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Sign in to the Education Community. Discover great learning resources and learn new skills to become an Apple Teacher.

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GarageBand turns your iPad, and iPhone into a collection of Touch Instruments and a full-featured recording studio - so you can make music anywhere you go. And with Live Loops, it makes it easy for anyone to have fun creating music like a DJ. Use Multi-Touch gestures to play keyboards, guitars, and create beats that make you sound like a pro - even if you've never played a note before. Plug in a guitar or bass and play through classic amps and stompbox effects. Use a Touch Instrument, microphone, or a guitar and instantly record a performance with support for up of 32 tracks. Use the Sound Library to download additional free instruments, loops and sound packs. Audio Unit Extensions in iOS 14 allow you to play, record and mix third-party instruments or effects right into GarageBand. And then share your song with friends and family.

Live Loops. Make music like a DJ
* Use Multi-Touch to tap and trigger a Live Loop cell or group of cells
* Get started with templates or build your own grid from scratch with Apple Loops
* Create custom loops by recording directly into a cell using any Touch Instrument
* Use Remix FX to perform DJ-style effects
* Tap record to capture your performance

Play your iPad, and iPhone, like a musical instrument
* Play a variety of musical instruments on the innovative Multi-Touch keyboard
* Play and record using the Alchemy Touch Instrument
* Build grooves inspired by classic electronic drum machines with the Beat Sequencer
* Download free instruments, loops and sound packs for GarageBand with the Sound Library
* Capture any sound and apply studio-class effects
* Recreate legendary guitar or bass rigs using virtual amps & stompboxes
* Use 3D Touch to play keyboard sounds with polyphonic aftertouch*
* Record performances from third-party music apps directly into GarageBand using Audio Unit Extensions**

Drummer for iOS
* Add virtual session drummers to your song, who take direction and play realistic grooves
* Choose from acoustic, electronic drummers and percussionists***
* Each character provides their own sound and the ability to create over a million realistic grooves and fills

Sound like a virtuoso with Smart Instruments
* Play an entire string orchestra using Smart Strings
* Perform with Chord Strips and autoplay using any keyboard instrument
* Groove with a variety of Smart Basses using upright, electric, and synth sounds
* Strum chords or trigger autoplay patterns on an acoustic and electric Smart Guitar

Create a song anywhere you go
* Record, arrange and mix your song with up to 32 tracks using Touch Instruments, audio recordings, and loops****
* Record multiple times over any song section and choose your favorite using Multi-Take Recording
* Use professional mixing effects, including Visual EQ, Bitcrusher, and Overdrive
* Recording, mixing and exporting a song can be done at 24-bit audio resolution
* Trim and place musical regions exactly where you want them to play
* Automate the volume and record the movement of controls on Touch Instruments
* Add comments or lyric ideas to your song with an integrated notepad

Share your songs
* Keep your songs up to date across all devices using iCloud Drive
* Create custom ringtones and alerts for your iPad, iPhone, or iPod touch
* Share your songs using email or Facebook, YouTube, and SoundCloud*****
* Remotely add new tracks to your Logic Pro X project from your iPhone or iPad via iCloud

* Polyphonic aftertouch is available on iPhone 6s or later.
** Requires compatible third-party Audio Unit Extensions apps from the App Store.
*** Requires free download from GarageBand Sound Library.
**** Multitrack recording requires a compatible third-party audio interface.
***** Sharing to Facebook and YouTube requires iMovie.

Version 2.3.9

* New audio recordings can be quickly started from the Home screen by touching and holding the GarageBand app icon
* Maximum song length at default tempo has been increased from 23 to 72 minutes
* The ruler now offers an option to switch from musical bars and beats to minutes and seconds
* New downloadable "Keyboard Collection" sound pack includes over 150 keyboard loops and 50 instrument patches like pianos, organs, and electric pianos

Pretty Good...

I like this app a lot and I honestly think that once I get better at producing music, that this could be a go to for me until I get to a professional stage in my career. The only problem is that there aren't a lot of sound packs to choose from and it kind of gets boring after a while hearing the same sounds over and over again in almost all of your songs. So I think there should be more sound packs to choose from and that there should be more loops as well cause anytime I look through there it's always very repetitive and boring. I also think there should be a quick tutorial cause I've had a lot of friends delete this app just because it was hard to navigate through and figure out what was what and where they could edit certain loops or some of their own samples at. It doesn't have to be suuuper long but it should just go over the basic aspects of the app and where everything is at so that it's easier for new producers to find stuff. Overall I'd recommend downloading this app cause it's worth the while (at least until it gets old and boring but I still get on sometimes) I almost forgot to add that I also think it'd be a nice feature if you were to add a hidden loops list where you can remove loops from the general list and specific genres and things so that whenever you're looking for some good loops you don't come across the ones you know you'll never use or just don't vibe with.

Almost Perfect

Allow me to start by saying that I've been using GarageBand for 3+ years and it is beyond comparison. Out of hundreds of apps on the App Store, it is by far the most user friendly I have ever been able to use. As somebody who was teaching themselves how to write music, the interface is almost always very helpful and easy to understand, even if you aren't very knowledgeable of music in the classical sense. Although not everything about it is completely obvious, it is absolutely worth it to spend time playing around with and discovering new tricks and settings, that aid or streamline the music writing process. That being said, if there is anything about GarageBand that I don't like, it is the sustain pedal glitch. It's the only thing I would consider to be a flaw that truly compromises the effectiveness of the app. When adding/deleting/edited the lengths of sustains on music (particularly piano, as that is what I work with most often), I've frequently ran into a myriad of recurring issues; sometimes a sustain will still play even after it's been deleted, or after shortening a sustain pedal it will still play at its original length. All in all, however much I dislike the issues with the usage of the sustain pedal feature, any grievance I have with that is dwarfed by my admiration of this app and my appreciation of the undoubtably talented people who put energy into making music so easy.

Apple PLEASE read!

Hello my name is Caleb.
I've been using garage band for many years now and I've always loved it from the start however there is a problem that I've run into recently that I hope you can fix. It's a strange problem actually but garage band still deserves 5 stars anyway. So when I started using garage band there wasn't as much content as there is now, less then a third probably. I was easily inspired to make music and could make neat catchy tunes every other day but now it's harder to do that because there's SO MUCH content it's overwhelming because besides the five main things (guitar, vocals, drums, strings, and piano) there so many sounds like synths, bass, leads and such that I never know where to begin and I lose all interest in my creation, but I think that if you put a "sample" button on each sound so that we can hear just a single note at middle C or -1C for bass that would instantly get rid of the problem. Most of the time I know what sound I want but I can't find it and I have to select a sound, play my song, and see if it's the right one which takes to long with there being hundreds of choices. There might be this sound sample feature already and I just don't know how to use it but if not please consider adding it. It would help so much and I'm sure I'm not the only one who would thank you.

Information

Compatibility

Requires iOS 14.0 or later. Compatible with iPhone, iPad, and iPod touch.

Languages

English, Arabic, Catalan, Chinese (Hong Kong), Croatian, Czech, Danish, Dutch, Finnish, French, German, Greek, Hebrew, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Malay, Norwegian, Polish, Portuguese, Romanian, Russian, Simplified Chinese, Slovak, Spanish, Swedish, Thai, Traditional Chinese, Turkish, Ukrainian, Vietnamese

Copyright

© 2011-2020 Apple Inc. All rights reserved.

Family Sharing

With Family Sharing set up, up to six family members can use this app.

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‎GarageBand turns your iPad, and iPhone into a collection of Touch Instruments and a full-featured recording studio - so you can make music anywhere you go. And with Live Loops, it makes it easy for anyone to have fun creating music like a DJ. Use Multi-Touch gestures to play keyboards, guitars, an...

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This is the app that my students used to create their song. We are an 1:1 iPad school.

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GarageBand turns your iPad, and iPhone into a collection of Touch Instruments and a full-featured recording studio - so you can make music anywhere you go. And with Live Loops, it makes it easy for anyone to have fun creating music like a DJ. Use Multi-Touch gestures to play keyboards, guitars, and create beats that make you sound like a pro - even if you've never played a note before. Plug in a guitar or bass and play through classic amps and stompbox effects. Use a Touch Instrument, microphone, or a guitar and instantly record a performance with support for up of 32 tracks. Use the Sound Library to download additional free instruments, loops and sound packs. Audio Unit Extensions in iOS 14 allow you to play, record and mix third-party instruments or effects right into GarageBand. And then share your song with friends and family.

Live Loops. Make music like a DJ
* Use Multi-Touch to tap and trigger a Live Loop cell or group of cells
* Get started with templates or build your own grid from scratch with Apple Loops
* Create custom loops by recording directly into a cell using any Touch Instrument
* Use Remix FX to perform DJ-style effects
* Tap record to capture your performance

Play your iPad, and iPhone, like a musical instrument
* Play a variety of musical instruments on the innovative Multi-Touch keyboard
* Play and record using the Alchemy Touch Instrument
* Build grooves inspired by classic electronic drum machines with the Beat Sequencer
* Download free instruments, loops and sound packs for GarageBand with the Sound Library
* Capture any sound and apply studio-class effects
* Recreate legendary guitar or bass rigs using virtual amps & stompboxes
* Use 3D Touch to play keyboard sounds with polyphonic aftertouch*
* Record performances from third-party music apps directly into GarageBand using Audio Unit Extensions**

Drummer for iOS
* Add virtual session drummers to your song, who take direction and play realistic grooves
* Choose from acoustic, electronic drummers and percussionists***
* Each character provides their own sound and the ability to create over a million realistic grooves and fills

Sound like a virtuoso with Smart Instruments
* Play an entire string orchestra using Smart Strings
* Perform with Chord Strips and autoplay using any keyboard instrument
* Groove with a variety of Smart Basses using upright, electric, and synth sounds
* Strum chords or trigger autoplay patterns on an acoustic and electric Smart Guitar

Create a song anywhere you go
* Record, arrange and mix your song with up to 32 tracks using Touch Instruments, audio recordings, and loops****
* Record multiple times over any song section and choose your favorite using Multi-Take Recording
* Use professional mixing effects, including Visual EQ, Bitcrusher, and Overdrive
* Recording, mixing and exporting a song can be done at 24-bit audio resolution
* Trim and place musical regions exactly where you want them to play
* Automate the volume and record the movement of controls on Touch Instruments
* Add comments or lyric ideas to your song with an integrated notepad

Share your songs
* Keep your songs up to date across all devices using iCloud Drive
* Create custom ringtones and alerts for your iPad, iPhone, or iPod touch
* Share your songs using email or Facebook, YouTube, and SoundCloud*****
* Remotely add new tracks to your Logic Pro X project from your iPhone or iPad via iCloud

* Polyphonic aftertouch is available on iPhone 6s or later.
** Requires compatible third-party Audio Unit Extensions apps from the App Store.
*** Requires free download from GarageBand Sound Library.
**** Multitrack recording requires a compatible third-party audio interface.
***** Sharing to Facebook and YouTube requires iMovie.

Version 2.3.9

* New audio recordings can be quickly started from the Home screen by touching and holding the GarageBand app icon
* Maximum song length at default tempo has been increased from 23 to 72 minutes
* The ruler now offers an option to switch from musical bars and beats to minutes and seconds
* New downloadable "Keyboard Collection" sound pack includes over 150 keyboard loops and 50 instrument patches like pianos, organs, and electric pianos

Pretty Good...

I like this app a lot and I honestly think that once I get better at producing music, that this could be a go to for me until I get to a professional stage in my career. The only problem is that there aren't a lot of sound packs to choose from and it kind of gets boring after a while hearing the same sounds over and over again in almost all of your songs. So I think there should be more sound packs to choose from and that there should be more loops as well cause anytime I look through there it's always very repetitive and boring. I also think there should be a quick tutorial cause I've had a lot of friends delete this app just because it was hard to navigate through and figure out what was what and where they could edit certain loops or some of their own samples at. It doesn't have to be suuuper long but it should just go over the basic aspects of the app and where everything is at so that it's easier for new producers to find stuff. Overall I'd recommend downloading this app cause it's worth the while (at least until it gets old and boring but I still get on sometimes) I almost forgot to add that I also think it'd be a nice feature if you were to add a hidden loops list where you can remove loops from the general list and specific genres and things so that whenever you're looking for some good loops you don't come across the ones you know you'll never use or just don't vibe with.

Almost Perfect

Allow me to start by saying that I've been using GarageBand for 3+ years and it is beyond comparison. Out of hundreds of apps on the App Store, it is by far the most user friendly I have ever been able to use. As somebody who was teaching themselves how to write music, the interface is almost always very helpful and easy to understand, even if you aren't very knowledgeable of music in the classical sense. Although not everything about it is completely obvious, it is absolutely worth it to spend time playing around with and discovering new tricks and settings, that aid or streamline the music writing process. That being said, if there is anything about GarageBand that I don't like, it is the sustain pedal glitch. It's the only thing I would consider to be a flaw that truly compromises the effectiveness of the app. When adding/deleting/edited the lengths of sustains on music (particularly piano, as that is what I work with most often), I've frequently ran into a myriad of recurring issues; sometimes a sustain will still play even after it's been deleted, or after shortening a sustain pedal it will still play at its original length. All in all, however much I dislike the issues with the usage of the sustain pedal feature, any grievance I have with that is dwarfed by my admiration of this app and my appreciation of the undoubtably talented people who put energy into making music so easy.

Apple PLEASE read!

Hello my name is Caleb.
I've been using garage band for many years now and I've always loved it from the start however there is a problem that I've run into recently that I hope you can fix. It's a strange problem actually but garage band still deserves 5 stars anyway. So when I started using garage band there wasn't as much content as there is now, less then a third probably. I was easily inspired to make music and could make neat catchy tunes every other day but now it's harder to do that because there's SO MUCH content it's overwhelming because besides the five main things (guitar, vocals, drums, strings, and piano) there so many sounds like synths, bass, leads and such that I never know where to begin and I lose all interest in my creation, but I think that if you put a "sample" button on each sound so that we can hear just a single note at middle C or -1C for bass that would instantly get rid of the problem. Most of the time I know what sound I want but I can't find it and I have to select a sound, play my song, and see if it's the right one which takes to long with there being hundreds of choices. There might be this sound sample feature already and I just don't know how to use it but if not please consider adding it. It would help so much and I'm sure I'm not the only one who would thank you.

Information

Compatibility

Requires iOS 14.0 or later. Compatible with iPhone, iPad, and iPod touch.

Languages

English, Arabic, Catalan, Chinese (Hong Kong), Croatian, Czech, Danish, Dutch, Finnish, French, German, Greek, Hebrew, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Malay, Norwegian, Polish, Portuguese, Romanian, Russian, Simplified Chinese, Slovak, Spanish, Swedish, Thai, Traditional Chinese, Turkish, Ukrainian, Vietnamese

Copyright

© 2011-2020 Apple Inc. All rights reserved.

Family Sharing

With Family Sharing set up, up to six family members can use this app.

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‎GarageBand turns your iPad, and iPhone into a collection of Touch Instruments and a full-featured recording studio - so you can make music anywhere you go. And with Live Loops, it makes it easy for anyone to have fun creating music like a DJ. Use Multi-Touch gestures to play keyboards, guitars, an...

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This is my unique referral link. "Share it with people you want to invite. You get a free padlet for every 3 friends who sign up from your link. Your friends in turn get a free padlet."  

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This is my unique referral link. "Share it with people you want to invite. You get a free padlet for every 3 friends who sign up from your link. Your friends in turn get a free padlet."  

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Music and Language Acquisition

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FFLA 2018: Music in the World Language Classroom

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AFTER 2018 FFLA Music and Language Acquisition

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AFTER 2018 FFLA Music and Language Acquisition

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Music Collaboration Padlet (I will start with Spanish, but if you want me to set up another language, leave a post on the Collaboration padlet.below.) https://padlet.com/cchavez00/hhstit11c2xa

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CI through music

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En este repasamos los verbos con cambio de raíz y los verbos yo -go con "Ni contigo ni sin ti" de Los Ángeles Azules y Pepe Aguilar.

País: México

Género: Cumbia

Temas: Los verbos con cambio de raíz (e-ie, o-ue, e-i), Los verbos yo -go (hago, tengo, digo, sigo)

Hoja de actividades: Clozeline: Los Ángeles Azules y Pepe Aguilar - Ni contigo ni sin ti (pdf)

Unidades didácticas relacionadas

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Clozeline: Los Ángeles Azules y Pepe Aguilar - Ni contigo ni sin ti

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En este repasamos los verbos con cambio de raíz y los verbos yo -go con "Ni contigo ni sin ti" de Los Ángeles Azules y Pepe Aguilar.

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Zambombazo

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Canción: Natalia Lafourcade - Lo que construimos

País: México

Género: Pop, Cantautora, Reggae

Temas: El pretérito: Los verbos regulares

Esta hoja de actividades se encuentra en el ebook Clozeline 2015.

Detrás de cámaras

Unidades didácticas relacionadas

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Clozeline: Natalia Lafourcade - Lo que construimos

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Canción: Natalia Lafourcade - Lo que construimos País: México Género: Pop, Cantautora, Reggae Temas: El pretérito: Los verbos regulares Esta hoja de actividades se encuentra en el ebook Clozeline 2015 . Detrás de cámaras Unidades didácticas relacionadas

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The Los Angeles Philharmonic's brilliant Venezuelan Music Director has been named one of Time Magazine's 100 most influential people - and conducted penguins on Sesame Street. Find out more about him in out gallery...

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Gustavo Dudamel: 10 facts about the great conductor

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The Los Angeles Philharmonic's brilliant Venezuelan Music Director has been named one of Time Magazine's 100 most influential people - and conducted penguins on Sesame Street. Find out more about him in out gallery...

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Brain Breaks

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Comprehnsifying & Extending Authentic Resources

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Comprehnsifying & Extending Authentic Resources

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Kara Jacob's blog

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Day 1 - Play a quick game of Quizlet Live to introduce some of the vocabulario importante.Do a listen and draw activity and then watch the video.

Day 2 - Do the cloze activity with the song. Go over the translation of the song. Review the story with student drawings. Start the Textivate sequence (could be homework).

Day 3 - Try to sing the song. Continue the Textivate sequence (could be homework).

Day 4 - Try to sing the song. Continue and finish the Textivate sequence (could be homework).

Day 5 - Try to sing the song. Do a cierto/falso quiz about the story.

OR if you want to do extend the song for more than a week (these would take 5-15 minutes of each class):

Day 1 - Play a quick game of Quizlet Live to introduce some of the vocabulario importante. Do a listen and draw activity and then watch the video.

Day 2 - Do the cloze activity with the song. Go over the translation of the song. Review the story with student drawings.

Day 3 - Try to sing the song. With partners or as a class, read the story together and translate it. Start the Textivate sequence (could be homework).

Day 4 - Try to sing the song. Play the marker game with the cierto/falso statements (below). Continue the Textivate sequence (could be homework).

Day 5 - Sing the song. Play around the world with song lyrics or sentences from the story (say a Spanish chunk and students have to translate) Continue and finish the Textivate sequence (could be homework).

Day 6 - Sing the song. Play Quizlet Live with the sentences.

Day 7 - Sing the song. Divide students into groups of 2-4. Give them sentences from the story. They need to act out the sentence(s) and take a "Freeze Frame" picture. Have students send all pictures to you.

Day 8 - Sing the song. Use the pictures from the previous day to retell the story.

Day 9 - Sing the song. Share favorite lines of the song. Play this Kahoot Jumble.

Day 10 - Sing the song. Do a cierto/falso quiz (see two options below) about the story.

I am looking forward to presenting about story/song of the week this fall at TCI Maine, MaFLA, and NHAWLT!

And if you found this (or anything else that I have shared here) helpful and/or useful, consider supporting my work on Patreon.

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Cuento/Canción de la semana: Bajo el mismo sol

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Day 1 - Play a quick game of Quizlet Live to introduce some of the vocabulario importante.Do a listen and draw activity and then watch the video. Day 2 - Do the cloze activity with the song. Go over the translation of the song. Review the story with student drawings.

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Martina Bex

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Posts about Songs written by Martina Bex

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Template that I used to guide the students who "taught" the lesson. https://docs.google.com/document/d/1MBTXhsLJ57VMgnP_v4gr-d_SQC4h1PNHbc4umHsOcoI/edit?usp=sharing

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Playlist for Spanish III Honors Music in the WL Google Classroom.

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Brain Breaks part I

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I could write one million blog posts on brain breaks, so it will have to be written in parts just like my classroom management blog.

This was the other thing that people have asked me a lot of questions about after their observations of my classroom at IFLT. I do brain breaks frequently. Really, really frequently. Many people asked if it was every 3-5 minutes, or even more. The answer to timing is ALL about the students. I don't, however, advise WAITING for them to look like they NEED a brain break. When you see them look like they NEED a break, you have waited too long. Once you know your students you know the length of their attention span, and then you can plan your brain breaks accordingly. So with my two year old classes, I do a brain break every 2 minutes or so, where as with my 5th graders it is about every 10 minutes. Even with middle and high school, it is GREAT to do a brain break every 15 minutes!

The trick to brain breaks is to make them quick, easy, and seamless. You need to be able to jump straight back into instruction, immediately following a brain break. Many people will tell you that brain breaks MUST be in L1 (English). I disagree. I think they can be, sometimes. However, many of my brain breaks, involve the students doing something super silly that doesn't involve any talking at all, other times it involves saying 2-3 words, but why shouldn't they say those in Spanish if it is played as a game and it is non-forced, fun, output? The only brain break I really give my students that DOES involve English is in the middle of PQA or Movie Talk, or a Story or WHATEVER we are doing, I might throw in a sentence to call something out that is funny, or make a joke. This acts as a brain break, and it gives everybody a good laugh. Again though, if I am capable of staying IN SPANISH and my kids are capable of comprehending, and following, for an entire class with lots of brain breaks, why wouldn't I? That is my goal. I want their little brains switching over to L1 as little as possible.

You have to TRAIN your students to recognize when it is TIME for a brain break and you have to train them about how to transition out of one quickly too. My students know when they see the "brain break"slide in my PPT, it is time, OR they know when they hear me say the word "descanso" or "brain break" that they have to listen closely for the instruction of which brain break we are doing. Then we DO the brain break and the second it is over, I yell my classroom call response, (at the conference I used T: HOLA HOLA, SS: COCA COLA) and the students sprint quickly back to their seats and we jump IMMEDIATELY back into whatever we are doing. We don't waste any time talking about the brain break we just did, or anything else. That is the reason they get them so frequently, they know if we can jump straight back into the input, then we can afford to do more brain breaks. MOST of my brain breaks last between 30 -90 seconds. My longer ones are no longer than 2 minutes.

Everyone's favorite brain break they saw at IFLT was me dancing like a loon with my students. I saw Mary Overton do this about 4 years ago. She played the song Te Mando Flores by Fonesca and she sat on a stool in front of the class and students had to mirror whatever movement she did. Mary has a Masters in Spanish linguistics but she ALSO majored in dance, so she is graceful, coordinated and beautiful when she dances with her students. I am a hot mess, and many of my students actually believe I teach a spastic version of Zumba (like in the real world! WHAT?!), but I do have fun. So how do you get your students to follow you? Well, if they trust you, and feel safe in the classroom, they won't be afraid to look silly or be silly with you. Normally, I wait a few months to get to know my new students before introducing it. HOWEVER, I have found that regardless of their age, students LOVE it. Probably because they love laughing at me. I don't care though, laughing is a great brain break! That also answers your next question. What if not all the students participate?! (It won't be much of a problem in elementary and most of middle) So you teach a group of SUPER apathetic, WAY too cool for school high schoolers? Let them stand and laugh and watch. I bet that, by the end of the year, they start dancing too! And if not they become the minority in the room, because if everyone is just being silly and NO one cares, and you already have an environment of trust, no judgement, respect, and safety, they have nothing to lose! It is magic.

Finally, YOU have to be comfortable and confident enough to look silly in front of your students. Our students (all ages) are like dogs. They can sense fear. If they don't think YOU are bought into the silly/crazy dancing, they WILL NOT participate. Loosen up, relax, and enjoy! ALL teachers should do this. It is SO good for stress!

I have a variety of songs uploaded on Youtube ready to go for brain breaks. I keep them in tabs on my computer. I also have Pandora, ALWAYS playing on my computer. I simply turn off the speakers when I don't want to hear it. So sometimes, if I turn on the speakers and hear it is a good movement song, I will crank it up and the students will take that as an automatic cue to follow me. Now, as I said, they will LOVE this. That doesn't mean use it to death right away. Stick with your other brain breaks too! You don't want them to get sick of it and then you NEVER get to do it. I hate that dreaded "not again"eye-roll.

So, what are my FAVORITE dance tunes?? Here you go! I never have the video playing in the background because they can compare and judge my dancing then, and some of the videos I don't want my kids seeing.

Don Omar's "Hasta que salga el sol" - This is the one the kids know me best for.

"La Gozadera"- Gente de Zona ft. Marc Anthony - starts at 33 seconds... OBSESSED

"Bailando" - Enrique Iglesias ft. Gente de Zona and Descemer Bueno DUH!

Don Omar's "Zumba" - Double duh!

Don Omar's "Danza Kuduro" - ft. Lucenzo - music starts 37 seconds in (be careful with the video of this one if teaching elementary)

Julieta Venegas's "Eres para mí" - Much more chill....

Have fun!

Happy dancing and happy teaching!

Love,

La Maestra Loca

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Brain Breaks Part 1: Music makes me MOVE!

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I could write one million blog posts on brain breaks, so it will have to be written in parts just like my classroom management blog. This was the other thing that people have asked me a lot of questions about after their observations of my classroom at IFLT.

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Using the same text for different activities

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Using the same text for different activities

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Highlight the music from the movie, Coco.

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2018 FFLA Presenter

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AP Spanish Language & Culture Análisis de una canción elegida por el estudiante (Marzo 2018)

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AP Spanish Language & Culture Análisis de una canción elegida por el estudiante (Marzo 2018)

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https://drive.google.com/open?id=16QxNRFZ1_YvAdO0wqgR-7j3H-MZ32dh3

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2018 FFLA Music in the Spanish Classroom - YouTube

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Sign in now to see your channels and recommendations!

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Songs in Spanish for Kids and Older Kids

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Songs in Spanish for Kids and Older Kids

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Spanish Mama

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These activity packs were designed to anchor your weekly Spanish songs, so you'll have lyrics, keywords, and activities ready to go. Please note these are not complete units. Rather, I created the activities to meet the following goals:

>> Everything fits on ONE sheet. That's right-- you make one copy, per student, per song.
>> Each sheet contains editable key terms and a cloze activity.
>> Each sheet has a least one supplemental activity: listening, reading, search-the-lyrics, writing, or culture.
>> EVERYTHING (except maps and some clip art) IS EDITABLE. Videos are embedded in a file from YouTube to easily show in class.

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Songs in Spanish for Kids and High School Classes

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These activity packs were designed to anchor your weekly Spanish songs, so you'll have lyrics, keywords, and activities ready to go. Please note these are not complete units. Rather, I created the activities to meet the following goals: >> Everything fits on ONE sheet. That's right-- you make one copy, per student, per song.

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Musical Activities Develop the Whole Child

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Musical Activities Develop the Whole Child

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Musical Activities develope the Whole Child image

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The Magic of Music in the World Language Classroom

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The Magic of Music in the World Language Classroom

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https://calicospanish.com/magic-music-world-language-classroom/
Calico #langchat summary

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Benefits of Music in the language classroom - Google Search

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A compilation of Music and Language Acquisition resources (work in progress).

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Harry Belafonte and the social power of song (New Yorker)

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Harry Belafonte and the social power of song (New Yorker)

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Sixty-one years ago, in 1956, Harry Belafonte recorded a version of the Jamaican folk song " Day-O," for his third studio album, "Calypso." It opens with a distant and eager rumbling-as if something dark and hulking were approaching from a remote horizon. Belafonte-who was born in Harlem in 1927, but lived with his grandmother in a wooden house on stilts in Aboukir, a mountain village in Jamaica, for a good chunk of his childhood-bellows the title in a clipped island pitch. The instrumentation is spare and creeping. His voice bounces and echoes as it moves closer. It sounds like a call to prayer.

The song was written sometime around the turn of the twentieth century, though to suggest that "Day-O" was formally composed in any sort of premeditated way might be overstating things. It's a call-and-response work song, likely concocted spontaneously by overnight dockworkers cramming bunches of bananas onto ships, hot-footing it away from loose spiders, and fantasizing about rum. By 1890, the sugar trade in Jamaica had been toppled by an assortment of wars, acts of God, and political upheavals, and bananas had become the country's primary export. "Come Mr. Tally Man, tally me banana," Belafonte implores. "Daylight come and me wan' go home," his chorus chants. It is an infinitely applicable refrain, no matter what your metaphorical banana might be, or which cocktail seizes your imagination come quitting time. "Me wan' go home" is perhaps as universal a plea for freedom as we've got.

"Day-O" is so suffused with joy and pathos-that age-old human mishmash-that almost anybody with an actively beating heart sounds awesome singing it. Incredibly, in 1957, five more artists made it onto the U.S. Top Forty with their versions; these range from rich and enveloping (the jazz singer Sarah Vaughn) to unsettlingly polite (the folk-pop band The Tarriers). One of the writing credits for Belafonte's iteration goes to Irving Burgie, or Lord Burgess, a Brooklyn-born songwriter of Barbadian descent. Belafonte's friend and collaborator, the novelist Bill Attaway, introduced Belafonte to Burgess, whom Attaway had called "the black Alan Lomax-a walking library of songs from the islands." The trio camped out in a suite at the Waldorf-Astoria Hotel, where Belafonte was performing a string of shows, and fiddled around with "Day-O," which was known at the time as "The Banana Boat Song," or "Hill and Gully Rider."

"None of us had any idea, when we recorded it, that it would be spun off as a single," Belafonte admits, in his 2011 autobiography, " My Song." "Day-O" went to No. 5 on the charts, and "Calypso" became the first full-length record of any sort to sell a million copies. Belafonte had bickered with RCA over the cover. The first mockup he saw featured his body with "a big bunch of bananas superimposed on my head. I looked like Carmen Miranda in drag, only in bare feet, with a big toothy grin, as if I were saying, 'Come to dee islands!' "

On March 1st, Belafonte will turn ninety. This week, Sony Legacy is releasing "The Legacy of Harry Belafonte: When the Colors Come Together," a new anthology of his work. It's a beautiful, manifold collection, and reiterates Belafonte's standing as one of America's most vital and insurrectionary folk singers. There is video of Belafonte performing his song "Matilda" in 1966, at a benefit for Martin Luther King, Jr. He is lithe and balletic, slinking easily about the stage, like a stalk of tall grass bending in the breeze. When it comes time for the chorus to sing, he flaps his hands at them in a gesture I have now observed hundreds of times but still cannot figure out how to describe: it is as if his hand is attached to strings being tugged on from above. Belafonte came of age as a vocalist in an era in which tone and modulation were paramount, watched as those foundations were successfully subverted, and then grew expert at drawing from both customs. This gives his work a tense and singular dynamism.

Prior to "Calypso," Belafonte worked as a stage actor and a jazz singer, but in the early nineteen-fifties he became gripped by vernacular music, and particularly by the idea that a folk song could be an engine of actual social change. In "My Song," he tells a story about seeing the folk singers Woody Guthrie and Lead Belly perform at the Village Vanguard, and being so remade by the experience that he arranged for a pilgrimage to the Library of Congress, in Washington, to listen to the thousands of field recordings that Alan Lomax had collected and archived there. "I just couldn't stand the thought of going back to those mushy pop standards," Belafonte writes. Though he had grown up in deep poverty, he fretted over his bona fides and his racially mixed origins. (His maternal grandmother was "the white daughter of a Scottish father who'd come to Jamaica to oversee a plantation for an absentee owner," while his paternal grandfather was "a white Dutch Jew who'd drifted over to the islands after chasing gold and diamonds, with no luck at all.") "I wasn't even a full-fledged Jamaican, or a black from Harlem with full Afro-American roots," he worried. "All of this mattered, deeply, in the burgeoning folk music of the early 1950s, because authenticity was what the songs were about, and an inauthentic singer, which was what I appeared to be, had no right to sing them."

Belafonte was strikingly prescient about the ways in which taste could and would be politicized, and especially about how treacherous it is to confuse consumption with action. This seems, to me, to be an unspoken but profound hindrance to all popular rebellions: if a person reads the right authors, and buys the right records, and vouches for those preferences loudly and repeatedly, it can feel like all the necessary work has been done to align oneself with the proper causes. "If you liked Harry Belafonte, you were making a political statement, and that felt good, the way it felt good to listen to Paul Robeson, and listen to what he had to say. If you were a white Belafonte fan, you felt even better. You were connecting with your better angles, reaching across the racial divide," Belafonte writes. Or: what should be a beginning is often mistaken for an end.

Eventually, Belafonte would become integral to the civil-rights movement of the nineteen-sixties, both as an adviser and confidante of King's and a financial patron, helping to fund voter-registration drives, Freedom Rides, the March on Washington for Jobs and Freedom, and more. Over the next fifty years, his activism would extend beyond domestic concerns: he has advocated for famine relief in Africa (he was an organizer of the recording sessions for "We Are the World," in 1985), H.I.V./ AIDS prevention and treatment, the abolition of nuclear weapons, education, the end of apartheid, and more. Most recently, he served as a co-chair of the Women's March on Washington, held the day after Donald Trump's Inauguration.

"Calypso," which topped the Billboard chart for thirty-one weeks, in 1956, is a curious and seductive record. The genre it was named after originated in Trinidad and Tobago, at some point in the early part of the twentieth century (use of the word to refer to a style of music was first recorded in 1930), though its beginnings are varied, ancient, and complex, and point toward West Africa, the French Antilles, and the seventeenth-century Caribbean slave trade. Musically, calypso is playful and colloquial, and rooted in a three-beat rhythm (two long beats, followed by a short beat); it directly inspirited Jamaican mento, which eventually produced ska.

In the annals of pop-music history, 1956 is generally thought of as the birth year of rock and roll (as a popular format, at least), but "Calypso" outsold both self-titled LPs that the twenty-one-year-old Elvis Presley released that year. It seems strange to recall this now, but, for a time, rock and roll and calypso were in an odd footrace for cultural ubiquity. In 1957, John S. Wilson, a critic for the Times, even suggested that calypso was acquiring the edge: "Reports from the epidemic areas of popular music suggest that Elvis Presley and rock 'n' roll are giving way before the onslaughts of Harry Belafonte and Calypso," Wilson writes. "The contrast could not be more extreme." Calypso, of course, was an old and adapted tradition, whereas rock and roll was a new amalgamation, wilder and more explicitly homegrown. There are also, as Wilson points out, categorical differences between the two genres, both musically and in terms of presentation: "Mr. Belafonte's consciously precise and rounded diction is the direct opposite of Mr. Presley's mumbled and swallowed syllables," Wilson writes.

Belafonte's next record, "An Evening with Belafonte," was a collection of beloved folk songs culled from a parade of global traditions-"Hava Nageela," "Danny Boy," "When The Saints Go Marching In." While he never shunned or disparaged calypso (and would eventually return to it, in 1961, with the album "Jump Up Calypso" and the effervescent and clamorous single "Jump in the Line"), Belafonte seemed plainly eager to peacock stylistically, flaunting his uncommon range. In 1958, he released "Belafonte Sings the Blues," which is my favorite of his records, though it is, by most accounts, a middling entry in his discography. It's not technically a collection of blues-in his liner notes, the critic Nat Hentoff admits as much, then suggests that "the feeling and the wryly unconquerable spirit of the blues pervade all the numbers," which, while purists may disagree, seems more fundamental to the spirit of the enterprise than any chord progression-but there is a looseness and an uncooked quality to Belafonte's voice here that feels both unprecedented and unrepeated.

Belafonte's performance of " Losing Hand"-a song written by Charles Calhoun for Ray Charles, who had a hit with it, in 1953-is, for me, a calamitous combination of the sly and the wounded. "I gambled on your love, baby, and got a losing hand," Belafonte sings. He sounds like someone who has come to realize that he is completely screwed-toppled by bad love, and floundering. His predicament has nearly become amusing to him; he has been bested, but still regards his attacker with woeful, wanting eyes. "I know you don't care, but I love you just the same," he shrugs.

In "My Song," Belafonte has lessons for subsequent generations-advice for all the young dissidents taking up the movement-and it feels particularly timely to revisit them now. He writes, frequently, of M.L.K., who believed that anger was a necessary ingredient for change. "And I subscribe to that completely," Belafonte writes. "I was angry when I met him. Anger had helped protect me. Martin understood my anger and saw its value. But our cause showed me how to redirect it and to make it productive."

These days, when people talk about the lack of a musical center in contemporary protest movements, it's usually framed as a subtle critique of modern artists, who tend to sing boldly of self-empowerment and self-growth, but rarely of collective betterment. Even folk music, the genre most typically equated with facilitating social revolution, seems to have turned inward, gotten more contemplative, more confessional. Some of our musical aimlessness is attributable to the ways that audiences have changed, too-the privatization of the listening experience and the fracturing of the monoculture has spawned a million tiny, private islands of taste. Belafonte suggests that he found his power "in songs of protest, and sorrow, and hope"-that they enabled his activism. The music he loved (the field hollers and chain-gang songs of the prewar South; the work laments of Jamaica) stressed the mutual or shared experience. Anger can be crippling when it festers in isolation. Belafonte figured out how to push anger outward by bringing others close.

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Harry Belafonte and the Social Power of Song

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Sixty-one years ago, in 1956, Harry Belafonte recorded a version of the Jamaican folk song " Day-O," for his third studio album, "Calypso." It opens with a distant and eager rumbling-as if something dark and hulking were approaching from a remote horizon.

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Wonderful radio stories about Latinos in the USA

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Latino USA | WNYC | New York Public Radio, Podcasts, Live Streaming Radio, News

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Maria Hinojosa guides our cross-cultural understanding of politics, social ideas and personal stories, told through the lens of the nation's growing and increasingly diverse community of Latinos.

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Letra es algo fuerte y no es apropiada para los estudiantes de la escuela secundaria. Se me ocurre que podríamos usar parte de la canción en Edpuzzle.com para cortar lo que no podemos usar en clase. YOU MUST LISTEN TO THE LYRICS before sharing this playlist with students.

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Renata Flores canta en quechua

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Renata Flores - Trap + Quechua - Tijeras ft. Kayfex

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Renata Flores estrena "Tijeras

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En el presente contexto de nuestra sociedad, que cada vez se torna más marcada por una visible violencia de género, y un consecuente incremento en la taza de feminicidios, cada vez son más los artistas que se empeñan en alzar su voz y hacer notar su posición.

En el caso de la cantante ayacuchana Renata Flores, ella no solo decidió publicar una canción nueva sobre este urgente tema, sino que además lo hizo con la letra en quechua y al ritmo del trap y la danza de tijeras. Al respecto, la joven de 17 años dijo lo siguiente:

"Los feminicidios hieren, aún más cuando quedan impunes. En mi tema quiero plasmar lo que sentimos al ver tanto sufrimiento de muchas mujeres (madres, esposas, hijas, hermanas y amigas). (...) Con esta canción trato de incentivar a las mujeres y a todo ciudadano que no tenga miedo de hablar ante un maltrato y que, si no los escuchan, ¡griten! y si todavia no les escuchan, griten más ¡con todas sus fuerzas!"

" Tijeras" es el nombre del nuevo éxito de la artista nacida en Huamanga, en colaboración con Kayfex. Renata sorprendió al mundo años atrás por un cover de Michael Jackson, "The way you make me feel", que cantó en quechua con una fusión de soul y música afroperuana. Desde entonces, Flores ha venido encontrando su propio estilo dentro de la música, manteniendo los cantos en idioma andino como parte de su identidad.

Aquí te dejamos con el nuevo videoclip de Renata Flores Rivera, " Tijeras ":

renata flores

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Renata Flores estrena canción de trap en quechua contra los feminicidios | Conciertos Perú

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En el presente contexto de nuestra sociedad, que cada vez se torna más marcada por una visible violencia de género, y un consecuente incremento en la taza de feminicidios, cada vez son más los artistas que se empeñan en alzar su voz y hacer notar su posición.

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AP Spanish Language & Culture Music Project

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AP Spanish Language & Culture Music Project

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Playlist of the songs that the students used for their project 2018.

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AP Spanish Language & Culture Project 2018

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AP Spanish Language & Culture Project 2018

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As part of a Rotary Professionals trip to Córdoba, Argentina we were taken to Ariel Ramirez's performance of a Misa criolla. I had never heard a Misa criolla. Here is one I found online.
Córdoba Iglesia de Los Capuchinos

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Misa criolla en Cordoba. En la Iglesia Los Capuchinos

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Paco de Lucía & Al Di Meola - Mediterranean Sundance

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Paco de Lucía & Al Di Meola - Mediterranean Sundance

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Junior year abroad students were asked if they wanted to hear a Spanish guitarist. I said yes, and rode on the bus for 45 minutes. I wondered if I had made a mistake. We were ushered into the auditorium, front row seats, and then we heard Paco de Lucía play. Unforgettable.

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Paco de Lucía & Al Di Meola - Mediterranean Sundance

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Concierto de Aránjuez (Adagio)

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JOAQUIN RODRIGO  &  JOHN WILLIAMS  Concierto de Aranjuez  (Adagio)

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The theater professor who played Joaquín Rodrigo's Adagio instead of teaching the day after his mom passed away.

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Ricardo Doménech, por Gusi Bejer

Pregunta: ¿Se jubila o le jubilan?
Respuesta: Me jubilan, me jubilan. Tengo 70 años y me gustaría seguir. Los estudiantes lo han pedido e incluso el director de la Resad, Ignacio Amestoy, ha hecho gestiones para ello, pero es imposible porque la burocracia académica nos trata de un modo cuartelero y radical, sin posibilidad de individualizar. Tal vez esto cambie con las reformas europeas.

P: ¿Cuánto tiempo ha dedicado a la docencia?
R: Yo di clases en el Teatro Estudio de Madrid y luego entré en la Resad en 1969, pero entonces la situación era complicada para los profesores rojillos. Me echaron de la Resad de una forma educada: sin renovarme el contrato.

P: Y volvió más tarde.
R: Sí, en la Resad ha habido dos personas fundamentales para mi. La primera fue Hermann Bonnín, que la dirigió con ganas de reformarla. él me llamó y fui jefe de estudios. Luego nombraron a Rafael Pérez Sierra, que también se planteó su renovación. Cuando él se fue en 1977 me nombraron director, cargo que repetí en 1987.

P: ¿Qué ha aprendido en estos 40 años de docencia?
R: Uno de los aspectos más atractivos de la docencia es el contacto con la juventud. Con el paso del tiempo ves la evolución de las ideas, de las actitudes, del lenguaje, de la mentalidad y de los gustos. Un profesor tiene en sus alumnos un verdadero observatorio de la sociedad y percibe cómo cambia de una manera más clara. Eres un espectador de la transformación humana y donde más se nota es en el lenguaje.

P: No es fácil encontrar en la universidad investigadores que disfruten con la enseñanza.
R: Me gusta la docencia, pero el eje de mi trabajo es la escritura. Yo me considero ante todo escritor, de relatos y de ensayos. Pero ¡ojo! cuando escribo ensayos no hago ese tipo de libros que tanto se estilan ahora que parecen informes bancarios. Se olvida que el ensayo es un género literario.

P: Su obra se ha centrado en los tres grandes dramaturgos españoles: Valle, Lorca y Buero, y también en los autores del exilio ¿Ha dicho ya todo lo que tenía que decir?
R: Con la publicación de García Lorca y la tragedia española doy por finalizado mi trabajo sobre Lorca. Voy a revisar el libro que escribí sobre El teatro de Buero Vallejo y me queda Valle, pues quiero sintetizar todos mis escritos y ensayos en una sola obra. Pero tengo pendiente seguir con el teatro del exilio.

P: ¿Por cuál de los tres grandes autores siente mayor simpatía?
R: No tengo preferencias, la verdad es que los tres me fascinan.

P: Supongo que Buero es especial, ya que tuvo oportunidad de conocerlo.
R: Creo que Buero es la persona que más ha influido en mi como escritor, aunque yo no he escrito teatro. Como hombre de letras, como académico y como ejemplo de intelectual que tiene conciencia de su papel en la sociedad, Buero ha sido definitivo en mi carrera. También lo fue Luis Martín Santos, que fue como un hermano mayor.

P: También Valle y Lorca se conocieron en su época y, sin embargo, no se entendieron muy bien.
R: Lorca llegó a calificar a Valle de "detestable. Como poeta y como prosista". Pero yo creo que fue una reacción a unas declaraciones laudatorias que Valle hizo de Mussolini y de la Italia fascista. Esto es anecdótico. Lo importante es que hay una relación entre ambos: Valle es el maestro de Lorca y Lorca, el discípulo aventajado, muy influenciado por el teatro simbolista de aquél. Buero plantea su teatro en otra onda, muy cercano a Unamuno. Y los tres, que son la cima del teatro español del siglo XX, se caracterizan por la búsqueda de un teatro trágico.

P: ¿Por qué fue tan importante la Yerma que dirigió Victor García con Nuria Espert en 1971?
R: Sí, fue clave, ese espectáculo modificó la idea escénica de Lorca. Se le venía montando desde 1961 de una forma tan equivocada que hasta los críticos de la izquierda indentificaban a Lorca con un teatro anticuado y costumbrista, de patios andaluces. Tenían una visión muy negativa del autor. En este sentido, el montaje de Nuria Espert fue determinante para acabar con esa idea. También lo fue el discurso de ingreso de Buero en la Academia. Porque de Lorca se ha escrito mucho, pero muchas tonterías.

P: Tantos años dedicado al teatro, ¿cuál cree que sería la función de éste, si es que cree que tiene alguna?
R: Ahora que la televisión es el gran espectáculo, me sorprende que muchos digan que los jóvenes no leen nada pero, ¿y los adultos? ¿qué leen los adultos? No podemos hacer descansar solo en el sistema educativo este problema. Y en este contexto contemplo el teatro como un espacio en el que los jóvenes pueden proyectarse con mayor libertad. El teatro siempre puede devolvernos la comprensión de la realidad. Necesitamos "catarsis", descubrir quiénes somos, y el teatro es un aprendizaje espiritual. Sí, me gusta creer que el teatro es la conciencia de la sociedad.

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Ricardo Doménech, por Gusi Bejer Pregunta: ¿Se jubila o le jubilan? Respuesta: Me jubilan, me jubilan. Tengo 70 años y me gustaría seguir. Los estudiantes lo han pedido e incluso el director de la Resad, Ignacio Amestoy, ha hecho gestiones para ello, pero es imposible porque la burocracia académica nos trata de un modo cuartelero y radical, sin posibilidad de individualizar.

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Paco de Lucia & Al Di Meolo