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1 Guitar and the Rise of "Innovative" Ensembles |
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1 | (8) |
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Understanding Guitar Education in the United States |
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1 | (4) |
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Why and How to Use This Book |
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5 | (1) |
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Qualities of an Effective Music Educator |
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6 | (2) |
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Effective Music Educator Self - Reflection Quiz |
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8 | (1) |
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2 Building an Infrastructure for Success |
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9 | (12) |
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10 | (5) |
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Parents: Creating a Parent Organization |
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15 | (4) |
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Do Not Be Content to Go Without |
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19 | (2) |
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21 | (16) |
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Thirty Steps Directors May Take to Bring Recognition to Their Programs |
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22 | (1) |
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23 | (1) |
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Defining a Line of Excellence |
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24 | (3) |
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27 | (2) |
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The Benefits of a Strong Presence on YouTube |
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29 | (2) |
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Steps toward Creating a YouTube Channel |
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31 | (4) |
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35 | (2) |
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4 Concerts and On-Campus Performances |
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37 | (18) |
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Creating a Concert Season |
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37 | (2) |
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39 | (1) |
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Fifteen Steps toward a Performance |
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40 | (12) |
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Perform, Perform, Perform |
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52 | (1) |
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Ideas for Other On-Campus Performances |
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53 | (2) |
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5 Using Feeder Programs, Recruiting Students, and Building Longevity |
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55 | (15) |
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Elementary to Middle School |
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55 | (2) |
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Middle School to High School |
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57 | (2) |
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59 | (2) |
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Self - Perpetuating Programs |
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61 | (2) |
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63 | (2) |
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Practical Ideas for How to Motivate Students |
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65 | (5) |
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6 Selecting Your Instrument and Approach |
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70 | (13) |
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Classical Guitar in the Classroom |
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70 | (2) |
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Gut, Nylon, and Steel: A Brief History of Guitar Strings |
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72 | (4) |
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Classical versus Popular Music |
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76 | (2) |
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Twelve Reasons for Using Classical Nylon-String Guitars in the Classroom |
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78 | (2) |
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80 | (1) |
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Teaching Classical Music at the Intermediate Level |
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80 | (1) |
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Solo Playing versus Ensemble Playing |
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81 | (2) |
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7 Solo and Ensemble and Other Festivals |
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83 | (14) |
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Preparing for Solo and Ensemble Festivals |
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83 | (3) |
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86 | (1) |
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Creating Solo and Ensemble Opportunities |
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87 | (2) |
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Starting a District Honor Guitar Ensemble |
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89 | (2) |
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School District Festivals |
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91 | (6) |
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8 Travel and Off-Campus Performances |
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97 | (9) |
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98 | (2) |
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Education versus Vacation |
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100 | (1) |
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100 | (1) |
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101 | (1) |
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Local Off-Campus Performances |
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102 | (1) |
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103 | (1) |
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Accepting Donations for Performances |
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104 | (2) |
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106 | (10) |
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106 | (1) |
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What if Someone Else Asks? |
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107 | (1) |
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108 | (1) |
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109 | (1) |
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110 | (2) |
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112 | (1) |
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113 | (1) |
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114 | (1) |
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115 | (1) |
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10 Websites and Documentation |
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116 | (9) |
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Maintaining and Promoting Your Website |
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116 | (2) |
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Documenting Your Accomplishments |
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118 | (3) |
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121 | (2) |
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123 | (1) |
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123 | (2) |
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125 | (12) |
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125 | (5) |
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130 | (1) |
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131 | (1) |
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132 | (1) |
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How Do You Know Your Students Are Learning? |
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132 | (1) |
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133 | (2) |
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135 | (2) |
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12 Teaching the Whole Student |
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137 | (14) |
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138 | (2) |
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Good Study Habits, Completion of Assignments, and Organizational Skills |
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140 | (1) |
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140 | (1) |
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Good Note Taking and Reviewing Daily Notes |
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141 | (1) |
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Concentration, Motivation, and Commitment |
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142 | (2) |
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Characteristics of an Award-Winning Director |
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144 | (5) |
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Music Classes, How Important Are They? |
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149 | (1) |
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Empathy Leading to Leadership |
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150 | (1) |
Conclusion |
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151 | (2) |
Appendix A Qualities of an Effective Music Educator |
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153 | (2) |
Appendix B NAfME Council for Guitar Education Guitar Best Practices |
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155 | (4) |
Appendix C Guitar Ensemble Repertoire by Bill Swick Available at J.W. Pepper |
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159 | (6) |
Appendix D Consent Form |
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165 | (8) |
Appendix E Sample Program |
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173 | (6) |
Appendix F Code for Level |
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179 | (2) |
Appendix G Musical Terms to Introduce during Rehearsals |
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181 | (2) |
Appendix H Sample College Audition Requirements |
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183 | (2) |
Appendix I Goals Within Reach |
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185 | (2) |
Notes |
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187 | (4) |
Index |
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191 | |