Rebar 4

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5 thoughts on “Rebar 4”

  1. The music analogy is very helpful. Composers who try to use too many themes run the risk of confusing their audience. To extend the Beethoven Pastoral Symphony example, Wilhelm Furtwangler in the 1950’s performed the opening theme much more SLOWLY than his colleagues. This was a bold and controversial move. What it did for me was to help me see the beauty in the melody, which faster recordings had obscured for me. Thanks for all your postings and resources for teachers.
    John

  2. Robert Harrell

    Leopold Stokowski did the same thing with the Toccata and Fugue in d minor (Bach) for Disneys “Fantasia”. Many thought the pace lugubrious, but it certainly allowed the melodies to stand out.

  3. Robert Harrell

    We make soup, that’s all.
    And if we are fortunate, we make stone soup.
    Some travellers come to a village, carrying nothing more than an empty cooking pot. Upon their arrival, the villagers are unwilling to share any of their food stores with the hungry travellers. The travellers fill the pot with water, drop a large stone in it, and place it over a fire in the village square. One of the villagers becomes curious and asks what they are doing. The travellers answer that they are making “stone soup”, which tastes wonderful, although it still needs a little bit of garnish to improve the flavor, which they are missing. The villager does not mind parting with just a little bit of carrot to help them out, so it gets added to the soup. Another villager walks by, inquiring about the pot, and the travellers again mention their stone soup which has not reached its full potential yet. The villager hands them a little bit of seasoning to help them out. More and more villagers walk by, each adding another ingredient. Finally, a delicious and nourishing pot of soup is enjoyed by all.

  4. And there is no five star chef in the making of it either. I love that. We are cooking together – how fun! When I went to GWHS last Friday Joey and Kailey and Reuben and I just talked about how we could get better at it, what we could do.
    In what we do, in our best work together to learn this method, there is no chef coming out from the kitchen to be applauded for the great meal by the patrons. Those meals don’t taste any near as good as the kind Robert describes. It reminds me of the coaching sessions in LA with Laurie and Jody and Brian and Carol and Doug and the Alaskans, and those happy people at the front desk.
    And John yes you put your finger on how SLOW is revelatory, if that is a word. The SLOW comprehensible input is the key to the entire thing just as the music played slowly revealed more of the melody’s nature did with you when you said:
    …what it did for me was to help me see the beauty in the melody, which faster recordings had obscured for me….
    Boy does that apply to our students, right?

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