Education and Military/First Responder Discounts on the Jamstik

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As previously mentioned, I was kindly sent a Jamstik 7 by Zivix this past week.  I had a chance to use the Jamstik 7 for a while today, and I am not yet ready to write a full post/review on the device.  It is clearly the next generation of the Jamstik, not only in terms of being the most recent release, but in technological advances.  It is different than the Jamstik and Jamstik+, and I want to spend some more time with the device before writing more about it.

I will say that the Chome-based play portal (https://play.jamstik.com/) works well (I was using it with my MacBook Pro).

The news that I wanted to share tonight is that Zivix is offering special pricing for teachers, students, first responders, and military personnel.  They have a special link set up for the discount: https://jamstik.zendesk.com/hc/en-us/articles/360021334732.  Educators will receive a 20% discount, and students will receive a 15% discount.  And I also want people to know this is not a referral link that sends a commission my direction.

Although I no longer teach guitar classes (I currently teach ukulele at the middle school level), when we opened my last school (2009), a high school, we made sure that guitar, music history, music theory, and music technology were courses that existed in the school.  I taught class guitar levels I & 2 each year, and I would have LOVED a Jamstik to teach with.  First of all, the Jamstik is portable (running bluetooth to iOS in particular), allowing a teacher to easily move throughout the room–which is a necessity in a classroom guitar setting.  I bought a Washburn Rover “backpacker” guitar when I was teaching so I could move around the room!  Second, the Jamstik can project over a room’s sound system (via an iOS device attached to the system through the headphone jack).   With such a setup, not only could every student hear what you were playing–you could also use it to help students tune by ear at the start of class.  Third, the Jamstik can show which fingers are being pressed on the fretboard, and then project that on a large screen (again, through the iOS app, or via USB cable and the new Chrome web interface).

And those three aspects do not even discuss the concept of using the Jamstik for differentiated instruction (advanced or remedial work).  However, those three aspects would have made teaching guitar SO much easier.

So–many thanks to Zivix for offering educator, student, first responder, and military discounts.

And more about the Jamstik 7 later!

 

 

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Something in the mail…

I received something today…

Our school has an orchestra concert tonight, so I won’t get a chance to interact with this until the weekend. Look for a review in a week or so!

App Update and Happy New Year

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It is New Year’s Eve, and we have had a very mellow day, and we are also going to have a very mellow evening.  We’ll all be in bed long before the New Year arrives.  2018 was a year full of a number of major life moments for me, which I will write about later.  As 2018 closes, I am very thankful for family and friends and the role they have played in my life.

I wanted to post about an App Update to one of the tools that I use with my choirs early in the year.  The app is called “In Tune” and it is a game that asks you to determine whether a second pitch is sharp or flat compared to a first pitch, on an increasing level of difficulty.

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I use Dale Duncan’s “S-Cubed” method for sight singing (highly recommended), but I modify the content using other tools.  For example, I use Sight Reading Factory to generate exercises for my students (based on Dale’s exercises).  This way, I can make a version that plays along with students.  The Sight Reading Factory versions are great for exams, and for dropping online so that students can take a sight reading assessment if they miss an assessment.  I start assessing during this middle part of the year, making sure my students have all had exposure to the method before making it actually “count” towards their grade.

Early in his method, Dale asks teachers to sing sharp and flat notes to their students to help them develop sensitivity to pitch.  This is an area where I don’t follow Dale, because I strongly believe that we should never sing something wrong intentionally in an educational setting.  I substitute three or four days of playing “In Tune” with my choirs in place of demonstrating flat and sharp for my students, and at the end of every two pitches, I ask students to determine whether the notes were flat or sharp (they vote), and we enter the majority’s vote into the app.

The two negatives of the app have been that you can’t replay pitches (sometimes the choirs talk, as the next notes start immediately, and they can’t hear the new pitches and you can’t replay them), and the pure tone can rattle in your skull—finding a correct volume can be a challenge.

The app hasn’t been touched in three years, but was updated this week.  I’m very happy about this, as you will now have the option to buy other sounds as a reference pitch for the app.

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Incidentally, my choirs always improve significantly over three days with the app (we meet every other day), and I think they get the point of “sharp” or “flat” versus singing “on pitch” in a more effective way than if I sing sharp or flat for them.

In the future, I may have students vote online for sharp or flat, instead of raising their hands, using any number of apps or services—including SMART’s new web-based tools (which were demonstrated to us in October and look amazing).

If you haven’t tried In Tune, I recommend it, and if you use Dale Duncan’s S-Cubed method, I think it is a nice alteration to his methodology.

As a note, In Tune is an iPhone App, so it runs in that odd magnified size on an iPad, and if you want to buy it on an iPad, you have to search for iPhone apps.

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Happy New Year, everyone!  I hope 2019 is stellar for you!

Alternative Concert Assignment

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At our school, music is required for students in 6th and 7th grade (8th grade was made optional this year).  Students have to take band, orchestra, and choir.  We have opened a new school with slightly different boundaries, so I have been teaching “traditional” choral music this year versus the ukulele-based instruction of the last couple of years.

[Side note: we hold two concerts a year, so the ukulele unit moves to the next three months…so we’re still doing ukulele, just not as a part of choir.  It also doesn’t help that our ukulele hanging system still isn’t installed.]

I have been treating students this year as if they chose choir, rather than trying to make the experience not stink for them.  It’s a different mindset, and not all the students are bought into it–particularly those that were in choir last year under the other mindset, and of course, students that don’t want to be in any music class (note: a prior prinicipal insisted that choir was to be an “experience” versus traditional choir).  Last year, my current principal, fully aware of the challenges, suggested that I made the concert optional.  I decided to try it, continuing to call the concert “required” but mentioning it wouldn’t be graded.  About 25% of my 6th grade students did not attend (about normal); about 35% of my 7th grade students missed the concert; and about 50% of my 8th grade students missed the concert.  Even so, the concert was one of my best at this school.

I realize that students missing concerts is often out of their hands.  Parents plan other activities, cannot get a student to a concert, or openly value other activities (even practices for sports) above a concert.  At the same time, choir is a performance based class, and while it may be “an experience,” hopefully the concert can be a positive experience.   A student who has to miss a concert should feel like they are missing something, and it is not crazy to think that they should have to make it up.  Frustratingly, that same principal (no longer our principal) expected band to be band, and orchestra to be orchestra…but choir had to be an experience.  If that seems a little crazy to you, it is.  Thankfully, that mindset is no longer true.

I have tried to do concert make-ups for years, including having students come in to sing with a recording of the concert.  Ultimately, these are simply punitive measures, and the student neither experiences the actual conditions of the concert (with hopes that they would experience the joy of performing) nor does the student help the group with their voice.

So, I looked online for what other teachers have been doing.  Based on that work, I have created an “Alternative Concert Assignment” for students this year.  I still count absences as “excused” or “unexcused,” but either can make up the concert, with a “point” penalty for unexcused absences.  We also grade for formative (20%) and summative (80%) categories; and while the concert is summative, I cannot grade a student individually on their performance in a concert (technology may allow for this someday), so I will be making the concert a huge part of their formative grade.  Ultimately, a student will have to complete the make-up assignment to earn more than a C…and in this day and age, B’s and A’s are usually expected by parents (if they concern themselves with grades at all).  So it doesn’t become a punitive assignment, and makes sure that the student is investing in a make-up activity of similar length to the concert they are missing.

I do expect the requirement of watching a concert and completing a packet to cause quite a few students to decide to attend the concert.

A couple of other notes:

First, we have to give every student a minimum of 50% regardless of whether or not they do any assignment.   Second, the assignment says that a student cannot attend another concert at our school, or at the elementary level, to make up the assignment.  I had students attend a band or orchestra concert of a sibling last year, and then skip our concert.  While I want our students to support each other, I needed to close that loophole.  Finally, I split my concert night into three mini-concerts, which eliminates the need for supervision during the concert with students that are not currently singing.

You’ll find the Alternative Concert Assignment below.  The original is a Pages document (send me an e-mail and I’ll be happy to send it).  I may tweak this assignment over time, but as for now, I’m pretty happy with it.  If you are struggling with students missing concerts and having appropriate make-up assignment, feel free to use and adapt the assignment as you see fit.  As always, support via Patreon is always welcome (and please note that I am not placing this behind a “paywall.”).

For those of you working towards a performance in the next weeks, good luck!

Alternative Concert Assignment (PDF)


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Handel’s Messiah…and Notion

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An image of the original manuscript of The Messiah

When I was directing high school choir, I eventually added an annual goal to sing one movement from Handel’s Messiah with my advanced choir at our Holiday Concert.  I was fortunate in my last few years as a high school director that our district had added a string program, so the school’s orchestra provided accompaniment for that song in our concert (it was a great way to involve everyone).

I know that many groups perform the Messiah this time of year, and would benefit from a digital accompaniment track.

This morning, a PreSonus presentation from ASME 2017 showed up in my feed, and I watched it.  It featured Chris Swaffer, a developer from PreSonus, which makes Notion) and Dr. Ian Cook.  Chris introduced Notion, integration with Studio One, and the live performance capabilities of Notion ; Dr. Cook discussed Persons’ conducting component (great for college programs).  I have interacted with Chris for a long time (I get the opportunity to try Beta updates for Notion), and it was great to actually see him (he’s in the UK, so he doesn’t make many music education conferences here in the USA).

As I was watching the presentation, Chris mentioned that Notion includes a number of resources, including the FULL MESSIAH.  Remember…Notion comes stock with sounds from the London Symphony Orchestra.  You can buy the full expansion pack of sounds (currently $299–which is a bargain compared to other sound packs from other vendors). Otherwise, Notion (on Mac/Win) is $150.  If you are a director needing a rehearsal or performance tool for the Messiah, Notion would instantly pay for itself.

I didn’t know about these included files, and you can find them in your account at my.presonus.com.  Then follow the links to “Get All Content” and then add the “Notion Score Library” in the “Extra Downloads” area.  This will send you a zipped file of Notion files (all in the Public Domain) that can be edited as necessary.

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In my.presonus.com, look at “Get All Content” with Notion 6.
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The Messiah is included in the “Notion Score Library”

About the Messiah…it doesn’t have text in the voice parts, so if you want those, you may have to add them…and it ships with all of Part 1 and Part 2 as separate files.  That said, as it is a Notion document, you can certainly cut and paste a range of the song and paste it into a new document and add text to those voice parts.

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Here’s the full screen view, in “pages across view” of Part 1 of the Messiah, which is included as a extra download when you buy Notion.

Notion’s sounds are great, and are probably worth the initial cost ($150).  Don’t forget that you can add the iOS version as well, with all add-ons, for around $50 total (bargain!), and anything you do on Notion for Mac/Win will show on the iOS version.

However, if you want to use Notion’s excellent stock sounds and run a humanized performance, you can do so with Notion’s live performance features.  I haven’t done that, but I know that Paul Shimmons did so recently, making his own “pit orchestra.”  Read about that here on his website, ipadmusiced.wordpress.com (link).

And if you are a user of another program, as I am (e.g. Finale), Notion can read MusicXML and export MusicXML, so you could easily to and from Notion.  In other words, you don’t have to leave your current program to add Notion as a tool.  If you have an iOS device, and you are a music educator, Notion should already be one of your tools.


Note: This is NOT a sponsored post by Notion, I just love the program, and yes, I am a beta tester of the product.

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Some 2018 MacBook Pro with TouchBar Reflections

I have been working with this new MacBook Pro for a while, and I had some thoughts that I wanted to share as a ukulele video uploads from my iPad.

  1. I had become very used to an iPad centric use of technology.  I am having to force myself to reintegrate the MacBook Pro into my workflow.  That said, there is no doubt about it…the MacBook is a very expensive secondary device for me, but one that I needed to buy at this point.  There are some thing that only a MacBook can do, and there are times when my family members need an actual computer.
  2. It took about two days to become accustomed to the butterfly keyboard…which is different than the relatively new MacBook Pro that our school district distributed a couple of years ago.  I can now work on either keyboard without thinking about it, but there was an adjustment.  You might wonder why I didn’t just use the school MacBook, but I have a strong belief in doing my own work on my own devices.
  3. USB-C is terrific.  I can’t wait for it to be on my next iPhone and next iPad.
  4. I know I made the right choice with the MacBook Pro over the new MacBook Air.
  5. Many of the big Apple bloggers strongly dislike the TouchBar.  Many of them are programmers, and I think the Function Keys are used in their work.  I find the touch bar to be useful, and I don’t mind two presses to adjust brightness or volume. If I am anything like other users, I hope the TouchBar is here to stay.
  6. The Mac migration process was incredibly easy.  Everything works.  I expected issues.
  7. I’m just satisfied with this purchase.  My last MacBook cost $1500 ten years ago, and over the years I probably put another $1000 into it with memory and hard drives (at least 3…two traditional HDDs and the SSD).  This computer doesn’t have upgradeable memory, and even the SSD might be out of reach for upgrades…and was just under $1850 (I don’t count Apple Care in either purchase).    At the same time, I only expect my iCloud storage to increase for the price point over the life of this computer, and it won’t be long before all of my files are in the cloud, and only the OS and program will be on the Mac.  You can see it coming.

Ultimately, I could have saved a lot of money and gone with a Windows machine, but I am pretty firmly entrenched in the Apple ecosystem, and I could have gone with a cheaper MacBook (I could have also opted for a more expensive MacBook with the i7 processor or even the 15″ models).  I know that I hit the sweet spot on this purchase.  I can’t promise that the 2018 MacBook Pro is the computer for you, but it certainly was the right one for me!

Thoughts on the new iPad Pro and Apple Pencil

For the record, I’m not buying a new iPad Pro, nor am I buying a new Apple Pencil.  My current iPad Pro is still (as of today) the most recent version, and it is fine for the work that I do.  As I mentioned in my last post, I just bought a new (refurbished) MacBook Pro, and I won’t even think of updating my iPad Pro until this device is paid for.

The new iPad Pro is incredibly fast–it runs at speeds faster than my new MacBook Pro!  It also loses the home button, the lightning port, and gains Face ID.  I have no problems with any of these improvements–and they only align for an amazing upgrade in a year an a half (or sooner) when I buy my next iPad Pro.  It’s hard to know when Apple is going to update hardware, so I can’t really guarantee that Apple will come out with the next iPad Pro in November 2019.  It will be a “wait and see” situation.  All I know is that I will eventually move to a new iPad model at a natural time in my own upgrade cycle that matches Apple’s upgrade cycle.

The item that surprised me the most was the new Apple Pencil and its incompatibility with the old iPads–including the current 9.7″ iPad.  Our school bought a bunch of the new iPads last summer as our new building houses about 300 additional students (this year).  The old Apple Pencil and the Logitech Crayon work with that iPad (I just ordered two Logitech Crayons for my boys own 9.7″ iPads as a Christmas gift), but the new Apple Pencil will only work with the iPad Pro.

I would have expected some kind of backwards compatibility with the new Pencil, considering the 9.7″ iPad.  But things will go back to normal where the Pencil will only work with the new iPad Pro (that’s how it used to be).  I’d actually like to see an owner be able to use a Pencil with all their devices, particularly their iPad and iPhone, as I have attempted to write on my iPhone many times.

The issue, I believe, comes in charging.  The iPad has a built-in inductive charger that charges the new Apple Pencil (no more lost end caps!), and the iPad has added USB-C in place of the lightning port.  This means the old way of charging wouldn’t work any more. So I think it’s the right move for Apple–USB-C, inductive charging, etc.  I just hope Apple keeps the old Pencil around for schools for a little while, and that they update all of the devices to use and charge the Apple Pencil, too.

If you’re in the market for a new iPad, I can’t recommend the new Apple iPad Pro and the new Apple Pencil enough.   While I think I will always default to the 12.9″ iPad from this time out, the new 11″ iPad should be the equal to a sheet of paper.  This would be a great time to buy an incredibly powerful machine, and it will be fun to see what developers do to take advantage of the new speed of these devices.