HAT JOURNAL 12

 Do large orchestra programs often hire more than one teacher, or an aid to the teacher? It
would be beneficial to have someone help with tuning and watching/ correcting students if the
classroom is 60+.
 How does one pick music at a new school? Does it take time to sight read with them and see
how well they do? I would ask what they had been playing, and maybe auditions could give me
an idea.
 Do students like playing classical compositions? I played a lot of Haydn and Mozart in high
school, and I hardly remember which ones I played. Is there a way to make it more relatable if
they don’t like it?
 How relevant are CDs in an orchestra classroom? I remember using them a few times in sixth
grade, but never after that. Are they applicable after year 1?
 I don’t exactly agree with the string orchestra criteria mentioned in the book. For example, why
would dotted rhythms be a grade 1 skill? I do like the literature list, but it seems too difficult
sometimes as well.

 Selecting music is about the most important thing you do. Students like to feel challenged
enough to practice and improve.
 In a method book, there should be equal parts for all instruments.
 Solo and chamber group work is supplemental to the students’ music education. It contributes
greatly to their education.
 By the second year, it is good to start adding minor keys like g minor and d minor, as well as F
Major to help relate the Bb to the new minor keys.
 If I need help with music selection, I should reach out to experienced teachers who I have
contact with or means of contacting them.

 Introducing rules can be part of the lesson plan. I can introduce rules like concepts in the first
few days of class.
 I would like to start saving a library of music for when I have a classroom. I have already been
given resources to find superb literature.
 I will likely use Essential Elements, or at least segments from it to teach a beginning class. I think
it is a good book to reference for second and third year students as well. It is the most well-
rounded book I have seen, and it is what I used in middle school.
 If there is no theory book supplement available, I will use my own theory knowledge to come up
with a curriculum. I find theory very important in music education.
 Personally, I would not make a class full orchestra until the string students have a few years of
experiences with their instrument. Tackling woodwinds, brass, and percussion in the same
setting as beginning strings seems to be too much. They need a good foundation, and I plan to
give string students the individual attention that they need when at all possible.