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amtrumpet Veteran Member
Joined: 23 Jan 2007 Posts: 341 Location: Western IL
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Posted: Sun Jul 12, 2015 3:59 pm Post subject: Adam for band directors |
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Questions for you Adam students (or anyone who uses similar ideas) who are band teachers: how do Mr. Adam's concepts inform your approach in the classroom? How do you adapt this style of teaching and learning to a large-group, mixed-instrument setting? Personally, I tend to do a lot of modelling (vocally and with the trumpet, not usually on the other instruments because I don't sound so good on them) and have my students sing a lot. I also like to do things like call and response with long tones and rhythm patterns- I play then they play. Any other ideas out there? |
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SAEUPSTATE New Member
Joined: 15 Feb 2014 Posts: 7 Location: Clark Mills N.Y.
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Posted: Fri Mar 04, 2016 10:27 pm Post subject: |
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It all applies, all of it. Modeling a good trumpet sound with the right emotion, articulation, time and style transfers to all players regardless of what instrument they play. I use the long tone series from the routine with my entire band. I sound the first 6 notes of the long tone sequence through the rhythmic pyramid, whole, half, quarter, eights for the first few months and then expand. I pronounce and they answer. After the sequence I do Clarke No 1, first 6 notes and first Chickowitz sequence. I do a variety of 5 note scale patterns throughout the year in the circle of 4th, Maj, min, aug, dim, pentatonic, blues. I say nothing and try to demonstrate everything with sound. I model their parts too. How are they truly going to learn how to play with a musical approach, the right style and articulation if you don't model it for them? You can certanly say too much but I sincerely believe you can't play enough for them. I play recordings at the start of every rehearsal and when they start to drift (19 minutes in) I tell a story. Every chance that I get I bring in a professional to model other instruments so they know what their going for. _________________ SAE Entertainment |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6126 Location: Des Moines
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Posted: Sat Mar 05, 2016 5:15 am Post subject: |
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Good stuff! Learning to listen is the most important skill we can teach our students. When I am teaching a group the first thing I do is have a "most beautiful sound" contest. You would be amazed at the response. _________________ Bill Bergren |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6126 Location: Des Moines
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dburke95 New Member
Joined: 19 Jun 2016 Posts: 5
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Posted: Mon Jun 20, 2016 5:57 pm Post subject: |
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I, personally, don't like the Adam method as it plays into band. Unless taught with incredibly close supervision, I find trumpet students playing too hard or too loud. They don't understand that a full sound comes from being in the center of the pitch, not using enough air to play loud enough that it sounds like a trumpet. As someone who was first trained with the Adam method, I find that it MUST be done incredibly closely to be done well. |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6126 Location: Des Moines
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Posted: Tue Jun 21, 2016 12:59 pm Post subject: |
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Mr. Adam taught us that sound and musicality are of the utmost importance and serve to align the mechanical aspects of playing music. What could be more natural for a child? _________________ Bill Bergren |
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drboogenbroom Heavyweight Member
Joined: 16 Apr 2004 Posts: 697
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Posted: Tue Jun 21, 2016 1:43 pm Post subject: |
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Lots of singing from day one. I try and get them singing as accurately as possible as soon as possible with regards to pitch, articulation dynamics and an extremely forward voice placement.
Once we've used singing to really activate the imagination and the ears, everything else comes pretty easily. _________________ By concentrating on precision, one arrives at technique, but by concentrating on technique one does not arrive at precision.
Bruno Walter |
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