Parent Aides

On occassion, my website deviates from the focus of rhythms and counting, and explores other areas of instruction for young instrumentalists. For some beginning band students the music staff and its music notation, is a very abstract concept. These students have difficulty simultaneously processing name and fingering identifications from staff notation. Some students find that "guessing" requires a lot less effort than actually learning note name and fingering identification. With the small number of notes we usually introduce to them, they still have a good probability of responding correctly by guessing.

The processing levels needed for students to correctly identify notes and fingerings on the staff are as follows:

1. Is the note head on a line or space?
2. Is the note head identification part of the student's "sight vocabulary", or is some kind of appropriate line or space formula needed to determine the correct note name?
3. What is the correct fingering to coincide with the note identified? It normally takes a period of time drilling this skill before students can quickly and accurately combine this with the above step.
4. Finally, for brass players, does the pitch require a high or low "buzz"? What would the correct embouchure to attain the appropriate pitch, as indicated on the staff?

The ultimate goal is for beginners to combine all these above steps instantly. First, however, we may need to break down these skills into smaller groupings. The idea is to lower the required "processing levels" until each binary grouping is mastered, then, later separately combine them for a successful performance of all the needed processes.

Examples of possible groupings include: notes on staff to note names, note names to correct fingerings, and finally, notes on the staff to correct fingerings. As our students succeed in each of these binary tasks, and the level of challenge is gradually increased (such as speeding up the required identification), this will eventually expand their processing abilities to perform all three tasks simultaneously.

Another obstacle that sometimes presents itself to young musicians is that of "transference". Normally, after the initial flash card drills are completed, the correct identification and performance of a whole note when pictured on a staff is fairly consistent. However, when some students are confronted with the same note head learned on a line or space, with the note head filled in, or even with an added stem, it is almost like starting over again. These students will need to drill on the same material, this time in the form of half, quarter, and eighth notes, to regain the mastery level of the flash cards they initially processed. With this in mind, drils that directly target this transference challenge, will speed up your class' readines and ability to move on to higher levels. One cannot assume that students of this age and inexperience will be automatically be able to "logically" associate the different looking note shapes, with the consistent name of each note as dictated by the position of the note head on a particular line or space on the staff. Be sure you take time to explain these similarities and differences and drill your students on these skills, being able to use some kind of individual assessment to confirm comprehension.

Another key idea behind "Parent Aides" is to get the child's parents actively involved. Even though most parents do not have first-hand experience on their child's musical instrument, things need to be kept basic enough so the parents can correctly observe the accuracy of their child's performance on fingerings and correct identification of names. A practice contract, or, perhaps some kind of "check off" system can be devised by the director, with the definted tasks being successfully completed within a designated amount of time. The length of time required for such an activity to have a positive impact on student comprehension is quite minimal, only minutes each day. This should not impose any real inconvenience on even the busiest of parents. Parents working together with their child on these basic drills, will not only demonstrate their direct support of the child's learning a musical instrument, but also, the parents' commitment to all other academic endeavors in school.

How to use "Parent Aides"

In the introduction phase, the flash cards are larger. This is especially helpful with learning to read the woodwind fingering charts on the back. The students and their parents use these cards to be able to correctly identify the fingerings and note names of each instrument's first five notes that are typically introduced in most beginning band method books. Cut the cards along the vertical line and then fold in half. You are now ready to go. IT is helpful to give your students some kind of timed goal to work toward. For example, all five flash cards corectly performed in 10 or 15 seconds, depending on instrument. Some instruments, such as the flute, will normally need a little more time due to the awkwardness of some of the fingering combinations. It is also recommended that the students work on the flash cards in phases. First, by saying the note name as they do the fingering, then later, playing ht enotes to reinforce correct instrument holding, posture, and proper embouchure and pitch recognition.

Students that are late getting their instruments for class can still practice Phase I, by using some kind of "fingering tube". Fingering tubes can even be used in band exploratory situations, where the students can master the note identification and correct fingering aspects for his or her chosen instrument, prior to even making that first sound. This pre-teaching approach lowers teh initial processing levels required for when you try combining several necessary performance skills for the first time. Encourage your students to practice saying the note name and fingering hte note simultaneously. Also, stress teh concept of "grabbing" the fingerings instead of rolling the fingers into position one note at at time. This is crucial for your woodwind players, and will help speed up student performane times considerbably. On some instruments, give your students special fingering drills, in combinations of two, to target especially challenging fingerings. A good "Grab" drill or "TV Time" assignment asking your flutes to work on note "C" to "D" is a good example.

Some students will master the first five notes fairly quickly, while others will need more time to continue drilling at the initial level. Feel free to move your students through teh Flash Card series independently. Your more advanced students can go on to Level I, the "chromatic" Fingering Flash Cards, as others continue at their present level. In level I, group A uses the same five notes as in the introduction, only on smaller cards with smaller fingering charts to read. This also gradually develops their ability to be able to easily read the fingering chart sizes found in most band method books. In addition, you are expanding the student's knowledge of different key structures on their instrument that are needed in the performance of fingerings outside "the first five". This is an excellent example of pre-teaching techniques, where you master isiolated skills far in advance of the class' exposure or need for these skills in most band method books. This independed skill level approach will now allow you to apply "multi-level tasking" techniques with your students and their instruction.

Parent Aides Sheet Music