I’d take a little time to think about what happened last year in my solfa/AKI experience and make a mental (or physical) note about what I’d like to change for this year.

Note that any of your reflections from item 4 would likely be very useful to me as well, and I’d be very grateful if you’d be willing to share them. Upon looking through last year’s lesson plans, I know there are a lot of things I’d like to change. Maybe the biggest thing is that I want to be certain that my students have a strong sense of the relevance of what we do in solfa class to the rest of their musical lives. I want my students to leave solfa class on the 29th of July feeling more empowered and more musical than ever before, and I want that to be something that they own independent of me. I have several ideas for how to help make that happen, but as usual, I will crave your kind assistance:

Rising Level 2’s

Go through my numbered list above.

Find the “Our Tuning Forks, Our Selves” handout (if you can’t find a physical copy, check out the right side of your screen) and give yourself a refresher course. Check your accuracy with finding keys at a recently-tuned piano (if you find that you’re having lots of trouble, check to make sure your tuning fork itself matches the piano).

Practice your tuning fork skills with these Ottman examples:
11.28, 11.30, 11.31, 12.7, 12.16, 12.34

Also, if you haven’t already done so, download a copy of “Modes Made Easy” (see the right side of your screen) and give it a read-through.

Rising Level 3’s

Go through my numbered list above, and also track down your tuning fork and spot-test your key-finding abilities. If modes are a struggling point for you, you might want to check out “Modes Made Easy” as well.

Look through your notes and find your notation of the chromatic exercise we used last year (d...d t,d r.....r di r m.....m ri m f.....f m f so...., etc.). Sing through both the ascending and descending versions.

Use your refreshed chromatic savvy to peruse Ottman chapter 14 and find a few challenging musical knots to unravel.

Finally, draw yourself a musical timeline:
Take a piece of paper and draw a horizontal line.
Along the line, write: Medieval, Renaissance, Baroque, Classical, Romantic, and 20th/21st Century.
Under each designation, write all the musical innovations, composers, forms, and instruments/voice types you associate with each time period. Don't worry if you have a lot more to say about some things than others -- just go off the top of your head.

Once that’s done, mark the items you’re personally curious or confused about, and share those items with me.

Rising Level 4’s

As you prepare for the less-musical portion of your graduate studies, I’d be thrilled to help you in any way I can. Give me a shout if you need anything...

And, just for old time’s sake:

Check out Music for Analysis, pp. 302-04
Sing through the violin II line on p. 302 -- you may wish to skate over to a new key at the beginning of the second system, but you’ll probably want to come back.
Sing through the oboe II line on p. 303...relish the chromatics!
Switch to the violin I line at pickups to the last measure (28) on p. 303, and continue until m. 36. What do you make of that A-flat?
At pickups to m. 37, switch to the flute line until the end of the minuet (if you’re overwhelmed with curiosity, take a look at the trio that follows...mind the key signature!)

Have fun with these preparations! If you have your tuning fork (and a mobile device with some nifty keyboard app to check yourself, if needed), you can even do this by the pool (umbrella drinks optional)! Bonus!