When I taught middle school, I took the job after a woman who taught the kids solfeggio.  They learned so well that she would feature them sightreading in solfege in 4 parts, at their concerts.  She would hand them an example and they would write in the syllables, she'd let them sing the scale of the piece, and then they would find their first pitches and go.  I think most high quality programs use this system, as do the majority of professional level children's choirs.  It is not hard to make it fun, through the use of Curwen hand signs and games you play with it ("name that tune" in solfege, the "think" game, etc.)  It helps all ages of kids to learn to keep the whole key in their mind while they link the pitches on the page to their place in the scale.   Like you, I was not taught the use of solfeggio at my college (I can't believe it) - teaching was the start of my experience with it.  I have used it for 27 years thereafter.  Nothing works better for training the inner ear and then making the jump to notes on the staff.  

 

 

Hi, Angela.  One word:  Kodály!  Get ye to a good summer session, start at the beginning on Level One, and learn how to teach.

 

The problem, you see, is that if your middle school students haven't come out of a solid, structured elementary program that has taught them to read, you'll have to take responsibility for that yourself.  It's a little late in the game for them to start, but they learn awfully well at that age.  And yes, my wife (who's the one in the family with the Kodaly background) used it both in her elementary music classes, her Children's Choir at church, and her Choristers Youth Choir at church.  After her first round of cancer treatments her keyboard skills had deteriorated.  (The chemo treatments do that to you.)  So she had no choice, but she also had Level 3 Koday Certification and used solfege in all her rehearsals.

 

But my impression is that you can't simply stop playing the piano and expect them to start sightreading without giving them the training that's needed and that's provided through Kodaly methodology and materials.  Orff is also very good, but it's based on a different philosophy and designed to produce different results.  Reading music well is built into the Kodaly methodology, but not into the Orff.

 

All the best,

John

Hi Angela,

 

I'm glad that you are already seeing ways that you feel you can be a great educator.  I absolutely think that you can teach middle schools (even elementary aged students) how to sight read.  Teaching our students musical literacy makes them independent musicians...In my opinon, the earlier the better.  I suggest checking out a few resources when you have your own choir (or ask if you could implement some of the idea's with your co-op's group. 

 

Sing at First Sight series (by Alfred) a straight forward text that sets students up to be successful.  I don't like to use it sequentially (because it starts with only quarter notes and "do" and "re") and since we don't have that in choral music as a "starter", I like to use what it is in the book to HELP me with my repertoire. 

 

Progressive Sight Singing by Carol Krueger.  This text is a college level text book, but it has changed how I teach sight singing in general, so you could use it with any age group.  Dr. Kruger does workshops (she is doing one this summer at Shenandoah University in Winchester, VA) on how to teach musical literacy. 

 

www.takadimi.net - I am a convert to takadimi. I used the tradtional "ta" "ti-ti" method for the first 5 years of my teaching and have switched to this...my students are able to read more difficult rhythms, much faster because of this method...I suggest you check it out...it is a matter of preference as methods are a means to an end, but I really like it.

 

Shoot me an email and I can give you some more hints, etc.  Are you going to the All-Eastern conference at the end of the month? I will be there presenting on this very topic!

 

Hope this helps!

 

Kyle

I'm with Kyle --- TAKADIMI works wonders, especially when used as part of a comprehensive system based on current learning/brain research. Google "Sound Connections" by Don Ester. It's a self-published and sold book with an approach to sight singing based on that research (with the research all included, so it explains WHY you are doing what you're doing) -- and with the purchase of the book, you get license to copy and make transparencies of all the materials in the book for your use. It uses TAKADIMI and Solfege and guides you to have your kids train their ears, read, take dictation, and improvise. Best $35 I ever spent for my future students.... I don't teach yet, but I have friends who have been using this approach for a few years now with amazing results. Good luck!

I learned to read music in middle school (it was called Jr. high school then!); my teacher used movable-do solfege. I believe chorus was mandatory and we all learned it. No problem.

 

I'd also like to recommend a book I cowrote for learning to read rhythm: You've Got Rhythm: Read Music Better by Feeling the Beat. It uses spoken-word rhythmic compositions and simple gestures to read and feel the rhythm at the same time. The method is fun and effective. Info at:

http://fleap.com/ygr.html

 

Anna

Based on my experience your hunch is correct.

I direct a middle school ensemble that meets for 1 hour weekly.  Our accompanist comes in by appointment only, so this group of students must rely on my limited piano skills (I'm ashamed to admit it!) for routine rehearsals.  I've found that because I pick out notes and then tend to just let them move forward with it, unaccompanied, they are better sight readers then other students I have who have the accompanist ready to play.

 

About half of these students have solfege in the public school choir, the other half have never sung before and are rank beginners.

I would only add - that the sight singing with whatever method you use (Solfege is my preference) is paramount.  Getting away from the piano develops great ears! Only wish I had been trained (brought up using it), once I began teaching myself, my students became much less reliant on me............and isn't that what we are striving to do.  You can and should give them those skills.  I wish I was starting all over again with what I've learned so late in my career.............oh well!

Absolutely possible. It requires consistent daily use but it is possible.

I recently became acquainted with the book Movable Tonic-A Sequenced Sight-singing Method by Alan C. McClung. It is wonderful and is a systematic, step by step approach.

 

Some of my ensembles are small and they come into my office individually and a sing a line of solfege with hand signs every day. It builds confidence. We also sing as a group.

Hi Angela-

Not only is it possible - it's crucial - if we aren't teaching them to read we aren't doing our jobs.  One is not an independent musician if relying on someone else playing piano to make music, but sadly, this is the case for so many singers.  Reading music should start as early as possible!  I agree with the other comments about solfege, Kodaly and other systems, and sticking with a system, whatever you choose.

 

Having said that, inspiring confidence and moving your students towards success is not neccessarily easy.  A few things that have worked for me...

 

My students have the most success for sightreading melodies when I put exercises on the board in front of the room and all eyes are in one place.  When I give out copies of the music, I can not guarantee that everyone is looking in the right place, and they hide behind the score!  Then I point to each note as we sing.  Eventually, I have student leaders come up and point to the notes, then encourage them to do the same thing in their music when they get a new piece. 

 

Build confidence singing a capella with pieces they already know, and with new pieces taught by rote without the piano.  I often teach a simple melody or round during warm ups to get them singing unaccompanied and without holding music.

 

Also, start with melodies they know, simple tunes or a part of a song they are learning for a concert. You can sing with them at first, or just fill in a pitch here or there. This will build confidence and it's fun!  I use pop songs, folk songs, anything.  Start with mostly stepwise melodies and go from there. This is the idea of "sound before symbol", where they have heard music and know music and understand music before they read it.  Be positive and encouraging! 

 

Good luck, and good for you!  Thanks for the post.

 

Kate

Thank you all so much! Your replies have been really helpful. I can't wait to have my own choir and actually use these resources.

Thank you! I was unable to attend the conference (I'm still on college student budget :) )  but I'd love some more ideas. I finished my seven weeks with my middle school placement, and I"m now at a high school where they learn completely through rote as well. However, their concert is in two weeks so I'll have 4 weeks with them after the concert, and I really want to make them start reading. Look forward to hearing from you again. You can e-mail me at pope.afp a gmail.com

Angela,

 

I have been teaching at the middle school level for the past 4 years. Even in an inner city school like mine I wanted to establish a quality program. I knew that I needed the students to be able to read in order to do that. I had to start from scratch. It has been a long process but they finally get it. I has helped more than just their reading skills. The students are also singing more in tune and will allow me to step away from the piano. I also had to get them reading because my proficiency at the piano is high and it was easy for me to "plunk" out their parts. I wanted to stop that. Since I have things have greatly improved.

 

The method that I use for teaching sightreading is a collection of examples created by Tom Stokes. Musical Resources out of Toledo is the sole vendor for this method. There are three levels (Beginning, Intermediate, Advanced), many voicings (SA, SSA, SAB, TTBB, SATB), and two classifications (JH, HS) to choose from. These examples include rhythm first followed by melodic examples. They are all 8 measures and work well for daily sightreading. The key to being successful is to make whatever you choose a daily part of your routine.

 

Best wishes.

 

Jason Neumann

Angela,

Lots of great suggestions on here.  I would have to agree with those in favor of solfege with movable Do and a rhythm system of some sort like takadimi.  Drake Summer Music Institute has a series of solfeggio courses that are wonderful, step by step, hands on, practical.....  I believe there may be a special student rate or possible scholarships if money is a concern.  Contact Amy Beckmann-Collier at Drake for more details on that if you are interested.

Nikkole Marreel

K-12 Vocal Music

Northwood-Kensett Schools

 

Angela,

 

I have been teaching for almost 2 years now and I ask my self the same question sometimes!!! I use solfege every day in my class, but it seems like the kids always dread it, even though I use a variety of activities and "games." I am still trying to figure out a way to balance "fun" and learning. It is hard when you come from a collegiate choral experience where notes come much easier and everyone really wants to be there.

 

The previous director taught everything by rote (she adored electronic keyboards where she could record the parts and play them over and over and over and over for the students) so it has been hard to get them to really appreciate the sight-reading process and the results it provides. It also doesn't help when a lot of music that is written for middle school voices is not easily sight-read (syncopated rhythms, accidentals, etc). I like to take just a few measures (2-4) from a song they have already learned (through rote, ugh) and instruct them to figure out the solfege and rhythm for it. I often tell one side of the room (Part 1 or 2) to figure it out as I work dynamics, phrasing, or some other musical thing with the other group.

 

Also, relate solfege terminology whenever you can. For example, "Part II, look at measure 37... notice the interval of a third between the first and second notes. It should sound just like DO-MI." When sight-reading or an application of solfege brings apparent results... MAKE IT A VERY LARGE POINT! Students need to discover how solfege can really make the choral experience better.

 

I recently discoverd Takadimi as well, but I haven't had the chance to start teaching it. I am looking forward to introducing it to my students in the future.

 

I also find it hard to distinguish between the students who are really grasping the solfege and the students who are following. (if anybody has advice on assessing sight-reading... please reply!!).

 

I will agree with Kyle... Progressive Sight Singing by Carol Krueger is a great resource... I recently found her site full of free materials... IT IS A GOLD MINE. Check it out...http://www.oup.com/us/companion.websites/9780195386042/exercises/?view=usa. 

 

I definitely feel the pressure of rote learning because I am an accomplished pianist and I am constantly getting stuck behind the piano. Consequently, when I move around my students while they are singing... it is awkward for the students and for me. DON'T GET STUCK BEHIND THE KEYS!

 

Also, the previous director (who is HIGHLY revered) built a large MS and HS program based on rote learning so it is what the students are expecting. Change is hard.

 

Sorry if this is really negative... I am just telling you my experience as a new teacher who was educated in HS and in college with rigorous solfege training thrown in the world of "rote-land"

 

Corey Fowler

5-12 Choirs

Grand Valley Local Schools

Orwell, Ohio

 

 

Hey Angela, 

 

I think all of these options are great and totally agree with Steven! If you are looking for a system to also help your HS director in teaching sight-reading and theory. Dr. Patti Dewitt from Texas has a great system that I use and my wife uses at her middle school (my feeder :)) if you go to www.pattidewitt.com you find lots of great material. 

 

If you have any other questions or need resources feel free to contact me. 

 

Sol-feg is the way to go. 

 

Jarrod Hendricks 

Dirctor of Choirs 

Warrenton High School 

hendricksjj(a)warrencor3.k12.mo.us

 

Corey - Check out Michael Driscoll's page, http://michaeldriscollconductor.com/music-literacy-resources/, especially his articles for Mass Music News, where he advocates using Curwen hand signals as a quick way to asses sight reading.

 

I've been doing lots of reading on the ChoralNet archives lately on the same topics as I'm preparing to replaces a well-loved teacher who also used rote learning. (Additionaly I'm team teaching with a very experienced teacher who uses mostly rote learning, too. Should be fun!)

 

All the best!

 

Andrea

ABSOLUTELY! There is no reason why they cannot learn to sight read chorally a cappella. I am now retired, but my students did exactly what you wish.  For more information, write me.  Also, I know a man, a friend, who did this exactly as you wish annually as well.  He has a great wealth of information.  His choirs annually performed great music and did it expertly.  Yes, they, like mine were middle school choirs.  He is now teaching college and I am retired.  Write to me and I will give you his contact info.  While you truly need to learn to teach using the Kodaly method, it s not necessary to have that training in order to get started.  He had that training.  His choir did the Vivaldi Gloria.  I did not have that training.  I did Barber's Agnus Dei, Faure's Cantique de Jean Racine, and Randall Tompson's Alleluia and hundreds of madrigals.  We also perfromed performed the world premiere of Karl Jenkins' Peacemakers at Carnegie Hall.  Any questions?  Yes, they absolutely can learn to sight-read in harmony as well as unison expertly.  There was not a common rhythm my students did not understand fully.  They could sight-read in any key.  My friend's choir sight-read better than my choir due, in part, to their schedule.  Write to me while signing up for a Kodaly c9ourse and open yourself to great success.

Lots of good discussion here, but just to add a couple more points:  

 

Throw lots of music at them...  If your group is only learning a few pieces a sememster for that big concert, they can memorize them by listening to the piano, and they won't NEED to learn to sight read, so they won't.  But the more music you give them, the harder it becomes to get by that way, and the more they will start learning to sight read, without even realizing they are learning to sight read...

 

Instead of just doing scales for warm-ups, throw a short unison tune at them (or have them all sing the melody of something in parts) every time you rehearse.  Not something that will ever be performed, just something very pretty and easy and unknown and short.  Give them a starting pitch, and then step away from the piano and sing along with them.  For this excercise, don't stop if they get stuck, or back up to correct anything, just keep going at a steady tempo so they have to listen to you to find their way back.  Half the battle of sight singing is learning not to panic and keeping track of the rhythm and place in the music if you lose your pitch so you can find your way back.  Start with either rhythm work that stays mainly on one pitch, or pitch work that stays mainly on a steady rhythm.  Once they can handle a unison piece without panic attacks and lapsing into silence, try a round, or something in thirds, then work your way up to more complicated pieces.  Keep this part of the lesson SHORT!  Their brains will be working like crazy, so keep it very short and then move swiftly on to something they are confident with, without making a big deal over how they did.  Preface this part of the rehearsal by saying, "Okay, time to stretch your brains a bit...  this is just for fun, let's see if we can get all the way to the end of this and still together..."  Let them know that this is about practice, not about perfection.  

 

Be sure that you are providing good, confident energy.  The hardest thing is getting past the fear of losing one's place, so you have to be a good example, and in the same way that the students will usually turn to the piano to hear their part, they need to start looking to you to help them without fear of you being upset that they got lost.  Why do they hide their heads and mumble?  Because they are afraid to be wrong.  So you have to be making great, confident eye contact, standing tall with your shoulders relaxed, smiling and enjoying yourself.  You have to know the music absolutely inside and out so that when one part gets lost, if one student dares to poke their head out of the score and look at you, you are immediately looking right back at them and cuing their particular rhythm and singing their part to get them back on track.  It's about trust.  Once they trust you, instead of just the piano, they will relax and start to also trust each other, and then themselves, and they will have the confidence to start reading.  

 

If you can get away from the piano for the rest of rehearsal, you can start to alternate between singing a part out and having them sing it back to you, you singing along with a part, and just conducting merrily while they hash it out for themselves for a measure or two.  You won't have to spend as much time talking about tone color and blend and diction, because they will naturally be imitating the good things they are hearing from your singing.  Whatever you do, don't stop for longwinded explanations, keep going, keep the tone fun and friendly, keep confident and relaxed, and keep it moving, adjusting how you help them depending on how much help they need with any particular section.  If you need to stop and regroup, keep the stops just long enough to reestablish pitches, or where you are in the music, or to have the altos sing their measure three times, and then keep going before you lose the attention of the rest of the group.  The more time you spend actually singing in rehearsal, the better their reading will get.  They are there to sing, not to listen to you talk about singing.  

 

(:

Good for you for looking to stretch your future students!  

 

 

 

 

Angela,

 

Lots of great advice above.

Please check out Masterworks Press as a source of material that you are able to legally duplicate at will as materials for your students.

I have my students solfege everything they get with moveable DO, notate the counts, then mix it up singing solfege or count singing - singing the correct pitch but using the counts as text before adding the text of a piece. I also regularly give out homework where they have exercises on which they write the solfege below the staff, then either the counts or the pitch letter names above the staff. Everyone learns both treble and bass clef. We do use the hand signs.

As they gain more expertise, we also do 4 bar dicatation exercises, beginning with just simple rhythm notation on a timeline, then moving toa staff adding two pitch dictation, then working forward with example difficulty.

The room is never so quiet as it is when I have played a 4-bar example and they are all audiating internally. The vast majority of students I have encountered in my 30+ years are able to do this.

I currently teach at the HS level, but this worked very well at the MS level when I did that.

The best part of all this is that at the mid-year after our Holiday Concert I pull out about five titles from the library that are within the reading ability of that particular ensemble, pieces that could become part of the repertoire, give them about 5-8 minutes to look over the piece, talk them through the form, then have them sing it. When  done, I ask the question, " Could we have done that at the beginning of the year?" The answer is a resounding, "No!"

They get it. Then they really get the value of reading and solfege.

I then let them pick one or two of those selections for performance in the Spring Concert.

Carol Krueger and Michael Driscoll are both terrific.

 

Best of luck

 

Thomas R. Martin

Choral Director

Keene High School

trmartin(a)sau29.org

 

The Arts exist to express the inexpressible!

 

 

Professor Demorest,

I'd be interested in obtaining some of the research results to which you allude in your response above.  I'm always looking for advocacy tools for the efficacy of sight-singing to give to my choral methods students.  Any chance you could point me toward some of these data?

Best,

David Edmonds

University of Montana

david.edmonds(a)umontana.edu

Maggie, I really like this!

There are also many good responses here.

I particularly like your sensitivity to where they are in the process, your separating the skills (rhythm,  pitch, following music, folloiwng conductor), and your encouragement toward consistent, positive role-modeling, and your [implied, perhpas?] suggestions that good singing technique [basic posture, confidence] is necessary for successful sight-singing.

If you were presenting at a workshop anywhere near N. Georgia, I would attend, and recommend you to others!  I will share this link, so that others can benefit!