orchestra My Favorite Lemon Recipes


(For When Life Gives Us Lemons) Carrie Gray, WMEA State Chair, Orchestra


This winter I unex- pectedly found my- self picking lemons from an indoor lem- on tree, which I had purchased at a local plant store. Despite my skepticism, this modest houseplant did indeed produce


three good-sized lemons, and as they became ripe, they ended up in a beverage as the old adage suggests.


We all know that when things go sour we are to make lemonade; that we are to look for the proverbial silver lining, to keep a stiff upper lip, and to remember: Whoops! There goes another rubber tree plant! Even the most Eyeorian of us can at least mumble que sera, sera.


But I would like to suggest that we move away from the mindset of “settling” for lemonade. If we are genuinely in a posi- tion where we have no control over the lemons, let’s find a way to make lemon pie, lemon tarts, lemon custard! We can discover an array of positives that can come from deficits.


Let’s look at a few of our lemony issues, starting with class sizes. In some cases, classes are too small. Kids are choosing to opt out of instrumental music for a number of reasons in the current climate. The opportunity here is evident – fewer means more attention from the teacher,


Practical Pointers


more individual growth, the potential to build an elite force. The few, the proud… This can maintain the integrity of the pro- gram until the pendulum swings back, or even better, it can bring the program into focus and breathe new life into it for the here and now.


Class sizes too big? This is tougher on the surface. How can I possibly reach all of these students with any hope of suc- cess? Again, we’ll examine the positives: with so many kids in the room, there is an automatic peer culture. It is unlikely that any one person does not have a so- cial connection with someone else in the room. Starting from the point of “what can we accomplish as a community” we can shift the pressure from “what can I do” to “what can we do.” Of course, we will tap our professional networks and get tips and hints on how to more efficiently teach specific skills, but why not explore peer tutoring? From high school students who need to give service hours, down to fifth graders who want to help fourth graders, we can build community and build results. Has ANY student EVER learned “Heart and Soul” incorrectly from a peer?


Here’s another lemon: not enough school instruments to go around, and the stu- dents can’t afford to rent from a dealer. This to me suggests another recipe with potential. What if students began the term by sharing instruments in class, and had to earn the opportunity to take it home and practice? With a specific rotation of


whose weekend it was for the cello, the instrument might log more playing time at home than it might have otherwise, and again, a peer relationship can brew with two or three students in charge of the same instrument.


How about this one: unbalanced instru- mentation. Not just for today’s climate, but a perennial issue. Again, how can we turn this into something delicious? First, we should think about what I respectfully call “The Power of Unison.” For the begin- ning to intermediate student, playing the melody is what gives the greatest satisfac- tion. Unison promotes pitch and rhythmic accuracy, consistent tone production, and the big bonus is that the teacher is directing instruction to all students at all times. Cel- los are not drifting off while the violas are fixing their “high 3s” (sound familiar?). With a good piano accompaniment the missing parts can be filled in.


I believe this to be more pedagogically sound than giving a crop of budding vio- linists the consolation prize of third violin part (viola, treble clef), or asking a cellist to take one for the team and play a bass part on the cello. Admittedly it is sometimes necessary, but this strategy should be used judiciously and occasionally only.


For the more sophisticated young learner, satisfy their need for harmony and inde- pendent parts with rounds and canons and get the best of both worlds.


Continued on page 37 ~Carrie Gray


Help students learn new skills through scaffolding or building ramps. If the new key is F major, first give them a familiar melody or arrangement in F to get their ears accustomed. And the reverse: Have them learn the new melody first in a familiar key, and then transpose to the new key!


Wisconsin School Musician 35


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