Copy of Conversational Solfege in the Music Room and

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Copy of Conversational Solfege in the Music Room and Band Room

Conversational Solfege presentation for BPS PVA Dept. 8/30/17

PRESENTATION OUTLINE

IN THE MUSIC ROOM AND BAND ROOM

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Feierabend Association for Music Education

Feier-side Chats

https://drive.google.com/a/bridgeportps.net/file/d/0BxDXYQ6ct5rFN20zZjdYN0w...

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STEP ONE-READINESS-ROTE

An extension of the early General Music curriculum
Simple songs and rhymes without solfege (well-learned)
Adding an instrument as an extension of the body
Singing before playing, executive skills before playing
NCAS- PERFORMING #MU.PR.4

Performing rote songs and patterns are the "vocabulary" to create, respond and connect. Spend a few minutes during each lesson for rote songs and rhymes, they contain rhythm and/or tonal content which will be studied later. Rhythm and solfege syllables are not used at this stage.

Keep teaching the way you teach, but use the songs in the sequence as your content.

Suggestion: start with the songs you want your band and recorder kids to learn, and start teaching them in K and 1st grade.

Choose songs (per the curriculum) with two or three notes first. (SO-MI or MI-RE-DO)

Add SO (Mary Had a Little Lamb, Let Us Chase the Squirrel, I Have a Dog, Fooba Wooba)

Add LA (Bow Wow Wow, Great Big House, Rocky Mountain, Button You must Wander)

Add SO (Lightly Row, Juba, Aunt Rhody, Patsy Ory Ory Ay)

Introduce students to the first two pieces
chosen for the unit by just hearing/doing- always in an engaging way!

These then become your âfamiliar piecesâ for use in later steps.

STEP TWO-ROTE CS

Introduce rhtyhm and solfege syllables
Teach Units One and Two formally, and add the Rote steps of Unit 4.
Band and Recorder: work on executive skills
Rubrics for awareness
Lots of repetition with games
NCAS- PERFORMING #MU.PR.4 Select, analyze and interpret artistic work for presentation.

Rhythm syllables and/or tonal syllables are introduced. Patterns are spoken or sung by the teacher with the rhythm or tonal syllables and students repeat, by rote, those patterns with the syllables. During this stage students bond the sounds of rhythm and tonal patterns with aural labels. (Verbal Association)

Teacher says/sings to students using syllables/solfege, Students echo back with
syllables/solfege.

10.

STEP THREE-DECODE FAMILIAR

Sing/chant on neutral syllable-student adds syllables
Add instrument as extension of singing
No "hunt and peck"
Units 1 & 2 , horns on neutral note
Unit 4- Using Do, Re, Mi
Games
NCAS #MU.RE.7 Perceive and analyze artistic work.

This stage serves as an informal assessment, to see if students have bonded rhythm and/or tonal patterns with the correct syllables. The teacher speaks or sings familiar patterns, songs and rhymes with neutral syllables or texts. The students repeat the patterns, songs and rhymes using rhythm or tonal syllables. Patterns used at this stage have previously been presented with syllables during the Conversational Solfege-Rote stage. Songs and rhymes used at this stage should have previously been presented by rote during the Readiness stage. This stage only requires students to aurally recognize and decode previously learned musical examples.
(Partial Synthesis)

Teacher performs familiar (from Step 1) pattern,
songs or chants on neutral syllable, students repeat using syllables/solfege.

11.

STEP FOUR- DECODE UNFAMILIAR

Teacher-neutral, students syllables
Unfamiliar patterns
NCAS #MU.RE.7 Perceive and analyze artistic work.
Instrumental- begin on the last note
NCAS RESPONDING #MU.RE.7 Perceive and analyze artistic work.
If Unit 4 or any unit is unsuccessful, some rote component is missing

This stage serves as an evaluation to see if students have bonded rhythm and/or tonal patterns with the correct syllables well enough to use the correct syllables when decoding unfamiliar patterns, songs and rhymes. The teacher speaks or sings an unfamiliar pattern with neutral syllables as well as unfamiliar songs and rhymes with texts; the students repeat the patterns, songs and rhymes with rhythm or tonal syllables. Patterns, songs and rhymes used at this stage have not been previously learned. This stage requires the students to generalize from what they know to make sense out of something new.
(Partial Synthesis- Generalization)

Teacher says/sings, phrase by phrase, a new
chant/song while students sing/chant back with syllables/solfege (do
unfamiliar patterns 1st before chants/songs).

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STEP FIVE-CREATE

Using games to help establish some framework
Enforcing variations of sing, sing & finger, play
NCAS CREATING #MU.CR.1 Select, analyze and interpret artistic work for presentation.

This stage of improvisation develops the ability to think and bring musical meaning to original musical thoughts. Students create original rhythm or tonal patterns or melodies using rhythm or tonal syllables. Reading notation should not be introduced until students have achieved success at this stage. During this stage students begin developing improvisation skills which will enable them to later compose during the Writing-Create stage.

Game Time, from the âTechniquesâ section of
the manual. Teacher should always be assessing to ensure individual students' ears
are solid before moving to their eyes. Final step in ear-readiness.

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STEP SIX-READING ROTE

Teacher sings/chants
Students read and repeat
"Inside-Outside"
Develop inner hearing-think/echo/finger/play
Make "traffic", make a pretty chord

During this stage students are introduced to notation symbols. The teacher reads notated patterns for the students. The students repeat the pattern while looking at the notation. This is much like the introduction of a set of vocabulary words in the elementary grades. While looking at the new words the teacher speaks each word and the children repeat.

Flashcards. Teacher shows and says/sings pattern with
syllables/solfege, students repeat with syllables/solfege.

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STEP SEVEN-READING/DECODE

Here we go!
Don't get too confident during Units 1-3
Unit 4- be prepared for anything
Backtrack if necessary
Recorder Method/Band music
NCAS Responding #MU.RE.7 Perceive and analyze artistic work.

This stage serves as an evaluation to see if students have bonded the notation for rhythm and/or tonal patterns with the correct syllables. The teacher asks the students to think through notated patterns, songs and rhymes with rhythm or tonal syllables and then speak or sing them aloud using the rhythm or tonal syllables. Patterns, songs and rhymes used at this stage should have been presented previously. This stage requires students to visually recall the sounds and syllable names of previously introduced material. In learning general reading skills this is similar to students being able to read vocabulary words the teacher previously presented.

Teacher shows patterns, song or chant. Students
think, then say/sing using correct syllables/solfege. You can also use
songs/chants that were formerly unfamiliar at Step 4.

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STEP EIGHT-READING/DECODE UNFAMILIAR

Now we're having fun
Band-What to do with new concepts that haven't been covered
It's all rote- and it's OK!
RESPONDING #MU.RE.7

This stage serves as an assessment to see if students have bonded the notation for rhythm and/or tonal patterns with the correct syllables and can generalize that knowledge to unfamiliar patterns, songs and rhymes. The teacher asks the students to think through unfamiliar notated patterns, songs and rhymes with rhythm or tonal syllables and then speak or sing them aloud using the rhythm or tonal syllables. Patterns, songs and rhymes used at this stage have not been presented previously. This requires visual decoding skills and inference thinking. This stage represents true sight-reading skills and is similar to students being able to recognize their new vocabulary words in the context of a new story.

Sight reading. Good time to intro the classical piece in two steps: 1) Teacher shows notation to students, who chant/sing with syllables/solfege. 2) Teacher plays music using a "Stop"/"Go" signal while the students chant/sing along. This is also an âAboutâ activity!

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STEPS 9, 10, 11-WRITING

9- Rote
10-Familiar
11-Unfamiliar

Stage 9: Writing
Rote

During this stage students practice writing notation. Students should copy existing patterns, songs and rhymes and be instructed in proper manuscript techniques. This is similar to early elementary children practicing penmanship as they learn to write letters, numbers and words.

WRITING/ROTE: Copying. Teacher shows notation, students copy. Remember to
teach or reinforce excellent manuscript skills.

Stage 10: Writing
Decode â Familiar

During this stage students engage both conversational decoding skills and writing decoding skills. The teacher speaks, sings or plays familiar patterns or phrases from a song or rhyme with neutral syllables or the text. Students think each pattern with rhythm or tonal syllables (Conversational â Decoding) and then write the notation for the pattern (Writing-Decode). This stage requires aural and visual decoding but not inference thinking. This stage is similar to students taking a spelling test based on the latest list of vocabulary words.

WRITING/DECODE-FAMILIAR: Dictation. Students listen and write what they hear from songs/chants they have already learned.

Stage 11: Writing
Decode â Unfamiliar

During this stage students engage both conversational decoding skills and writing decoding skills. The teacher speaks, sings or plays unfamiliar patterns or phrases from a song or rhyme with neutral syllables or the text. Students think the pattern with rhythm or tonal syllables (Conversational â Decoding) and then write the pattern (Writing-Decode). This stage requires aural and visual decoding as well as inference thinking. If you can sing it with syllables you can write it. The syllables tell you what to write. This stage is commonly understood as âtaking dictation.â In language development this stage would be the equivalent to children determining the spelling and writing of an unfamiliar word by âsounding it out.â

WRITING/DECODE-UNFAMILIAR: Students listen and write what they hear using new songs/chants.

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STEP TWELVE-Writing CREATE

Using games to help establish some framework
Enforcing variations of sing, sing & finger, play
CREATING #MU.CR.1

This skill requires students to conversationally Create through inner hearing and then Writing-Decode by transferring their musical thoughts into notation. Musical improvisations can now become compositions.

Students create original material using various combinations of the patterns they learn via games or activities.

18.

Slide Notes