Improvisation-based exercises may be the key to unlocking students' innate musical creativities. This article focuses on two exercises--drone improvisation and circle stringing--that can be easily integrated into the orchestra curriculum and adapted to the learning needs of the individual student, small-ensemble, and large-ensemble settings. Of…

This article describes a sequential approach to improvisation teaching that can be used with students at various age and ability levels by any educator, regardless of improvisation experience. The 2014 National Core Music Standards include improvisation as a central component in musical learning and promote instructional approaches that are…

Before our current notation system was widely adopted by musicians, improvisation was a key component of music throughout the Western world. One of the fundamental elements of the baroque style, namely, using improvised embellishment, offered musicians great artist liberty. During the baroque period, improvisation spread across Europe and beyond.…

In the "Divertimento" section of "Teaching Music," teachers share stories, strategies, and quesitons with their colleagues. This "Divertimento" covers the following topics: (1) one teacher's surprise at a student's novel take on the tambourine; (2) a question about teaching bowing symbols to beginning students; and (3) a question about breaking…

Discusses methods for teaching instrumental music skills to educable mentally handicapped children. The author advocates consistent rules for equipment handling and playing position, frequent positive feedback from teachers, private lessons, rote-learning of music, and group playing experiences. Appropriate music training significantly improved…

It is suggested that a secondary school vocal or instrumental music director, even one with a limited background in early music, can establish a successful early music consort, but before establishing such a consort, the director should review thoroughly the main historical sources. These sources are listed. (KC)

Presents an activity combining music and art in which students create a picture expressing a particular style of music. Develops skills in painting and drawing from observation. The paintings include a realistic drawing of one or more instruments and convey the feelings of the instrument's musical style. (CMK)

Describes a two-part art activity in which second-grade students first create self-portrait puppets of themselves as band members and then create another portrait puppet in the Cubist style of Pablo Picasso. Explains that the activity enables students to compare realistic and abstract styles. Includes learning objectives. (CMK)

Discusses the process of introducing the trombone to beginning students and addresses the issue of warming-up. Provides resources for beginning trombone methods, band methods, and daily warm-up studies. Includes resources for scale studies and etudes for beginning to intermediate trombone players. (CMK)

Discusses how to develop both African drum and steel pan ensembles providing information on teacher preparation, instrument choice, beginning the ensemble, and lesson planning. Includes additional information for the drum ensembles. Lists references and instructional materials, sources of drums and pans, and common note layout/range for steel pan…

Describes an improvised science lesson that grew out of elementary students' interests and questions about music and sound. Students designed, built, and performed with their own musical instruments. (WRM)

Because of its exciting use of rhythm and its variety, African music is an excellent musical culture for study. Seventh and eighth grade students, with no prior musical training, learned to play African instruments and dance the Adowa, a traditional dance of the Ashanti people of Ghana. (RM)

Asserts that including mariachi ensembles in schools with high Hispanic populations encourages students to remain in school. Provides a history of mariachi and discusses mariachi instruments. Includes information on developing a mariachi ensemble, including lists of resources, such as mariachi conferences and sources of sheet music. (CMK)

Asserts that good band members play in tune because they listen during tuning routines and playing exercises. Maintains that the usual method of tuning bands, adapted from the orchestra, does not work. Presents recommendations for band tuning routines and methods for band members to develop listening skills. (CFR)

Discusses the characteristics of a good vibrato in musical performance. Reviews four types of vibrato used by woodwind performers: (1) diaphragmatic/abdominal vibrato; (2) jaw vibrato; (3) throat vibrato; and (4) lip vibrato. Includes two charts with suggestions for teaching diaphragmatic vibrato and jaw vibrato. (CFR)