Second-Semester Success Begins With First-Semester Plans by Cheryl Myer
Although summer is obviously a time to catch up on all of the personal things you don't have time for during the school year, it's also worthwhile to begin planning now so you can hit the ground running when school starts up again in the fall.
Although summer is obviously a time to catch up on all of the personal things you don't have time for during the school year, it's also worthwhile to begin planning now so you can hit the ground running when school starts up again in the fall.
Because string teachers work with students who have diverse levels of training and abilities, there are a number of questions to consider as you prepare for the upcoming year. For instance, how do you pull up those at a lesser level without losing those who are already working at a higher level? What books and music are best? How can you get the most from your students during the first few weeks of school? How can limited time and rehearsals be used to best advantage?
Here are some of my ideas. They are mainly geared to middle and high school orchestras. However, they will probably work on a smaller scale for lower-level students as well.
Ready the room
First, make sure the room is ready to go before school even starts. Put up posters and MENC standards, arrange chair positions, label music folders — when these things are done I feel ready to tackle music issues. A policy handbook on grading procedures, concert attire and concert dates helps clarify expectations for students and parents, as does a sheet listing classroom procedures and rules. When students walk into your room, they should feel excited about what you have prepared for them.
Review, review, review
The first month or so is heavy on review. Sixth-graders review highlights from the previous year's method book, concentrating on posture, hand positions, tone and rhythm — with much emphasis on playing with a big, ringing tone. Warm-ups consist of one-octave scales using various rhythms, bowing patterns and bowing styles.
Grades seven through twelve should review two or three octave scales. Be sure to talk about whole and half steps, and finger patterns as related to each key before playing the scales. Make sure students comprehend finger patterns by asking questions. Challenge them to do scales in various tempi and dynamics. Don't forget relative minor scales in various forms.
Daily shift work
I think it's very important that every class have a technique book that includes work on shifting to higher positions. Short passages used every day will help everyone play in higher positions before long. Teaching students to shift while using performance music is impossible in the heterogeneous situation in which most of us teach. Teaching shifting is hard enough using a technique book written in unison — let alone harmonized music.
Exposure to advanced skills
Rotating seats works well on warm-ups. Students learn a lot when the less-experienced ones sit next to their more advanced classmates. Every student in your group should be exposed to all the advanced skills you want them all to attain. For many, this is the only place they will have to learn these skills. You must take the responsibility for teaching them everything you want them to know! Otherwise the level of your orchestra will be stagnant. Yes, you can teach them to shift and vibrato in a group situation if you make up your mind to do it!
Choosing music
Pick a variety of keys for the first semester — perhaps G, D, A, F, C — then branch out to others as the year progresses. Choose different styles: classical, baroque, contemporary. And choose at least one piece in 6/8 meter. They'll never learn to play these time signatures if you don't work on them. And finally, remember to choose a crowd pleaser to close the first concert — one that's upbeat and that all ages will enjoy.
Students love music with interesting rhythms, and keep in mind that all like to play the melody occasionally. I try to find music that challenges both hands. The crowd pleaser may challenge them with faster technical work. Remember, students work harder to learn a piece they like even if it is more technically challenging.
Challenge a lot, expect a lot
Second semester builds on the technical level developed during first semester. I try music with more challenging keys, rhythms, mixed meters, contrasting sections and more independent playing (as opposed to pieces in chordal or block style). Choosing appropriate literature is the "meat and potatoes" of the program!
My goals are always to expect a lot from the students. It will be a challenge — and lots of work — but when those groups play as you expected at that festival, both you and the kids will know the hard work was worth it. So don't accept mediocrity, be organized, challenge both your students and yourself, and success will be yours!
Cheryl Myer conducts the middle school orchestras at Robinson Middle School in Wichita, Kansas. She also serves as the string specialist for the total orchestra program in the U.S.D. 259 school system in Wichita. Ms. Myer is a violinist in the Wichita Symphony Orchestra and is a former president of the Kansas chapter of ASTA.
