Becoming a Choral Music Teacher: A Field Experience Workbook by Patrice Madura Ward-Steinman

By Patrice Madura Ward-Steinman

This textbook prepares tune schooling and Choral carrying out majors to be potent heart college and highschool choral song academics. It totally integrates the choral box event for hands-on studying and mirrored image and permits the scholar to monitor and educate the book’s ideas. It covers the necessities of vocal improvement, auditions, literature, rehearsals, school room administration, and useful issues.

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No Break After holding the fermata at the bottom or bounce level of the beat for the desired length of time, move the hand on to the next beat without a breath. For example, if the fermata falls on beat 2, the conductor should hold the right hand steady on beat 2 for a brief duration, and then move it to beat 3 without a breath. The left hand may be used to indicate no breath (McElheran, 1989). Semi-Pause and Breathe The short-pause fermata is begun identically to the no-break fermata in that it is held still (or slightly moving) at the bounce level of the beat 16 THE CHOIR TEACHER AS COMPREHENSIVE MUSICIAN for the desired length of time.

Keep all assignments, including reflective journal entries in your notebook. Include manuscript paper, a pencil, and a blank videotape. BRAINTEASER 1-4: MY CHORAL EXPERIENCE AND PHILOSOPHY Write a two- to three-page detailed summary of all of your experiences in choral music, and in your final paragraph(s) explain why these experiences have led you to the point of studying choral music education at your college/university. Submit at your next class meeting. BRAINTEASER 1-5: MY ACTION PLAN With your choral methods professor and peers, list and discuss the essential skills and knowledge of an extraordinary choral music teacher.

A sequential approach for developing these essential conducting skills is presented below. 1) for practicing these skills, along with conducting resources for additional study. Beat Patterns For your choral methods teacher, conduct simple songs in various time signatures, such as Ode to Joy in 4/4; America in 3/4; Camptown Ladies in 2/4; It Came Upon a Midnight Clear in a slow 6/8; and W hen Johnny Comes Marching Home Again in a quick 6/8. Examples of relatively well-known songs in unusual meters are Take Five in 5/4, and the popular 7/8 arrangement of Deck the Halls.

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