Additional day music teachers: profile, planning and evaluation
Large groups, mixed ages and voluntary assistance: what teacher's profile of music works on the supplementary day, how to plan sessions and how to evaluate teacher and program.
A music teacher works best at the complementary day that can hold large and heterogeneous groups: students of several ages and levels, variable assistance and voluntary participation. More than a great soloist, you need someone with energy, flexible repertoire, arrangements for several levels and clear rules of living, that plans by cycles and shows advances at the close of each.
That guide is for school coordinators, compensation boxes and partners that operate programs in partnership with them: what profile to look for, how to plan sessions and how to evaluate teacher and program.
To sum up
- The supplementary day isn't a class of group instrument: it's a voluntary space with different and variable assistance.
- The functioning profile combines management of large groups, energy, flexible repertoire and capacity to make level arrangements.
- It plans for short cycles that end with a sample with sessions with a reducible structure.
- It evaluates students by process and teacher with observation of sessions, group permanence and sample quality.
- Since we work with minors, background and inskills checks are part of the profile, they are not a separate procedure.
What makes them different from the supplementary day
| Aspecto | Curricular class | Additional day |
|---|---|---|
| Participation | Mandatory, set group | Voluntary or by registration, assistance should be earned |
| Grupo | The same degree | Retirement |
| Asistencia | Estable | Variable: new and other students come and miss |
| Espacio | Assigned living room | Shared parcels, courtyards or auditoriums |
| Objective | Section and qualification plan | Training, co-existence, use of free time and samples |
| Reportes | School Bulletin | Operator information: assistance, progress and evidence |
That changes his profile. An excellent teacher in individual classes can shipwreck with 30 students from 8 to 14 years old who come tiring after his day, and a musician with no degree can shine if he can call and organize a group.
The teacher profile that works
- Management of large groups: start and close routines, brief instructions and signs to demand silence without shouting.
- Energy and presence: in the afternoon, after a full day, students need someone to hook them up from the first minute.
- A harmonic instrument to accompany: guitar, piano or keyboard, to hold the group while singing or playing.
- Level arrangements: The same song with parts for whoever starts, who advances and who's already playing.
- Flexible Repertoire: Colombian music, songs that students listen to and rhythmic games.
- The pedagogy of co-existence: standards agreed with the group, teamwork and conflict management.
- Administrative order: attendance lists, information and evidence submitted on time.
- Secure environments: and implements its child protection protocol.
Warning signs at selection
- He's talking about his career as an interpreter and little about his students.
- His class shows an exposure, and that's an activity they all play at.
- He doesn't have a strategy for his student who's at midway through the process.
- That's bad about the music that boys listen to.
To detect this profile, design a [sample class]](/blog/clase-muestra-como-evaluar-a-un-profesor-de-musica) with a large and age-mixed group and prepares small incidents: a student who's late, another who doesn't want to participate, another that goes far beyond. In his interview, ask him to tell you how to start a session with a new group and what he does when half did not come.
How to plan: short cycles and repeated sessions
Instead of a rigid annual program, they plan for cycles of a few weeks, each with two or three pieces and a sample at the end. The short cycles maintain motivation, allow new students to come in at the start of each and give frequent evidence to the school and the operator.
| Momento | Approximate time | What's up? |
|---|---|---|
| Rutine of initiation | 5 to 10 minutes | Body and voice warming, rhythmic play to get to the common pulse. |
| Brief technical work | 10 minutes | A single point: a rhythmic pattern, a chord or a line from the song. |
| Reamble by layers | 25 to 30 minutes | Each level learns their share and then they get together. |
| Montaje | 10 minutes | To play from beginning to end what's been taken from the piece. |
| Cierre | 5 minutes | What we have achieved and what follows and order of instruments. |
Layer arrangements
It's a tool that makes it possible to work with different levels. A same piece is organized into layers: pulse or ostenate with body or minor percussion, low or simple chords, melody and a contracanto or a single for more advanced ones. Whoever arrives new goes through the first cape and goes up as ready, without stopping the group.
Instruments and space
Define roles to distribute and collect tools, carry inventory by session and agree with the school where they are held. If there are insufficient tools, the voice, body and minor percussion allow everyone to play from the first day.
How to evaluate students without turning off their desires
In a voluntary space, an empty talent range of the living room. It evaluates the process with criteria that can be met by all if they participate:
| Criterio | What to observe | Evidencia |
|---|---|---|
| Participation | Arrives, integrates and holds his share | Lists of assistance |
| The pulse and rhythm | Keep his pulse with his group | Record at start and end of cycle |
| Basic technical | Posture, sound and tuning according to instrument | Teacher's notes |
| Joint work | Listen, wait his turn and help others. | Teacher's notes |
| Progreso | Switch from one layer of arrangement to another | Record by cycle |
To record at the start and end of each cycle is the most powerful evidence: students listen to how advanced they have and the operator sees concrete results. He first asks families for permission.
How to evaluate teacher and program
- Observation of meetings with a heading that prioritizes group management, climate and participation, at least once a cycle. Here's a [teacher's assessment section]](/blog/rubrica-de-evaluacion-docente-para-profesores-de-musica) to adapt.
- Retirement of group: If the students stop coming throughout the cycle, something needs to be reviewed.
- Final sample quality, with respect to the group's starting point.
- Administrative compliance: information, lists and evidence in time.
- The perception of the host college, of the students and families.
With these data, the feedback conversation relies on facts and the teacher clearly knows what's been expected from him in the next cycle.
Where to find these teachers
The best candidates for an additional day are not always those with the most brilliant living paper. Search among graduates of degree in music with practice at schools, directors of gangs and local chores, traditional musicians with experience in community processes and teachers of musical initiation. Ask for reference of jobs with groups and always do [background checks and inskills]](/blog/verificaciones-antes-de-contratar-profesores-colombia) before the link.
In A medio tono [selection of teachers]](/academias/seleccion-de-profesores) for schools, compensation boxes and supplementary day programs with class shown as a group. If you have candidates, we do the [examination of candidates]](/academias/evaluacion-de-candidatos) Your institution contracts directly to whoever you choose. Know all [services for academies and schools]](/academias).
Frequently asked questions
Is a master's degree better or an experienced musician better?
Both can work. The degree usually provides educational training and group experience and a musician with a background in community processes can have a great deal of group management without that title. He decides with evidence: class shows as a group and references weigh more than cardboard.
How many students can care for a teacher at an additional time?
It depends on age, space, available tools and type of activity. With large groups or young children, a second adult or a support monitor makes a great difference in session quality and safety.
What tools work best with big groups?
The voice, body and minor percussion allow them to all participate from the start. The sweet flute, plates, ukelele or guitar add to melody and harmony when there are enough tools and a plan to share and care for them.
How to integrate students that reach midcycle?
with a routine that they can follow from the first day and a simple cape of the arrangement, such as a pulse or an ostenate. Assign them a partner who already knows the piece helps them feel part of the group quickly.