Podcasts about boomwhackers

Die Maus zum Hören - Lach- und Sachgeschichten. Heute: mit Mausfreundebuch, Ohrläppchen, Trudes Tier mit einer Muttertags-Überraschung, mit Nina und natürlich mit der Maus und dem Elefanten. Fritz - Wer hat das Kaffee trinken erfunden? (6:15) Frage des Tages - Warum sind Ohrläppchen so weich? 813:53) Trudes Tier - Muttertag(20:08) Sachgeschichte - Was macht ein Seelotse?(20:38) Mausfreundebuch - Mattes(47:15) Offene Ohren - Boomwhackers(41:41) Lachgeschichte - Helikoptereltern(54:04) Von Nina Heuser.

Die Blockflöte gilt als DAS Einstiegsinstrument schlechthin. Doch in heutigen Primarschulklassen findet man auch viele andere Instrumente, wie zum Beispiel Boomwhackers. Musikredaktorin Elisabeth Baureithel erklärt den Begriff in 100 Sekunden.

Transcript included below…Today, we're going to talk about how to address our audiences well as we play.Even as we start this discussion, I'll give you a heads up about which direction I'm going – just in case you're wondering which type of guitarist I'm referring to.I'm talking about two types of guitarists today.  First, I'll talk about a worship guitarist who offers their gifts as an act of worship in a setting where they are leading others to the Throne of Grace through music…and then, I'll be talking about a performing guitarist who shares his or her gifts in a message-driven Christian concert setting where people listen.Then I'll talk about what happens when those two worlds collide and a guitarist is invited to share a mixed set of songs with worship leading and some performance pieces.  You ready?  Let's go.There are all kinds of purposes for guitar playing beyond these two, but to keep our discussion focused, I'll stay in these two specific areas, blending them together at the end of our discussion.And there are specific needs that congregations and audiences have as they experience the offerings of these two guitarists, which are worth discussing.  There is great wisdom in knowing our audience.So, if you're a worship guitarist, a performing guitarist, or you aspire to be either or both, this episode is for you.When it comes to playing the guitar in public for listeners, not all stages are equal, and not all offerings have the same purpose.I'd love to offer you some clarifications about what your audience is hoping for, and what you can bring to each of them when you play your guitar.Part 1 – The Worship GuitaristThe Lord called me to music ministry in the late 1990s.  I had purchased my first guitar in 1994, and shortly afterwards, I was playing it at a family camp, and someone approached me saying, “Hey, you have a guitar.  You could lead us in worship.”To experience the full story, I invite you to check out Guitar Serious Fun Episode 6: “Not Ready but Available.”It was at this point that I had just begun to grasp what it meant to lead worship with my guitar. Fast forward to present day, and I've led worship thousands of times, all over North America, and some seasons of worship ministry have found me leading on staff full-time and part-time at Christian churches of a few different sizes, from two hundred to almost two thousand.Sometimes, I've been a worship leader for four songs on a Sunday…other times I've led a couple songs to kick off a conference.  In other settings, I've been a worship leader for multiple sessions at a retreat.Whatever the case, I've been entrusted with playing my guitar in such a way as to lead others in singing to the Lord.First of all, I'll ask an important question.  Who is the audience in a worship environment? Well, if you said, “The Lord,” you'd be right.  And the Lord asks that we “play skillfully and shout for joy” (Psalm 33:3) and bring contrition in our posture. Psalm 51:17 says “A broken and contrite heart You, o God, will not despise.”Everything we do, especially when we share our music, begins with the heart.  Our expression as guitarists will flow from the condition of our hearts.  Are we humble?  Do we see ourselves as unworthy, yet called to approach the Lord with our gifts?Do we desire to come prepared, to play well for Him?  That's my hope.  He is worthy of our first fruits, not our leftovers, right?Now, the Lord is our primary Audience.  Some have referred to Him as our “Audience of One.”Now, “audience” is a subjective term, because there could be people in a worship environment who are observing as I lead, and they may or may not be contributing with their voices in corporate worship.But they are observing.What do they witness from me as I play?  Am I clear, confident, and do I lead well, but do I also remain peripheral?One class that has risen to the top in my collection of teaching offerings at conferences is a seminar I call “The Peripheral Worship Leader.”The word “peripheral” has to do with the outer part of the field of vision.  Still visible, but not central.If we move into central position, we take the focus off the Lord.  People are easily distracted, and we could potentially be contributing to this as worship guitarists.  Catch this: we can be peripheral whether we're in the center of the platform or not.  It's all about posture.We can also be invisible.  By this, I mean we don't confidently (and yet humbly) show the congregation that we are leading them.  If we “blend in” with the rest of the team and people don't understand who's leading the charge, we can also fade into the background, and this can be distracting as well .So, a guitarist could be distracting by action or omission.  By action, he or she could play too prominently in the texture with big, flashy solos or with dynamics that aren't sensitive to the context.  Or, he or she could be so meek that no one knows what to do next because there's no real leadership element in place.Let's be real: the people who have come to worship are not there to experience a concert.  That's something we'll focus on in a few minutes.By omission, a guitarist could play out of tune, and as you might imagine, there are people who might not know which strings are out of tune, but they know something's not right.And again, people need to know who's leading, and someone has to lead the band (if there is a band) even if leadership roles are traded out with a few different worship leaders, even on the same set.We, as a congregation should always be able to tell who's leading us.It's a delicate balance we walk as worship guitarists, because people can be so easily distracted.In terms of the practical aspects, we can take specific steps towards maintaining and preparing our equipment, getting proper rest, having excellent communication with our technicians, rehearsing intentionally with our team, and being as familiar as possible with our music.And guess what?  Even if we do everything in our power not to be distracting, something beyond our control could still happen, and people could still get distracted.But I'd say that being intentional and working towards preparation and skillful execution, while still having grace for ourselves and our collaborators, is a recipe for a healthy worship environment.Some worship musicians don't think this deeply about these kinds of things, but those who do tend to be more deliberate, and to offer an unwritten message about how much they feel the beautiful burden and calling for what they do.I can tell, within moments, if a worship musician is taking their calling seriously. But here's the paradox: we can take our calling and our Lord very seriously, and still not take ourselves too seriously.  I am constantly striving to find this balance as well.Because if I'm playing precisely, but my body language communicates that I'm carrying a lot of stress, that's not going to ultimately be a blessing to anyone.So, I try to bring some levity to my rehearsals, and to intersperse appropriate humor. Exempli gratia: at a recent opportunity to lead worship for a multi-faceted Christian ministry organization, I asked the sound guy if he could put a bit more my “talent” in my monitor.I basically wanted him to make me more talented than I was.Everyone laughed, and we enjoyed the process that much more.So, as we think about our offerings as worship guitarists, let's check our hearts, bring our offerings with sincerity and humility, do all we can to play excellently, but still hold things loosely.Part 2 – The Performing GuitaristI wrote my first song in 1996.  I went on to record multiple albums and to tour all over North America.But my touring largely consisted of concerts I performed.  The albums I recorded were not worship songs.  They were what I would call “testimonial” songs.Now, this is a broad stroke, but go here with me.  Worship songs are typically simpler in song form, and more “singable,” whether with rhythms, melodies, or even ranges.Performance-type testimonial songs can sometimes have more complex song forms, are better to listen to (maybe the chorus is an opportunity to sing along), but can have more complex rhythms, less predictable melodies, and can go really high, because the listener doesn't have to sing those notes.So as a performing guitarist, I have a different posture, because my audience has a different set of expectations.When people come to a concert, they're much more in a posture of wanting to be ministered to.  They are expecting to be taken on a bit of a journey, perhaps to hear stories, and as performance coach Tom Jackson has said, to experience moments.In my concerts, I incorporate multiple guitar techniques, from two-hand tapping, to looping, to playing the strings with a pencil or a violin bow, to multiple alternate tunings and harmonics, and more. But when I lead worship, my offering is much simpler.Really, with the exception of the occasional hammer-on, pull-off or slide, none of these above articulations would be appropriate for a worship set. They're too prominent and dare I say, showy in the wrong context. They draw the focus away from what we're doing in a worship environment, but they're very much welcome in a performance environment.In fact, I rely heavily on innovation and the “unpredictable” factor when it comes to playing for particular audiences, like people who've never heard me before.Some venues I've served have been what I call “Type B” audiences, where people are already present at an established gathering (like a church, school, retreat or conference).   “Type B” audiences may or may not know who I am and what I'm bringing to the event, even if I've resourced them with a promotional video that highlights what I do.Conversely, “Type A” audiences are the ones who come to experience my ministry because they've followed me for a while and have gotten to know my music.A “Type B” audience can be transformed quickly into a “Type A” audience, but only if the guitarist is moving adeptly and swiftly through textures and moments that keep the audience engaged, and even guessing.I showed up to perform a concert at a “lock-in” for a junior high retreat, and the sound guy pretty much greeted me just as he was leaving.  He said, “Hey, I've got a boom mic and a guitar channel all set up for you in there.  Have fun.”I gently stopped him right there and said, “Whoa, whoa, whoa.  I'm about to try to hold the attention of a bunch of sugared-up junior highers for the better part of an hour.  If I stand at a boom mic and just play my guitar, I'll lose them in the first 5-10 minutes.”It took a little explaining to get the sound guy on board, but then he eventually realized that my collection of instruments and unique tools (like my multi-colored Boomwhackers) were going to be needed to hold the attention of all of those kids, and therefore, there was a necessity to have a good backline of audio support, to say nothing of the video support that would also be needed to put images and lyrics on the screen that would carry them along with a multi-media experience.Some technicians think mostly about the tech, so we as guitarists sometimes need to do a bit of thinking for them about the artistic presentation.Exempli gratia: I like to use two or three boom mics at a concert, sometimes switching over to a headset mic.  This is another “page” I've taken out of Tom Jackson's book.At a show I performed several years ago, I had a sound tech serving alongside me who was absolutely mystified about why I alternated between boom mic and headset mic.He asked, “Why don't you just use the headset mic the whole time?”I answered, “Because different songs will feel differently to the audience depending on the mic.  There are different levels of pressure and dynamics associated with the visual experience of having these mics in place. A boom mic creates a slight barrier and anchors me in place more than a headset mic, which opens up the visual connection with the audience and allows me to roam about the stage.” He didn't really get it, but he supported me in it because he had plenty of channels, and that's what really matters.I had one sound tech encourage me to use an almost invisible flesh-colored mic as I led worship.  But here's the problem with that.  I like to signal the congregation (and everyone on my teams) that we are about to sing, as I step up to a boom mic. And when I move away, that is another way of communicating that we are not singing at that moment.  The boom mic is a tool of communication even beyond conducting an audio signal.If I have a virtually invisible mic on, the congregation won't get that visual cue.  I'll have to try to look down and demonstrably cue them with my eyebrows, which can look a little forced. So certain mics work better for a worship environment, and others can work better for a performance environment.In my concerts, sometimes I incorporate audience participation, which necessitates me roving about onstage, and even out into the audience.  The wireless headset mic is perfect for this application.And my various guitar techniques, as well as different tempos, grooves, and even postures (standing, seated, roving about) will provide different dynamics for the audience to respond to.  Humor, during a concert, can be super enjoyable.  I typically don't try to be funny when I lead worship.So, it's important to “read the room,” and to “know your audience.”Part 3 - When Worlds Collide: Worship and Performance TogetherOccasionally, I find myself invited to a venue where I get to perform a concert and weave in some corporate worship.  The typical venue for something like this is a family camp or a harvest festival.  I love these opportunities.I also know what a delicate dance it can be to pivot to and from worship songs.  Typically, I will follow each worship song with a short prayer, not in a perfunctory “I guess we'd better pray now” fashion, but rather to help us transition from the worship song to the next moment in the concert.The prayer allows us to recalibrate and to reacclimate to the performance dynamic.Now, it's all about being “in the moment.”  If I have an audience ranging from five years old to 75, and I'm hoping to minister to them culturally, to keep the young ones engaged, and to simultaneously bless the senior saints with a rich message of substance, while performing some songs, incorporating some worship songs that most can sing along with, and weaving in some fun…I've got a pretty tall order to fill.But the good news is that the Lord can carry me through. Some of my work is in the planning of the set.  But some of it is just observing people as they respond (or don't respond) to what I'm sharing during the event.Fortunately, I mix the audio for most of my shows from stage, so I can skip over songs that might not work.  Even my projectionist works from a set list where he or she can jump to certain slides or videos if needed.So, in these family-friendly worship concerts, the set list is rarely executed exactly as planned…but the audience doesn't need to know that.  They're just there to be ministered to and led in some worship.So, I go into a performance/worship presentation with a deliberate plan, and simultaneously I have open hands.And then, after I get home, I sleep very deeply.Wrap-UpWell, today we talked about how a worship guitarist and a performing guitarist can minister in a few different settings, and we touched on a lot of key points related to preparation, execution, the ability to be in the moment and to read the room, and especially how to know our audience.This is definitely a process and a craft that takes years to become proficient at.  And if you're a worship guitarist, a performing guitarist, or you desire to be either or both of these, I hope you gleaned some wisdom today.If you've got questions, please offer them in the comments.  If you want to up-level your guitar playing, please check out GuitarSuccess4U.com where I'm actively serving and sharpening worship and performing guitarists week in and week out through a battle-tested online experience unlike any other.Thanks for experiencing my thoughts here.  Keep having serious fun as you play your guitar, and I'll see you next time.  Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…Today, we're going to talk about some intentional strategies for making your gear last, especially your music gear.Speaking of gear, I'm pretty excited today, because the podcast version of today's episode marks the debut of the use of my new Blue Yeti microphone.  I'm hoping it captures the nuances of my speaking voice even better than the way I was recording it previously.  In the podcast version of today's episode, I offer an A/B comparison between it and the Sony PCM-D50 Professional Portable Stereo Digital Audio Recorder, which I've used for all our previous podcast episodes up until nowHere's my new little recording setup with the Yeti.I'm not well-versed in the arena of sound equalization or E.Q., so if you are, and you get a chance to listen to the podcast version, perhaps you might offer a constructive thought in the comments that will help this sound even better. But I want to give a shout-out to my brother-in-law, Marc, for giving me the mic, to my friend Hollis for re-soldering it and giving it a more robust connection, to my sister-in-law, Tauryn and her family, for giving me a shock mount so the signal is uninterrupted by bumps to the mic stand, to my folks-in-law, Bill and Jane, for giving me a pop filter to prevent plosives with the ps and ts that will inevitably be a part of things, and to my wife, Whitney for ordering me the necessary cable so I can record to my computer, rather than to a portable audio recorder.Many hands do make lighter work.  I'm truly blessed to have this next level of gear, and I look forward to fine-tuning the mic, and the room, to make these episodes sound even better.Speaking of the next level of gear, let's talk about your gear today, whether it's your guitar, or anything you use to make your guitar sound good out there.I have a philosophy about equipment that I learned from my father.  And it's this: buy good gear, and take good care of it. He's got tools, fishing gear, and more.  And he usually goes the extra mile to buy a higher quality version of something, and then to take extra good care of it.Now, as we talked about in Guitar Serious Fun episode 25, “Is the Guitar Future-Proof?” there are some pieces of equipment that simply need to be replaced over time.But here are 10 ways to make your music gear last.1. Buy the best gear you can for the longest stretch.There are certain price brackets for certain types of gear that jump significantly based on the materials they are made with.  Sometimes, these are the cables or the hardware we use to conduct our signal chain.  Other times they are the software applications and there's going to be a discernable difference from product to product based on cost, or even within different tiers or versions of the same product. Lastly, as you might expect, some guitars are more expensive based on the woods they are made of, and whether aspects of them are handmade, and even the name of the luthier on the head stock.2. Handle your gear properly.I understand that this is probably a given, but I've seen people handle their equipment in a less than gentle manner. Exempli gratia: coiling cables.  I've seen folks wrap them around their elbow like an extension cord…wait for it – even sound technicians at churches.This is not optimal, since it can lead to faster wear-and-tear and a reduction in signal connectivity.  Instead, I recommend the over/under method with the large wrist motion and the small finger motion.  If you don't know what this is, reach out to me and I may be able to demonstrate it for you in one of my social media videos.3. Encourage others to treat your gear well.I did a show once with multiple other artists, and we all had our gear onstage.  I had a tuning fork carefully resting on a dish towel that was on a metal music stand, and I watched in disbelief as a drummer came up and grabbed it.  Before I could speak, he said, “Don't mind if I do,” and he began banging it against the top of the metal music stand.I stopped him and said, “I mind if you do.  That's a very precise instrument for tuning.  Can I show you how to use it?” He was a bit taken aback, but he was young and inexperienced, so I offered him a quick lesson in how I use the fork.  I tapped it against my knee and also against my elbow.  Bone is softer than metal, especially bone with some tissue over it.  Hitting a tuning fork against metal will eventually cause it not to be able to tune as well.  Other precise pieces of equipment need to be handled properly by us and others.4. Transport it well.When I go on tour and I drive, I carefully stow my gear in hard cases so that nothing gets damaged.  This includes my mixer, that I use to mix levels from stage.  Even if gear gets carried by folks who are helping me load in or load out, the cases I use are sturdy enough to sustain being dropped.  Not that I want to have any of my gear dropped…I just want to be ready for the rigors of the road.When I fly, I put “fragile” stickers on my hard case for my guitar, and in my suitcase, I wrap some of my more fragile equipment in some of my clothes. I even put some of my long pieces of equipment like my violin bow and the antennae for my wireless receiver – inside capped percussion tubes called Boomwhackers.  They serve as protective enclosures, but they're also a part of my show.  I love dual-purpose stuff.Anything I can do to protect my gear from being jostled about and getting damaged allows me to transport it well.5. Store it well.I had an IT guy who served our family for years who described some of our laptops like saddles for horses.  He said they'd been “ridden hard and hung up wet.”  I don't know much about saddles, but if they are mostly made of leather, and they're “hung up wet” they might not be as responsive the next time we get them out for a ride, right?So, having an instrument like a guitar put away well can be good.  What does this mean?  Maybe tuning it before it goes in its case or up on the wall.  Maybe wiping down the neck with a cloth so that the oils in our hands don't wear down the finish of the fretboard and further oxidize the strings.In our guest expert interview inside GuitarSuccess4U with the Master Luthiers of Mike Lull's Guitar Works, they talk about how even normal play can cause wear-and-tear on the guitar neck, simply because of the oils in our fingers.  They offer several suggestions like the one I just offered.  They also have some products they recommend for re-oiling the neck properly to protect it.  Basically, instead of just putting the guitar in its case, or on the wall, you can “hang it up dry” so that it's more responsive and has more longevity.6. Keep it maintained.Some gear, especially instruments, does better if it's been taken to the shop occasionally.  I again mention Mike Lull's Guitar Works – the only shop I've trusted since the year 2000.  They know what to do whenever I take my guitars to them.7. Only adjust and repair within your ability.One more shout-out to Mike Lull's Guitar Works.  I don't do anything to repair my guitars, and I don't even feel comfortable adjusting the truss rod.  That may sound crazy, but that's just where I'm at.For those who like to fix and set up their own guitars, you have my respect.But because I play in so many alternate tunings and have customized electronics, a bone nut and bone saddle, and my instrument is so unique, I'd rather not be the one to adjust and repair it.  That's just my preference. I love to pay people to do what they do best.  I've had people ask me to work with them on capturing their music for an audio recording.  That's just not what I do.  I'm not a studio engineer or a producer.Instead of building out a studio of recording gear, I've instead chosen to focus on my song craft, my stage presentation, and the content creation, like what you're experiencing right now.To try to be “jack of all trades / master of none” does not appeal to me, so again, I'll delegate to someone who can capably adjust and repair my gear.  When it comes to Mike Lull's Guitar Works, I really don't trust anyone else.As for cables, I met someone on my tour who does a great job with soldering and heat-shrinking my cables, so I go to him to do that; otherwise, I'd probably damage my cables if I tried.If you have someone you trust to do adjustments and repairs (even if that's yourself), great.  But if you don't trust yourself, like I don't trust myself, there is strength and wisdom in delegating these tasks.8. Beware of dust.If an instrument is sitting out for any length of time, specifically a mixing board or a keyboard, there can be a very real possibility of getting dust in between the knobs or the keys.  And dust, over time, leads to a faster decline of the instrument's operational capacity.All it takes is a cover to keep this from happening.  I have a custom-shaped cover that stretches over and protects my keyboard.  The cover I bought for my mixer is a bit smaller than the mixer itself, so I use a piece of gaff tape to hold it on…or even lay a black dishcloth over it.  This works in a pinch.And as a bonus, if my gear is set up at a concert venue, having the mixer covered can keep curious hands from wanting to turn the knobs.  This has happened in the past. 9. Loan your gear out with care.There are lots of words of wisdom out there, including Polonius' soliloquy from Hamlet in Act 1, Scene 3, where he says, “Neither a borrower nor a lender be.”  Now, this involves money, but I'd say that these words of caution could inform whether we choose to loan our instruments or equipment out.I don't want to get too caught up in protecting my equipment that I don't have a gracious, generous spirit, but I will say that I've loaned out gear, only to have it returned in worse shape than when I first had it.  I loaned a prized signed DVD to someone of a live concert, and it came back heavily scratched.  It still plays, but it was clearly left “reading face down” on a table or something.I've had other pieces of equipment borrowed and returned in less-than-optimal condition. I'm not trying to hold onto the past too tightly, but I do think we can learn from these kinds of experiences.  I also wouldn't feel comfortable loaning out my best guitar to someone.  I'm all right having them play it as I supervise, but I'm not ok with it leaving my sight for any amount of time.  It's just too dear to me.  Lastly…10. Keep your gear safe.“Safe” is a subjective term, because a measure of safety for one person may be very different from another.  Some folks would say leaving your guitar in the trunk of your car in a parking lot while you go shopping is “safe.”  I would not, for two reasons which you may be realizing even as I speak to you. First, if someone wants to, they could “borrow” your guitar out of your car without returning it for the rest of your life.  In plain language, I'm talking about theft.  I know people this has happened to. The other reason why I don't recommend leaving a guitar in your trunk is this: if it gets warm outside, so will your guitar, and if it's a particularly hot day, the glue that holds your instrument together could melt, thereby turning the instrument into firewood.  Another tip I have is to take photos of your guitar so you can identify it, including the serial number.  In the case that it does get stolen, and if for some reason it resurfaces in a pawn shop or an online re-selling retailer, you can produce documentation of the serial number and hopefully re-claim it.These are just two tips from a special PDF and video I offer my members inside GuitarSuccess4U.  This bonus is called “10 Ways to Keep Your Guitar Safe,” and it unlocks with Lesson 12 in the Foundations stage of our Success Path. I encourage you to join GuitarSuccess4U, not just for that collection of wisdom, but also for access to an entire battle-tested Success Path with six incredible stages, plus eight guest expert interviews that represent hundreds of years of collective wisdom, and lastly, a community of like-minded followers of Christ who are also pursuing their dreams on the guitar for the glory of God.So, buy good gear, and take good care of it.  These are the 10 tips, one more time:1. Buy the best gear you can for the longest stretch.2. Handle your gear properly.3. Encourage others to treat your gear well.4. Transport it well.5. Store it well.6. Keep it maintained.7. Only adjust and repair within your ability.8. Beware of dust.9. Loan your gear out with care.10. Keep your gear safe.Well, I hope today's episode offered you some tangible tips to enrich your journey as a guitarist and as a musician.  Our gear is essential to our art, and for many of us, it makes the difference for how well a musical offering is presented.  We want our gear to work well for us.The key is to take care of our gear, so that it will take care of us.If you have anything you'd add to this list, please offer your suggestion in the comments.  I'm honored to share my insights with you here, and as you've probably gotten the sense of, I count it a privilege to minister to the members of GuitarSuccess4U as I share from my almost thirty years of experience doing this thing.If you want a glimpse at what we offer inside the membership, please head on over right now to GuitarSuccess4U.com.  It's designed for a very specific niche of guitarists, and perhaps you are in that niche.  It could be exactly what your guitar journey needs right now.Thanks for experiencing today's episode.  I'll see you next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Welcome to episode 22 of the Prodigies Music Lesson Show for Kids, where Mr. Rob leads us through some more Chromatic Solfege and helps us discover lots about Boomwhackers and Sustain!

Die zwei Geschwister aus Aschersleben gehen mit ihren Videos überall viral. Als Tillimary interpretieren sie Hits mit Boomwhackers und begeistern 10tausende Follower. Tobi Kluge hat sie in seinen Proberaum geladen.

You might be passionate about both teaching and something else. Maybe you love inspiring your students and teaching them in new and exciting ways while also pursuing passions outside of teaching. If this is you, then you don't want to miss this conversation I had with the amazing Melody Jenkins. Melody Jenkins is currently in her third year teaching elementary general music. She holds a Bachelor's Degree in Instrumental Music Education and initially wanted to be a band director, but fell in love with teaching elementary during her student teaching. She is also known as "The Chromatic Music Teacher" on TikTok, Instagram, and YouTube, creating covers of popular songs using Boomwhackers and sharing stories from being an elementary music teacher. Melody loves being able to share her love of music not only with her students, but also with the world through social media.  Connect with Melody here:  TikTok: @thechromaticmusicteacher Instagram: @thechromaticmusicteacher YouTube: The Chromatic Music Teacher Website: www.thechromaticmusicteacher.com Grab your free ⁠⁠Simplifying Lesson Planning guide.⁠⁠ Sign up for⁠⁠ teacher coaching ⁠⁠or ⁠⁠business coaching⁠⁠ with Jessica. Get your copy of ⁠⁠Make A Note: What You Really Need to Know About Teaching Elementary Music⁠⁠ Join the ⁠⁠Facebook group. ⁠⁠ I'd love for you to leave a rating and a review of the podcast on I-tunes, be sure to share the podcast with any music teacher friends who would find it helpful and be sure to tag me on ⁠⁠Instagram⁠⁠ or ⁠⁠Facebook.⁠

Transcript included below…As I string these words together, I've just come from a musical rehearsal I've been leading, where I simply tried to do too much with the limited time I had. I felt my emotional intensity rising as I glanced at the clock, knowing that there would not be enough time to do the remainder of the songs well. What was I trying to do?  Well, with my musical creativity, I brought several untested exercises and some creative musical tools into the mix, and really, the task list was already pretty long.I knew, in the back of my mind, that things were much more hectic and rushed because I had tried to cram too much additional optional musical activity into the early part of the rehearsal.How in the world could I have done this more effectively?  Well, upon reflection, I am noticing two words: “untested” and “optional.”  Both of those words need to be carefully examined. The reality is that if something is untested, it can be super fun, but it might not be “wired tight,” so to speak.  And before we know it, we've run long and have shortened the remaining time for other elements.If something is “optional” it needs to be considered a possibility, but also a lower priority. Perhaps I could have tested and timed the exercises, and then lined them up with the time that I knew would be taken up by other required activities for the rehearsal.It's really nothing that a simple stopwatch couldn't have solved, along with a bit of repetition to hone in on what was possible and/or needed.The Law of Diminishing ReturnsHave you ever come across that phrase?  In basic terms, if we keep everything constant (including a timeframe) but increase the amount of things we want to get done in that timeframe, we'll eventually reach a point where we will be less productive. We'll hit a point on a graph where things will actually start to diminish, instead of increase.So under those circumstances, “more” eventually results in “less.”But here's the thing.  It can be hard to know where that point is, until we hit it. It's sort of like an invisible laser that triggers an alarm.  Once we cross that point of trying to do too much in too short of an amount of time, we know it, but it can often be too late.  Often, the resulting side effects are frustration and stress.And not just for us.  This can also happen for our collaborators.If time had not been so limited in that rehearsal, we would have been able to get a lot more done, in an unhurried fashion, and those untested and optional elements I had brought to the conversation would likely have fit into the mix.But as I mentioned, the timeframe was a constant – it was a limited amount of time where after a certain point, everyone needed to leave. Something had to give.  And it's my opinion, having learned from this, that it makes more sense…to often do less.  And what are some environments where we can err on the side of “Less is more?”  Let's talk about several.The Worship Team RehearsalThis is a group of people, paid or unpaid, who gather to rehearse in some worship tunes.The important question to ask is, “Does the band know the tunes?”I suppose there are varying degrees of how well a band knows songs.  They could have a cursory knowledge, having listened to them on the way to rehearsal. By contrast, they could have them memorized forwards and backwards, to where they could jump in at any point and find their way in seconds.Let's say the band is planning to rehearse songs that are pretty familiar to them. In this scenario, they have 5 songs to prepare, and their rehearsal allows for 90 minutes.  They would still have a 1-hour run-thru to look forward to on Sunday where they would finalize the songs, but the goal of this rehearsal is to help the band gel together.There are all kinds of potential variables, but let's say they know each other well and have played together a lot. Let's say that the songs are average length – 4 or 5 minutes, and that they don't present too many potential pitfalls with odd keys or time signature changes, but that some of the band members haven't played a few of the songs very much. How much time to spend on these five songs?  If I were leading that band, I'd budget a total of 15 minutes per song.  10 minutes for working out any elements that needed to be worked out, and 5 minutes for a final pass. So with an opening prayer and a quick sound check, we'd be 10 minutes or so into the rehearsal, if everyone lands on time. Then, we could spend about 50 minutes working the set, dialing in some of the subtleties. That's our first hour.  I'd open it up for questions at that point, and then if everyone was all good, we'd run the set, maybe with some simple verbal cues as placeholders (announcements, sermon, etc.)  and then as the set wraps up, we'd have a moment to close in prayer and pack up, keeping the rehearsal at an hour and a half.But what has the potential to compromise this infrastructure so that we actually run out of time?Well, there are all kinds of possibilities.  Someone could arrive late, someone could be unprepared and need extra coaching, there could be a crisis that needed to be prayed over.We could have a tech glitch – ever had one of those?  Troubleshooting can eat into the rehearsal time.  Or maybe there's a totally new song that warrants extra time, like twice as much as any of the others.If we only have enough time to get everything done if the scenario is perfect, we could be setting ourselves up for some frustration.  Better to leave a little margin, or at least to know what the team is capable of, as we plan.And if we need to run long with the rehearsal, we would do well to make sure everyone buys in on that. If a rehearsal ends on time but there's still work to do, I always take the measure of making sure everybody knows what they need to be working on in anticipation of Sunday.If absolutely necessary, a song can be cut from the set at some point.  We don't need to chase perfectionism, but we do need to work within the time parameters.The Worship ServiceWhen we get to Sunday, I don't like to add anything new.  I've done this, and it has either resulted in the band struggling, or at the very least, technicians who feel put on the spot because they thought they had the whole picture handled.Some people love a last-minute change, but not the technicians I've served with.  They're doing their best to accommodate multiple variables, and adding something last minute does not equip them well.The only change I might make to a Sunday morning, as mentioned a moment ago, would be to cut a song.  But I'd do this with the buy-in from everyone from pastoral leadership to technicians, so no one is surprised by the change.It's much easier to remove an element than to add one.The Professional Band PracticeThis could refer to a cover band, a house band, or a bluegrass band, but you get the picture. A professional band has a similar paradigm, but there's a bit of a higher bar that's set for preparation and execution.  Given the same amount of time, they will likely get through more material.But here's the thing – there's an additional level beyond technical proficiency with these songs; it's the ability to perform the songs well. Working the song set with transitions, angles, and all those things that help make a concert dynamic, and it's something I learned from performance coach Tom Jackson.Even some of the most seasoned bands out there don't dedicate time to cultivating the nuances of their live show. Sure, they play their songs, and often very, very well…but much of the audience, in the words of Tom Jackson, doesn't know whether the performer is singing High C or drinking Hi-C.  The audience just came to enjoy a great performance.So, if the pro band has 90 minutes (which may only be a quick rehearsal), they may have 10 memorized songs in hand.  If they run each song once, they may stay under an hour.  But the remainder of the time could be spent working onstage interaction: visual handoffs, humorous moments, and more.It's my conviction that a rehearsal is a great opportunity to do some next level work beyond the solo practice, so the better prepared the individuals can be, the further the group can go.The Solo Practice TimeSpeaking of, a solo practice time is a different paradigm.  We're not influenced by collaborators when we practice alone.  And we may not choose to ask as much of ourselves as we work out our skills and repertoire in our “man cave” or studio.Perhaps a beginning guitarist can commit to 15 minutes.  I'll ask a loaded question – would it make sense to try to get through four songs in that timeframe?  Nope.I'd say a good strategy here would be a couple warmups or stretches (3 minutes) some skill-building exercises with strumming, chords, or fingerpicking (7 minutes), ending with a song that's already gaining momentum (5 minutes.)  Finishing with actual music is very rewarding and reminds us why we're doing what we're doing.A more advanced guitarist could simply scale this approach to 30 or 60 minutes. I would keep warmups and stretches at just a few minutes, but maybe focus more on technique (perhaps 20 minutes), ending with repertoire building. Side note: it's always good to expand our repertoire, but also good to work on our existing repertoire, to keep it fresh.So, less can be more in a solo practice time.The ConcertDepending on the number of performers, the variety of skills available, and the attention span of the audience, there can be a wide range of what is offered at a concert.  I'll speak personally from my shows in a few different settings.When I had a band, it made sense to use the band for most of the time, but for one or two songs, a piano ballad could “cleanse the palate.” My drummer was actually gifted with a very good tenor voice, so we surprised the audience when he set down his sticks and sang some harmonies.But in general, the band show was pretty streamlined to be a three-piece with me on guitar, and then my bass player and my drummer. In those years of touring, it made logistical sense to have that simple setup, and to use what we had to present some dynamic and groove contrasts.But when I went solo, which has become the majority of my career, I broke into more sonorities, because I was just one man up there.If I played for a focused adult audience with a long attention span, I'd use fewer instruments, like guitar, hammered dulcimer, and maybe piano.But if I played for a young audience, like a school assembly or a group of wiggly young campers, I knew that I needed to be constantly changing the focus. To this end, I used a loop station (a recording device for live performance) that involved multiple implements (percussion, Boomwhackers – which are pitched percussion tubes, and some hand rhythms on my guitar).  I also sang into the sound hole of the guitar and stacked my voice.Add to this the element of audience participation (whether with people “naming that tune” or actually coming up onstage for a musical exercise that was fun and message-driven), and I had quite the varied show.But there was a price to be paid.  And it was a car filled to the top with gear…sometimes including a portable sound system.  And as I've learned, not only does equipment have a monetary cost, it also bears a set up and tear down cost, to say nothing of load-in and load-out.This has made those multi-faceted performances a labor of love, because not only am I pivoting after every song to a different instrument or piece of technology, I also need to rehearse more at home to make sure those transitions are solid.I now mix my live show from stage, so the 16-channel mixer is something I'd also classify as an instrument.  I'm constantly muting and unmuting channels, depending on which instrument I'm playing.  So I have to ride the wave and check myself. In addition to playing the guitar, I also play piano, hammered dulcimer, banjo, and the Chapman Stick, and I can do some acappella songs as well with my looping technology.  I don't typically bring all my instruments to a show.  I usually leave one or two out – but not my voice, of course.I'm also always evaluating my performance to see which elements need to be added or taken away.Why?  So that I can bring something different to the venue next time and because…less is more.It's been possible for me to hold my audience's attention with far less gear, when I haven't had a choice.  How do I know this?  Because I've flown to some shows, where I could only bring a guitar case, a suitcase, and a shoulder bag.  That's a very different capacity from a full SUV.The Lord gives us what we need to do His will. We also need to be sensitive to what would be appropriate to the venue.  And really, even some of my venues will have perpetual wigglers in the crowd, because they're all sugared up with root beer floats they just consumed before my show, etc.  Even all my gear and all my fast songs might not be enough to accommodate their attention span.It doesn't all rest on me, but I do try to find that fine line in a solo concert where I'm blessing the audience and not wearing myself out.  I like to be “good tired” after a show.The ShowcaseOccasionally, I'll be added to a mix where I get to play just one or two songs, and that's it.  My time slot is 5 or maybe 10 minutes because I'm sharing the stage with half a dozen other performers who have a similar allotment. This could be at a conference where multiple presenters are part of a general session.  I've done this many, many times.I also know that there are college showcases where people register as performers, pay some good money and travel a good distance, so as to be up in front of college recruiters who are looking for talent to share with their students.  I haven't gone this route, because although I've played for a few colleges, it's not my main target audience. But the time slot for these kinds of things could be as little as one song, maybe two.So, what's my mindset for a showcase?  Pack as much into those two songs as possible?  Maybe.  But a better thought would be contrast.What could I do between those songs, or even in the middle of one of those songs, to show different sides of what I can offer?Think about your songs for a moment, and consider which songs might exhibit different sides of your lyricism, technique, tongue-in-cheek humor, or whatever you think the audience might appreciate. My most recent showcase was for the Christian Musician Summit, a conference that has been around since the early 2000s, and for which I've taught since 2007.I had 15 minutes.  And guess what?  My audience was all musicians.  Talk about intimidating.  Many of them were professionals.I started out with an original song called “Satisfied” to warm up the crowd, then played a tongue-in-cheek blues song I wrote called “Blues for Lazarus,” and then finished with my rendition of “The Little Drummer Boy,” mostly because Christmas was right around the corner.My song choices allowed for different tones, tempos, techniques, and even looks.  But they were all on the guitar. By tones, I mean joyful, clever, and innovative.By tempos, I mean upbeat, medium, and intense.By techniques, I mean strumming with a partial capo and palm muting, then touch-style blues, then “August Rush”-style Christmas tapping.As for looks, my first song began with me standing at a boom mic, and then I switched to a headset mic, for which I sat on a stool to play the second song, and then I stood with the headset mic for the third song.Did you catch it?  All three songs were with just one guitar.  No instrument switching.  I was very limited by time and instrumentation, but I offered a lot of contrast.   Each song felt totally different...all within the limitations of just my guitar and my voice.And the audience was very appreciative.So, the showcase seemed to be a great place where “less” was “more.”The Artistic InterpretationSeveral years ago, there was a viral video out there of a drummer who played on the Hillsong song “Oceans (Where Feet May Fail).”  Bless this guy – he could play those drums.But there was something about how he played that seemed out of alignment with the script of the song.  There's an instra break about 2/3 of the way through where the band takes over, but this guy really took over.  I mean, he played as many notes as he could.His interpretation, in my opinion, was too much.I like when a musician plays less at times, because they can. Brian Reding, my producer, who is also one of our guest experts in my online guitar experience called GuitarSuccess4U said in our interview that it actually takes more skill and experience not to play. It takes more courage.  It's easy to just play a bunch of notes.  Playing less sometimes takes more effort.So, depending on the song, there could be room for “less” musical articulation, so as to let the song “breathe” a bit more.  It depends on the song, but the first step is looking and listening for opportunities not to play.  That way, when we do play, it means more.The Songwriting SessionThere's a rather intense phrase out there that says “Kill your darlings.”  But where it gets its roots is in literature.  Sir Arthur Quiller-Couch and Stephen King, both writers, basically said we need to get used to the idea that not everything we create needs to be shared…at least not in its current state.It's ok to create – don't misunderstand this – we need to create as much as we feel called to create.  But certain things need to be prioritized in terms of how much they are brought forward and presented to an audience…especially when they're not ready.Some of these creations need to be re-shaped.  Someone once told me, “Great songs aren't written; they are re-written.” Imagine if some of the greatest songs out there had been recorded only in their first draft form.  I reckon that the quality of these offerings might be significantly lower.I know this, because as a songwriter, I know what it's like to stare at a version of an original lyric or progression and say to myself, “It's good…but I know the best version of this is not here yet.”I wrote a song for my father called “I'll Tell You Now.”  It's a very reflective fingerstyle ballad about telling our loved ones that we love them…while there's still time.As I wrote this song, I went through revision after revision.  I woke up at 3 a.m. with the third verse.  When the song finally coalesced into its finished form, I had made 13 drafts to get it right.I had to “kill” each of the previous revisions so that it could be recreated as a subsequent draft.  But it was worth it.I was in a songwriting workshop where the presenter said that some people have brought him their songs and said, “God gave me this song,” to which the songwriting coach has harshly responded, “I see why – He didn't want it anymore.”Ouch.But sometimes we need a bit of a reality check to realize that not everything we write comes out perfect at first.And this can lead us to yet another instance where “less is more.”The AlbumI'm not sure if you aspire to record an album, but it can be the culmination of an artist's efforts.As of this episode, I've recorded and recouped four professional albums.On an album, there can be wonderful contrasts where some songs have full textures and others are more minimal…and yet, they all still feel like they come from the same artist.My latest album kicks off with an easy shuffle medium tempo tune, then moves into a full-tilt funk tune.  Then, I have a world-beat reflective tune, and then the fingerstyle ballad, “I'll Tell You Now,” which I alluded to earlier. All of these songs sound like me. What has had the most impact on people?  I've gotten a ton of positive feedback on the fingerstyle ballad.  Brian Reding, whom I mentioned earlier, produced my album and provided all the instruments besides my guitar and piano.He had to do very little with “I'll Tell You Now”…mostly some gentle keys, cello, and a little synth.  We didn't even do background vocals.  Less was more.I'm always wary of producers who want to add instrumentation and extra vocals just to fill the texture.  This can lead to over-producing.James Taylor, a guitarist and singer/songwriter whom I've followed for many years, included some rather poignant liner notes in one of his albums as he expressed his gratitude to the players on the record.He said: “Thanks for the notes you played, and for the notes you didn't play.”Again, for some of the songs, less was more.So, if you've got a production mindset and want to record an album, do a lot of listening – to your own stuff, but also to the musicians whose music you admire.And then look for ways to peel back layers and reengage the ears of your listener as you arrange the songs for recording, sometimes with full textures, sometimes with sparse textures.When Less is Less and More is MoreI realize that by closing this discussion with a contradictory argument, I may be undoing what I've been putting together today, but hear me out.There's something to be said for variety.Some performances incorporate literally hundreds of onstage musicians, to say nothing of the vast technical support they need behind the scenes.These people are capable of variety.If all I do is play instrumental guitar, I can still present variety in my fingerstylings.If I'm more of a ballad musician, I can still bring lighthearted moments to add variety my song sets.But once in a while, it's important to add something to the mix just to change it up.  Remember how I mentioned that my drummer sang harmonies?  That's adding more.Doing a multi-generational concert as a solo artist sometimes takes more – more gear, more transitions, more contrasts.  But it does help keep the audience engaged.It's all about meeting the paradigm head on and doing what you do…well.The German philosopher Johann Wolfgang von Goethe once said, “It is working within limitations that mastery reveals itself.”  If we have limitations, perhaps that's an opportunity for our mastery to be cultivated and revealed.So, as you look at your scenario for music, whether it's the worship team rehearsal, the worship service, the professional band practice, the solo practice time, the concert, the showcase, the artistic interpretation, the songwriting session, or the album, perhaps today's discussion has helped shed some light on where you can focus.And perhaps you'll find darlings to kill, or at least words or notes to re-finesse, so that you can make things just right.  Be ok with saying “no” to adding some things to the mix, so as to avoid the point of diminishing returns.But don't forget to have – you know it – serious fun.Hey, leave me a comment if something about this episode rang true for you.  I'd love to hear from you.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Resources:https://www.nytimes.com/2005/07/31/education/edlife/boomwhackers-instruments-of-democracy.htmlhttps://musicworxinc.com/2021/10/18/5-interventions-incorporating-boomwhackers/https://people.uwec.edu/rasarla/research/percussion/boomwacker.htmhttps://theinspiredtreehouse.com/boomwhackers-10-fun-ways-play/[MT&B podcast] Ep. #72 - “How to Use Uncommon Instruments in Music Therapy”https://open.spotify.com/episode/4dKZwojBZqekQ0ZTPu4ulK?si=a31549da4b804944Shop the Boomwhacker collection in the MT&B Shop!https://www.musictherapyandbeyond.com/shop/boomwhackerBoomwhackers Product Site: https://boomwhackers.com/collections/boomwhackers%C2%AE-musical-tubes Thank you for listening. We appreciate your feedback, please rate and review wherever you listen. If you like the show, please subscribe and share with a friend! ——— Stay in touch at https://www.musictherapyandbeyond.comFollow us on Instagram @musictherapyandbeyond Follow us on Facebook at https://www.facebook.com/musictherapyandbeyond

In this podcast episode, Aileen interviews Ms. Jenkins from the Chromatic Music Teacher about her favorite activities for the music room, how she uses Boomwhackers, what it's like to be a new music teacher in 2022, and more!

Was für eine Freude, die Corona-Massnahmen wurden aufgehoben! Aber damit kommt auch die Zeit der unangenehmen Begrüssungs-Handschläge zurück. Wir stellen uns der unendlichen Akwardness und sprechen ab sofort wahllos wildfremde Menschen in der Öffentlichkeit an.

WARNING your ears may hurt during the intro!!!! The lads talk about their busy weekends, Body armour review, Boomwhackers! Lot of exciting things happening! Get around us on our socials at https://linktr.ee/OpinionsUnqualified

Alison Stevens is a music theorist and ringer, currently in Vancouver, formerly of Smith College via UMass Amherst.We discuss how we approach the teaching of ringing, drawing on experiences in the classroom, in front of an orchestra, and even in dance halls. (You can see an example of contra dancing in this video, and hear more on the structural similarity to ringing in episode 003: Myles Dakan.)Despite our focus on methods of teaching, we do discuss many (ringing) methods for teaching, including Bastow*, Penultimus, Very Little Bob Minor, St. Simon's/St. Martin's, and 41 Surprise Minor Methods. (* - Alison and I are, unfortunately, imprecise with our language and use "Bastow" as a catch-all, ignoring the Bastow/Bistow distinction. Please forgive us.)Boomwhackers make themselves known! Here is a video of THUD! boomwhacking "Africa."Currently, Alison's been busy developing apps for ringing.Thank you, friends.

Chris Judah-Lauder  Bio: Chris Judah Lauder, a Past President of the American Orff-Schulwerk Association, served as the 2017 AOSA National Conference Chair in Fort Worth, Texas, 2009 AOSA National Conference Chair in Milwaukee, Wisconsin, 1995 AOSA Local Conference Chair, and is currently serving as an AOSA mentor. She earned her Masters Degree in Music Education at Indiana University in South Bend, received her Orff Schulwerk certification at University of Illinois University, Urbana-Champaign and completed an Orff Master Class with Richard Gill. She has forty years of experience teaching music, movement, recorder, singing and drumming to K-8th grade students in public, private and independent schools. She was the Fine Arts Coordinator for Good Shepherd Episcopal School in Dallas, TX and co-wrote the Music Curriculum for GSES and the Catholic Schools in the Archdiocese of Indianapolis, Indiana.  Chris’ Orff Ensemble was selected to perform for the Opening Ceremony for the 1995 American Orff-Schulwerk Association National Conference.    Her Orff, Recorder and Drum Ensembles were also invited to perform under her direction for the Texas Music Educators Conferences in 2000, 2003, 2007, and her Drum group performed for PASIC in 2000. Her middle school students recorded a CD titled Select Beats in the Charlie Pride Recording Studio. She has taught Orff Schulwerk certification courses to adults at fourteen universities over the past thirty years, presented over 200 conference sessions and workshops at national conferences, state music educator’s associations, school districts, and Orff chapters throughout the US, Canada, China, South Korea.  She is currently serving as a Music Consultant for Title One schools in Texas, working directly in the classroom with the music teacher.  Mrs. Judah-Lauder was a contributing senior author to the 2004 McGraw-Hill textbook series Spotlight on Music and has published articles in The Orff Echo, General Music Today, Reverberations, and GSES publications.  Chris has seventeen publications including:  Drum with a Passion, To Drum, Canya Conga, In the Modes (Beatin’ Path Publ); Fun with Boomwhackers®, Boom Boom Classics, (Warner Brothers/Alfred); Recorder Games, Recorder Success, It Takes Two (Sweet Pipes); and Games Groups, and Gems (Heritage Music Press).   Afternoon Ti Links: Blog Instagram: @highafternoonti   Intro/Outro Music: Our Big Adventure by Scott Holmes

In this episode we go over a local story regarding some bad weather for a weatherman, talk our double feature movie review and go over Shaggy's latest outing. Listen/Download Direct Download/Listen Link Topics Covered April the giraffe on birth control Kevin Hart Eyes ‘Scrooged’ Remake At Paramount Honest Government Ad Michael Douglas creates own Hollywood-style trailer in desperate bid to sell £26m Mallorca mansion Africa by Toto on Boomwhackers! NY lawmakers want to legalize prostitution Movies Reviewed The King of Theives (Amazon) Dirty Dealing (Amazon)

This week we had a good long chat about summer camp Staff Commitment and how to get staff engaged in their job.   It was really fun to welcome two guests this week: Beth Allison from Walking Maverick Consulting (a business and summer camp consulting company. Full Disclosure: Beth is my wife and long-time camp co-director) and Adam Issadore who’s involved in teaching drumming at summer camp with his Path To Rhythm Company. LINKS - NEWS ABOUT THE CAMPING/RECREATION INDUSTRY Homesick or Kid sick – advice for parents Is summer camp dying? (The Week) We are Camp Campaign featured in CCA newsletter Sunset for an American Tradition (Christian Science Monitor) PICKS OF THE WEEK – A TOOL THAT WILL MAKE YOU A BETTER CAMP DIRECTOR Joe - Delivering Happiness – book Travis – Timer light switches Beth – http://www.musiciansfriend.com for Boomwhackers Adam- Maglite Flashlight  

This is episode 3 of the Orffsite Show Podcast, for December 12, 2009. This podcast is designed to show how I'm implementing the Orff Approach in my elementary music classes. This show's topic is Holiday music. See how I use the Orff Approach in singing, moving and playing instruments. Thanks to Carl Vasta for his Bluegrass Jingle Bells. http://www.carlvasta.com/Bluegrass_Jingle_Bells-MP3.html Other materials include Phyllis Weikhert's book, Teaching Movement and Dance, Music from Rhythmically Moving 6, Jeff Kriske and Randy Delelles' Game Plan Grade One book, and the music of Vince Guaraldi. Thanks especially to the students of MST, Richardson ISD.

Recordings made in 1st through 5th grade classes during the week of February 12... Valentine's Day, Boomwhackers, singing in German and more!