Students #stuckathome without instruments? There are still plenty of ways they can practice and improve their skills! PLUS you can use these in rehearsal when everyone's ears need a break.
This post is from the #rehearsalhomealone series on activities for ensemble students who are #stuckathome due to COVID-19.
Got students who don't have their instruments with them? They can still practice.
Dreaming of your next in-person rehearsal? You can use these strategies on the podium too!
Covering the same material in different ways and from different angles deepens our learning. When we all get back to our ensemble rooms our ears are also going to be pretty sensitive to the sudden resurgence in volume. These activities allow you to keep rehearsing while giving everyone's ears a break.
Works on: rhythm, articulation, air/breathing, dynamics, phrasing, expression, posture
Works on: rhythm, articulation, air, dynamics, phrasing, expression, fingering, physical technique, posture
Works on: physical technique, body awareness, air/breathing, posture
Works on: pitch, rhythm, intonation, articulation, dynamics, phrasing, expression, breathing, posture
Works on: pitch, rhythm, intonation, articulation, dynamics, phrasing, expression, breathing, posture, fingering
Works on: all of the above, plus internal pitch, internal pulse, tone concept, mind-body connection
To make practice more interesting, you and your students can use flash cards to try different strategies throughout a practice session or rehearsal, or try different ones each day.
Get FREE Quizlet flashcards for your students to use (or for you to use when planning future rehearsals - either online or in person). Use the Learn -> Flashcards option, then select shuffle to keep your practice & rehearsals interesting.
A simple approach to instantly approach every piece with more musicianship, storytelling and emotion - for us, and our ensembles!
Being told to play louder or softer is okay. Being told why is better.
The path to musical nirvana starts with a single question. And the path to musical hell starts with telling the ensemble what to do.