Annis' Pedagogy Examination for the Licence d'Enseignement

Now start the beat. Can you start the division? Now start the division. Keep your arms sweet. When I say switch, switch to the beat. Switch. Keep your arms sweet. Switch. Keep your arms sweet. Switch. Can you listen to my pattern? Find the pattern. Switch. Keep on doing what you're doing. And listen to my new pattern. Keep on listening to my pattern. Now switch. Can you keep on this pattern? Now switch. Keep on listening to my pattern. When we're doing the troche troche on our feet, can we do speed instead of troche troche? Troche troche troche troche troche troche troche troche troche. Can everybody try? So we speed. One, go. Speed. Okay. Kind of hard, right? So if you'll make a circle and hold each other's hands. Try to lift on the... Nobody wants to be with me. So we lift. That's right. One, two. We're ready. We lift. Down. Lift. Down. Yes. Lift your heels. Down. And we try the other foot. Ready. Yeah. Lift. Down. Lift. Down. Lift. Down. Ready. Lift. Down. Lift your hands to help you. Make a crease. Lift. Yes. Can you hold it? Lift. Go. Troche. That's right. So we start from right. So we lift together. Okay. And we let our arms help. Ready. Okay. our arms to help. Ready? Oh, everybody in good position. I like it. Ready? Good. And down. And lift. And down. And lift. And down. We try the other foot. Lift and down. We lift and down. We lift and down. Oh, very good. From this time, we have to lift and lift and lift and lift and lift and lift and lift and lift. Ready? Go. Lift and lift and lift and lift. I'm going to sing my favorite part, the margarita. Da-dum, dee-dum, da-dum, da-dum, da-dum, dee-dee, da-dee, da-dum, da-dum, da-dum. I'm going to sing my favorite part, the margarita, da-dum, dee-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum. I'm going to sing my favorite part, the margarita. ♪♪ Return. Left hip. Keep it bent. Keep your arms straight. Repeat. Change legs. And switch. It's being called balance. The division. Good. Can you hear my knees squeeze? Set the new beat. And we need conduct. Conduct. Okay. Can anyone tell me how many seats do we have right now? Three? And are we still in compound leader? No. No? So we are in... Make sure. Simple leader is right. So we are in simple leader. And how to conduct? Use your arm beats to do the three beats. Can anyone show me? One. We used to do one, one, two, three. One, two, three. But in rhythm you're going to... Don't do that. What we are doing in simple leader, we do straight lines. So can you find a partner? Okay, just watch me first. So A person, do like this. And the B person, you hold her hand. Here. Can everybody see me? So just watch first. So lift up one, one, two, and three. Lift, lift, and fall. Lift, lift, fall. One, two, three. When you touch your lip, lip, and fall. Lift, lift, and fall. Lift, lift, fall. Lift, lift, and fall. Or something, I guess. Can everybody try? One, two, go. The changes roll. Don't lock your heels. So you have to lift, lift, and fall. Lift, lift, fall. Let's try one more time. Everybody try it. So when you do it by yourself, you have to think about that spot. Go. Can everybody step? One, two, three. I say one, and a division on the first beat, on step. And one. Look at that. And return. And I say two, and a division on two. And two. Return. One. Two. Return. Three. Return. One. Two. Three. Okay. Very nice. Everybody tired? So we all learned the do major scale yesterday, right? And we sing in tri-chord. Do major only. So we do do, re, mi, mi, re, do. Re, mi, fa, fa, mi, re, do. Okay? Do. The do. One, two, three, and. Do, re, mi, mi, re, do. Do, re, mi, fa, fa, mi, re, mi, fa, sol, sol, fa, mi, fa, sol, la, la, sol, fa, sol, la, si, si, la, sol, la, si, do, do, si, la, si, do, re, re, la, si, do. Do, si, la, sol, si, do, si, la, sol, sol, la, si, la, sol, fa, fa, sol, la, sol, fa, mi, mi, fa, sol, fa, mi, re, re, mi, fa, mi, re, do, do, re, mi, re, do, si, si, do, re, do. Good. And this time, you just hear me sing, and you see what happens. I was just singing the disc of ascending. Just let everybody see. Do, re, mi, mi, re, do, re, mi, fa, fa, mi, re, mi, fa, sol, sol, fa, mi, fa, sol, la, la, sol, fa, sol, la, si, si, la, sol, fa, si, do, do, si, la, si, do, re, re, la, si, do. Which notes did I change? Sol. Too sol. Sharp. So can anyone tell me what scale are we in? A. Non-minor. So can we do non-minor? In tri-chord this time? So it goes sol-sharp. One, two, three, ready. Do, re, mi, mi, re, do, re, mi, fa, fa, mi, re, mi, fa, sol, sol, fa, mi, fa, sol, la, la, sol, fa, sol, la, si, si, la, sol, la, si, do, do, si, la, si, do, re, re, la, si, do. La, si, la, sol, si, do, si, la, sol, sol, la, si, la, sol, do, do, sol, la, sol, fa, mi, mi, fa, sol, fa, mi, re, re, mi, fa, mi, re, do, do, re, mi, re, do, si, si, do, re, re, do. One more time. Do, re, mi, mi, re, do, re, mi, fa, fa, mi, re, mi, fa, sol, sol, fa, mi, fa, sol, la, la, sol, fa, sol, la, si, si, la, sol, la, si, do, do, si, la, si, do, re, re, la, si, do. La, si, la, do, si, do, si, la, sol, sol, la, si, la, sol, fa, fa, sol, la, sol, fa, mi, mi, fa, sol, fa, mi, re, re, mi, fa, mi, re, do, do, re, mi, re, do, si, si, do, re, do. Well, sounds better with the piano, right? And we do and come from here, now we're going to try to do a thing in Baha'i or in Baha'i form. And we do a simple meter this time. Do, re, re, mi, mi, fa, re, mi, en, do. Do, re, re, mi, mi, fa, re, mi, mi, fa, fa, sol, mi, fa, fa, sol, sol, la, fa, sol, sol, la, la, si, sol, la, la, si, si, do, la, si, si, do, do, re, si, do, do, re, re, do. Do, si, si, la, la, sol, si, la, la, sol, sol, fa, la, sol, sol, fa, fa, mi, sol, fa, fa, mi, mi, re, fa, mi, mi, re, re, do, mi, re, re, do, do, si, re, do, do, si, si, la, la. Do we do that? It doesn't make a circle. Big, really big. Don't hold your hands. So to sing tricord in a circle, do, re, mi, mi, re, do, re, mi, fa, fa, mi, re, mi, fa, sol, la, la, si, everybody sing. Okay? If you're not finished, you can keep going. Do. Is that for me? La minor. Remember your sol sharp. Do. Let me see. Can we do tricord first? Fa. Mi. Re. Mi. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Fa. Mi. Fa. Sol. Fa. Mi. Re. Mi. Fa. Can the other person start? How about that? Do. Re. Mi. Re. Fa. Sol. Fa. Mi. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Fa. Do we want to try another round? Or everybody already feel confident? Not really? I'm sorry. I'll start from the other person. How about talking? Do. Re. Mi. Fa. Sol. Fa. Mi. Re. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Fa. Mi. Re. Mi. Sol. Fa. Mi. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Fa. Mi. Re. Mi. Re. Mi. Fa. Sol. Fa. Sol. Fa. Sol. Fa. Sol. Fa. Sol. Fa. Mi. Re. Mi. Fa. Sol. Re. Mi. Re. Mi. Sol. Re. Mi. Fa. Sol. Fa. Sol. Fa. Sol. Re. Sol. Fa. Let's try one more time. We do together, okay? One, two, conduct, one, one, two, go. Going down. Better? Feel better? Yes. Think where you're sitting and listen to each other. We have to go in a circle this time. Do you have confidence? No. Try once, okay? Try once. Do, re, mi, fa, sol, ti, fa. Do you know why you guys got lost? So you have to sing with all together, just with going to you and just sing it out. But if it's not you, you have to sing in yourself, right? So you can't just stand there and go, fa, sol, fa, sol, fa, like this. You have to sing, everybody sing, just in your head. But when it comes up to you and you sing it out. Good? Yes. Okay, now listen to my piece and try if you can conduct it. With arms, swings, and the straight lines, curved lines and straight lines. Do, re, mi, fa, sol, ti, fa. We already do the first part, that's the whole piece. Now we are going to do the first part. Now pick a little bit slower, ok. So this time can you try to move and conduct with the music. Only the first part, I'll stop. So after the introduction, then you can try to, everybody got it? All right. So. Okay, we learn the compound meter in a simple meter today. We learned it. So when we are doing countdown, we like swinging more. So when we are doing simple meter, we go straight. So can I see the difference between like, you guys got it like this? Mm-hmm. Yeah. Just dun-dun, dun-dun-dun, dee-dee-dee, dun-dun-dun, de-dee-dee, dee-dee-dee, dun-dun-dun, and change directions on every phrase. Let's try it one more time. Ready? One, two, three, four, five, six, seven, eight, nine, 10. Here you go. Everybody got it? We have compound, simple, compound, simple, compound, Come on, simple, come on, simple, come on, simple, come on, simple, and we have the same pattern, yes, actually it is. But we have, what's the, what they, we have all six divisions, right? We just have different groupings. So it's 1, 2, 3, 1, 2, 3, 1, 2, 1, 2, 1, 2, 1, 2, 1, 2, 3, 1, 2, 3, 1, 2, 1, 2, 1, 2. So all, the whole song kept doing this, and we called it metric transformation. Do you want to try the original tempo with this? Yes. And just with, take off your arms, just step, step with it, like a dance. And we'll do the whole song. Oh. Ready? Yes. Oh. Okay. Let's take a sit down, take some breaths. Okay, very good. Okay, thank you, Anas. So this is Anas's piece, and one of the pieces, this is the one she decided she wanted to teach, which of course has a lot of stuff to teach people who are on their second day. So I said, you know, it's a lot of stuff, and I was a little concerned that, you know, she'd get bogged down, sort of, sort of caught in the weeds, you know, in the rushes, and having difficulty, but she didn't at all. She was really able to move nicely through all the various concepts without really getting herself tripped up. She was clear about what musical concept she was teaching, and she was clear about what order she was going into that. Okay? So it was very, a nice, clear path to her piece. And when you got to the piece, you know, she really understood what was going on. Then in one meter, it was divided in three beats. And the other meter, it was divided in two beats. And when we're in three, it's simple meter, one, two, one, two, one, two, two. And when we're in compound, it's three, oh, two, put it like this. Right? So it's a very invigorating pattern, actually, you know. And it's been used by many composers. So it's not anything new, but it's great the kinds of things she did with it. Otherwise, in her piece, other than just the rhythm pattern, there are other elements in her piece. She used some of the stuff that we were doing this morning, like complementary rhythm, like filling in the spots. There was a lot of that in there. So she had a lot of Delacrozean composition techniques, I call them composition techniques, that she incorporated into it. So, which is pretty clever. It shows she's been studying this Delacroze thing for a while, and it's become a real part of her. And it's sort of, now when she has, her mouth is oozing out, you see. It just kind of happens. This sort of transformation has taken place. If you didn't know Annas years ago, like I did, I wish you could see the huge development to her. I mean, huge, really. And if you listen carefully to her playing, out the comprompt, while you were doing all the other stuff, you see, rather mature playing, rather full voice, actually, both students so far, the playing was dramatic, dynamic, energetic, and right on the button, where it needed it at the moment, you see. So, a lot of really positive things going on here, which shows you, maybe she understands the method. She's really using the method to teach you. She's not teaching you the method, per se, because we really don't teach the method. What we do is teach you in the method. So, I'm teaching you music, stuff that you actually already know, but in a completely different way, so that it transforms your thinking into being more physical oriented than intellectually oriented. So, you become more of a, where you understand your music first physically, and then you understand it intellectually. I think what the approach is in most worlds is that we approach the intellect first. So, we tell the child, this is what you do, this is how you do it, which is fine, but we don't let them ever first hear what we're going to teach them, or get them to experience some way the ideas that we're going to teach them, before they actually see them. We like to put things on the board. Have you noticed something? She didn't use the board. How many times have I used the board so far? Not once. I was here drawing my short shorts and longs. Minimal board. Almost no board. So, I would say, years ago when I taught at university, and the student teachers, I'd say, if I see you going to that board, and it used to be chalk, and you pick up the chalk, if you pick up that chalk, you have to think to yourself, have the students done this already? Have they done this already? If they haven't done it already, put it back. And so, I would sit there, you know, and then I'd see the student going to the board, and I would get a little, I'd rise up out of this, because the name of the game was to keep Jack in his seat. Gotta keep him seated. Because what I'd do is I'd come up in the class, and I would take over the class a little bit, and then give it back to the teacher. Because they were students, and they were doing a whole year with me, student teaching. So, I'd see them going to the board, and I'd get up. I'm going, think, think, think. Don't go to the board until they've done it. So, that's really good. Where this becomes the least important thing we need in our Eurythmics class. Now, in other classes like that, in problems, yes, we have to read. Sometimes we'll use more, like the book, like the board. But in Eurythmics, we want to avoid that board as much as possible. So, again, another win. She didn't even have the temptation of going to the board. See, because it could have been easier if she had just drawn out what she was going to teach today. Ta-ta-ta-ta-ta-ta-ti-ta-ta-ti-ta-ta. This is what we're going to do. And big O. It's already done. So, your brain is engaged right away, and you're not getting any kind of physical sensation first, and then. So, what's the first thing she did? She played a game. And you go, oh. You start listening. You immediately start moving, stepping to what she was playing. Again, we get into the topic through the music. Not through talking. Not through introductions. Not through all this nonsense that seemingly goes forever. Just play. And then we will move. You see, that's the thing. And then we know the root of this lesson is the music. Not your philosophy or what you did yesterday and what you ate for breakfast. We really don't care. We just want to do the music, you see. OK. So, the lesson. Now, here's the scene I have a little bit of problem with. The part that we call the compound part. That sometimes doesn't come off so much as compound meter. Now, what did you guys do to get a sense of compound meter? What did she have you do? Do you remember? Swing. Yeah, you swing. Yeah. And then, you know, I kind of, you know, any kind of swinging. But if you notice, when I'm swinging, my knees are involved. See, so you have to get. And notice also my heels stay on the floor this time. Yum. Because I can take them once I get this sensation first. Then we can take the heels off the ground. And then, because you become wanting to move forward. As soon as you take your heels off the ground, your weight shifts forward and off you go. And that's really the way we move, see. We want to walk in such a way that we're catching our weight so I can travel. And my weight is just a little bit, whoop, forward. Just a little bit forward. And I'm catching my weight. And as a result, I'm using far less energy because I'm using my weight to propel me forward. And so that's what we're talking about. Okay, so nice. See the swing. When we're going fast, it's hard to get that sensation of a swing. Because it's so tiny. See, doesn't it? So tiny. But, you know, I was sitting there listening. And the first time she played it, I was a little concerned. I don't know why. But then, as she worked with you with it and then did it slower, right, then you got better with it. I like the fact that she did it slower. Then you got more in touch with the compact part, you see. And then when she did it at tempo again, I would, after, you know, I'm sitting there going with you. So after that, I thought, you know, this does have a little bit of a bounce in it. You know, so, And I think she played it better. I think she actually, after the work that you guys did together, I think she actually played the piece better herself, you know, because she got back in touch. See, you get back in touch as a teacher. You are doing the physical stuff too, you see. You're not just sitting like a log on a bench. You're really involved. And so the sensations that you used to get from actually being on the floor are now internalized, and you get that just sitting on the bench. You have the same sense of moving, but you're sitting perfectly still. So you can be perfectly still and pull in the experience of swaying, because you're feeling your body sway, but you're not moving. See, it's all in your imagination. Your imagination is stimulated so much it remembers these sensations, and you can recall them as memories and then use them. So you don't actually have to physically move. It's in your imagination. See, that's what's going on. So again, she actually helped convince me that it was compound and simple. At first I thought, I think maybe this is just triplets. In fact, I think when she first played it, I feel there was more play like that. But then when she came back around and played it again, it was definitely more sweeney. See, am I making sense? Jeff has said all the positive things. So, in this COVID, negative is always better. Well, I think, yeah, I'm usually negative. Some little suggestions. Yes, that's why you're here, Yanmei. Don't apologize for being here. You're here for a reason. I think the music, yeah. It's like you get stuck in this COVID version. Yeah, I can go anywhere, and I try to go to somewhere else, and when I speak, I'm like... Sometimes you go to some major for two bars, and then you go back. When I say something, I'm like... I go back. I can hear you. Yeah, I want to go there. But we need to practice, and we need to teach more to get experience. You know, it's very difficult to think of how you're going to play, and then you watch a student and think of what you're going to do next. We all understand that. And, yeah, I think it's the main thing. All the quite clear layers very well. Just what do you think when you have this conducting problem? I didn't. No conducting. I let it swing instead of conducting. Because kind of when it's up and down. And so before I want to do an up and down and do the three, it will be kind of confused. So that's why I let it swing and do the three. That part you went wrong. The swing. Either swing or... Because this is also with the regular class, probably just one lesson and then... Yeah. And then... Yeah. The one lesson, it comes down. The next class will be inspiration. I never taught them pom-pom either yet. Yeah. That's right. But... So this is... You were the first. You opened the door. Somebody has to, right? Why does it have to be me? What do you think about speed? Oh. Yeah, it's kind of slow. You can see that everybody is looking at it. So I tried to rush a little bit to let them speak at the last part. I think I kind of rushed a little bit. You were speeding up. To make it go a little faster, yes. Yeah. I think it needed to go faster. Yeah. Because it wasn't related to anything that you needed to have it at a certain tempo. I mean, you could do that at any tempo. But it really wasn't going to really relate to your piece. I was thinking about, because I have to keep my division the same. Yes. So if the three is too fast, then it's hard to teach. Yes, of course. Well, how fast was this piece? Your divisions are flying! So... Yeah, you could have done the whole thing faster, actually. You want them to skip. Yeah. Or you don't have to do this rhythm, right? Because it's not in the piece. Right. Well, that was one of the things she told me. If she doesn't have time, she's going to take that out. Yeah. So, it was just an activity that she put in. To make them feel the compound. Yeah. And the trotchet doesn't have to be skipped all the time. No. But this is all, I think, a technique thing. The whole squat. Yeah, I think. But maybe on your first show, your piece, like Jackson or something. Oh, yeah. Too fast. It doesn't have this curvy rhythm on there. Yeah, the very first time I played too fast in the beginning. And I can't, like, slow it down. I haven't finished it. Yeah. I think she was anxious. Yeah. We can feel it. Yeah. You can tell. You were like, okay, I'm going to play it now. Oh, my God. Here we go. You know, every time I have to play the piece for this class, I get a little, as well. Yeah. I do. You have to play it now. And it's hard. Everybody's watching you. Yes. And everybody's expecting you to do it absolutely perfect because you've talked about all this stuff that you do. So, now let's see it. Okay. Come on. I'm proving the pudding. It's a lot of pressure. Yeah. It's a lot of pressure. They lose. Yes. Yeah. That's why the second time I played, because I moved with my singing, like, out. Exactly. See, she got in touch with the piece by physically coming out and doing it. And then when she went back and actually played it again, it was like, yeah. It had all the great elements to it that made it work physically. Yeah. And the movement really helped. Yes. With our simple songs and the improvisation. When we do... It's better than... Without any... Yeah. Without the movement. Yeah. It's soulless. Okay. I'm done. Oh. Well, does she pass? Yes. Now, keep in mind, this is not a democracy. I am the dictator.