Art of teaching advanced instrumentalist

Final 10 min. lesson.

Objective:
● Connect: Synthesize and relate knowledge and personal experiences to make music
○ Students will demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.
● Analyze: Analyze how the structure and context of varied musical works inform the
response.
○ Students will demonstrate and justify how the analysis of structures, contexts, and
performance decisions inform the response to music.
● Present:Perform expressively, with appropriate interpretation and technical accuracy, and
in a manner appropriate to the audience and context.
○ Students will demonstrate an understanding of intent as a means for connecting
with an audience through prepared and improvised performances.

1. Intro
a. Goodmorning. How are we doing today?
b. (3rd attempt) Were we able to memorize the section?
2. Objectives
a. Today we will perform the piece without a conductor. (If section is memorized)
i. If section is not memorized by every attempt to run the section until it is.
b. Today we will address issues surrounding the triplet motive within the cello and
bass.
c. Today will will address intonation issues within the violins during the B theme
3. Procedure
a. Engage in active listening through through student lead run of the memorized
section.
i. Encourage students to close their eyes and focus on the sounds around
them.
1. Have students turn their stands around as an alternative to this.
ii. Encourage students to breath and move together during this process.
 1. Have students pay close attention to fluctuations in time/tempo
while they play without a conductor
2. Encourage students to pay more attention to their own and the
ensembles musical expression as they play from memory.
b. Isolate rhythm on an open string.
i. Have students play the notated rhythm on open strings.
ii. Have students audiate the rhythm thinking subdividing in triplets even
during their quarter notes.
iii. Ask students to listen to each other and matchentrances with their stand
partner and then later with their section
iv. If time permits attempt a practice over run of the section in which the rest
of the ensemble claps triplets.
c. Intonation surrounding B theme
i. Audiate parts before playing
ii. Half play while the other half listens. Who played it more in tune inside
or outside players?
iii. Drone practice if time permits
4. Closure
a. Thank you for your time and efforts. Today we continued to address intonation
issues within the B theme, cleaned up the triplet section, as well as engaged in
active listening through a conductorless rehearsal. I hope you enjoyed our time
together as much as I did.