Tuesday, July 26, 2016

"FUN"damentals

When teaching young musicians we must keep the end goal in mind at all times, making meaningful music. Young students cannot get to the point of true music making if a lack of fundamental skills is holding them back. Therefore it is our responsibility to make sure that fundamental training is the core of what we are focused on. However young students don't want to play long tones and scales. Why would they? They're boring. We must find ways to excite our youngest musicians over learning these mundane tasks. Much like getting young children to eat their veggies. We know they're good for them, but we have to make them exciting in order for them to eat them. Eventually eating veggies, or practicing scales, just becomes what we do.

Long Tones/Technique Drills
There is nothing more boring for a young musician that holding out the same note over and over again. We are trying to find the center of their tone, balance, blend, tune, etc. They are just bored.  A simple addition of added accompaniment to your long tone warm-ups can make them a little more interesting for students. Added drum beats from the Dr. Beat, GarageBand, or a drum beat app can help young students with pulse and make that Concert F feel like its part of a rock band. You are now able to get off the podium and walk around to listen to and assist students because they don't need your conducting to stay together. You can still work on listening skills by asking them to focus on the beat, even certain aspects of it, and by listening beyond the beat to each other.

Rhythm Studies
Students used to begrudge doing separate rhythm training more than any other aspect of rehearsal. It's not easy work, everyone can hear clearly when they make a mistake, and they don't want to count. A few changes to this aspect of my rehearsals have made it something my students are excited about. First I changed from clapping with hands to patting on the shoulder. We cross our hand over to the opposite shoulder. Crossing our bodies activates more regions of the brain as we engage both the right and left cortexes. It is also much quieter for students and they don't feel so singled out when they make a mistake, although I can still hear and see it. I also remind them when we begin each day "Everybody counts because everybody counts!" (They recite the second part with me.)  This is their reminder that we need everyone to participate and that each member of our team is valuable and responsible for learning.

What really excites the students is a little class competition called the Rhythm Race. Just a chart to track what exercise in our rhythm book each class is on so they can see and compare. I've seen much greater effort and focus in learning and passing off exercises since implementing this system. Several classes often end up neck and neck on the chart and they really try to get ahead. What's even more miraculous is that after awhile the students are the ones who decide whether or not they've passed off on an exercise. To do this they must already know what your level of expectation is, otherwise they could want to pass off just to be done with it. Once that is established, I've found my students to actually be harder critics than I am. They won't pass off an exercise until it's practically perfect.

Keeping things relevant for students is important. This year with the Pokemon Go craze I've decided to incorporate that into our Rhythm Race. Each exercise is now a different Pokemon that they will "catch" when they pass off.

Scale Study
Scales were always my least favorite part of learning as a young musician and I see this in my students as well. Scale tests used to be painful and long. Students were vastly unprepared and it would take an entire class period or more to hear them. In an effort to excite students more about scales, to hear them play more, and to spend less time over all we began Scale Wars.

It begins with a simple chart to track who has passed off on which scales, but there is more to it than that. Students sign up in a book prior to the start of class each day to pass off on specific scales. After we practice scales as a class the 3 students who have signed up play the scales they have chosen. They either pass or are asked to try again another day. When they pass they get a sticker, we clap for them and move on. If less than 3 students have signed up in a day I choose students by random (it used to be through popsicle sticks but is now on a Name Selector App on the iPad) to play. I can ask them to play any scale we've already learned in class. Usually students are lined up at the beginning of class to pass off. When they have played all the required scales for their class they can choose to join the Dark or Light side of the force. They get to sign the posters, we play the Star Wars music (Main Theme for Light Side and Imperial March for the Dark Side of course) and cheer and celebrate their accomplishment. It's a big deal to pass off on scales and they love it!!


As you're planning your classrooms for the beginning of the year you may consider how you can make some of your fundamental training in rehearsals more enjoyable for your students. You can all have more fun and you'll be surprised at how much more motivated your musicians can be during this part of class each day.


Sunday, July 24, 2016

Preparing for the First Day of School

It's the most wonderful time of the year! I think its wonderful that we have a chance fresh start each year. Whether we have new students or returning students, everyone begins with a clean slate full of possibilities and potential.  What we do to create a positive, safe, and controlled environment before school begins will lead to success throughout the entire school year. Unfortunately this usually means a great deal of time is spent off contract before the school year begins to prepare. I consider the two weeks prior to my contract beginning preparation time. Not everyone does and that's okay. I find the planning and organization I do during this time to be imperative to having a smooth school year.

Handbook
One of the first things I do to prepare for the year is update and print my Band Handbook. It includes details on our classroom procedures and my policies regarding grading, concerts, and behavior. Establishing your expectations in these areas prior to the school year is important in creating the culture you want in your classroom. You should send this information home on the very first day of school. When students go home after their first day most parents will ask for information they received from their teachers or if there is anything they need to know. While parents may not have the time to sit down and go through the handbook in detail like we hope at least they have it and can put it somewhere safe before the chaos of the new school year really kicks in. If the handbook takes a few days or even weeks before going home it is more likely to get lost or forgotten about. Also have parents sign a document or contract stating that they have seen and agree to the terms in the handbook. This book is really the insurance of your policies. This way if and when there is a question or issue you have proof that they at least said they read the information.

Calendar
Your department calendar should be set prior to leaving for the summer from last school year. If for any reason it was not, this should be one of your first priorities. Communicate with school secretaries and feeder teachers to plan a year long calendar so there are no overlapping events. A copy of this calendar should be included in the information in your Handbook that students bring home on the first day of school. I even go as far as to have students circle the events that apply to them on the calendar.

Instruments
Time should be taken both at the end of the previous school year and the beginning of the next to go through your instrument inventory. Hopefully all instruments have been thoroughly cleaned and any needing repairs have been brought to the repair shop. You want to start the school year with a fully functioning inventory so everyone can participate. Grease slides and corks, oil valves and tune percussion heads to ensure everything will work the moment a student uses it. If you know ahead of time which students need to use school instruments you should pre-assign instruments to these students. I usually pre-assign the instrument lockers to all students as well and place the instrument in the student's locker. I fill out the loan agreement paperwork for the student to have their parents sign and place that in their folder for the first day with other materials. This saves valuable class time in the first week of school and leaves me with only a few loose ends on which instruments are left to give to students.

Music
If you know the level of the students in your ensembles you should program your musical selections for the entire year over the summer. This is one of the most important tasks we have to accomplish and can not be rushed. I spend approximately a whole week listening to music and looking at scores in order to make these decisions. Then before the year begins (and preferably before the other teachers return to school) I get as much of this copied as I can, at least for the first concert.

On the first day of class each student receives a folder with their handbook, method book, warm-up packet, scale packet, and music prepared for them. It will also include an instrument loan form where necessary and any other papers that might be handed out during the first few weeks of school. This level of preparation takes time and team work (former and current students and parents come in to help) but is essential in an efficient first week of school. Think about how much class time is spared by only having to hand out one item instead of them all separately! Think of the message it sends to the students about how your classroom will function and the level of organization to be expected. It also makes it much more difficult for students to claim they didn't receive something or lost a paper when you know they were handed out all together in a folder. Your local music store should be able to provide you with free folders to use.

Paperwork
Purchase orders, travel requests, fundraising approval...there is a lot of paperwork to be done in our jobs! If you know ahead of time you will need things for the beginning of the school year try to get this paperwork done before students enter your room. In fact, I usually have an open purchase order for supplies and one for our band t-shirts put on the system at the end of the previous school year that opens on July 1st. If funds used need to be approved through your student council there may be a few weeks in the beginning of the year before their organization has a meeting, leaving you waiting for what you need. If they can approve these items at the end of the previous year you can save yourself a great deal of stress.

Classroom
The way your classroom is presented on the first day of school gives your students an impression of you and what to expect during the school year. Label everything that you possibly can. I label lockers with student names, places for items to be stores and places for students to find things. I have found that 2-3" clear book tape works well to keep labels on and clean throughout the year. If your classroom looks clean, neat, and organized from the start students are likely to want to help you keep it this way. Learning can not exist in chaos. Order helps calm their young minds and yours so do your best to maintain an organized classroom throughout the year. I like a colorful classroom with lots of information for students to gaze at when they are day dreaming. Finish all bulletin boards and cover all unfinished surfaces. Fabric remnants in your school colors are a great tool for covering the tops of tables and pianos from dust. Your classroom should be warm and inviting right from the start. Take the time necessary to give everything a place and to create the environment that will inspire meaningful music making for you and your students.

A lot more goes into preparing for the first day of school than most students and parents realize. While it can be disheartening to give up our last few moments of summer vacations to working in our classrooms the time you take will be well worth the effort when those smiling young musicians bust open the doors on the very first day!

Saturday, July 23, 2016

Programming

Unlike other subjects in school, music teachers have the responsibility of choosing our curriculum each year. It is truly one of the most important tasks that we must achieve. The music we choose can teach concepts, highlight strengths or weaknesses in our ensembles, and most importantly it can inspire. It can inspire our young musicians, ourselves and even our audiences. Or, it can not. You must choose, but you must choose wisely.

I spend approximately a week each summer deciding on the musical selections for the five ensembles in my program. There are years where carving out this time has been difficult and I have played catch up throughout the year. When this happens I always regret my decisions. Taking the time to program appropriately for your ensembles is one of the most important things that directors must do for their students and their own success. Here are some things I like to consider when programming for my middle school bands.

1. Musicians
I am fortunate that after 9 years at my school I pre-audition students and place them into ability-based ensembles. I know each and every child who will be in the program, what they play, and what level they play. Therefore the most important consideration for me are the musicians I will be making music with. What are their strengths that I want to highlight? What are their weaknesses?  This year for example in my Concert Band, the brass and saxes are going to be extremely strong sections. My flutes however are young and inexperienced. It was difficult to find music, especially for the beginning of the year that wouldn't feature that section until I know we have a chance to work together so they can gain some skills and confidence.  Playing to your ensemble's strengths and finding ways to build or even mask your weaknesses will lead to greater feelings of success amongst your musicians.

Don't forget that it is okay to rewrite parts, especially for younger bands if it makes a piece more accessible to your ensemble. Most composers I have spoken with agree that you need to do what's best for your ensemble. If there's a trombone feature but you don't have the section for it, perhaps your euphoniums or tenor sax player can cover that part. I'm not always the best in remembering and deciding to do this, but it is okay to make this choice.

2. Level
This may seem simple but considering the ability level of the musicians is essential. What concepts do they know and are they already able to accomplish on the day you hand out the music? What do you want them to learn through the music? What will be easy for them? What will be challenging for them? Hopefully every piece of music our students play will help them grow into more mature musicians in some way. There is undoubtedly some concepts or skills we either want to teach or reinforce in the music we learn. Having a clear idea of what these are can help you focus your lessons and your programming. Perhaps even writing out the "Student Learning Objectives" you want to focus on in each piece of music you are teaching can help. We must keep in mind that the music we choose should reinforce the curriculum that is set by your district (if you have one).

A good rule in considering level is to try to have a piece that is technically easy but can challenge your students musically, a piece that is middle of the road in their level but might teach some new concepts/skills, and a piece that technically pushes their ability or musicality to the next level somehow. I try to have a piece that my students can feel immediate success on. Elliott del Borgo once said in a session (that I unfortunately couldn't get into because it was packed!) that your students should be able to sight read through a piece with no more than three crash and burns. I'm not sure I've necessarily stuck to that rule all of the time but it is always something in the back of my mind. While we want to stretch our students, over programming only creates frustrations for both you and your students. We should be striving to have meaningful musical moments and those can't happen when we are still fighting technical aspects during a concert.

3. Time
Something often overlooked, especially by young directors is how much time you have for the students to learn the music to an appropriate level of mastery. What testing dates might get in the way? What other events might take their focus off of learning and practicing this music? It is imperative to consider the whole picture in programming. I know that I always need to under program for our December Concert. We do a project during second quarter which takes approximately 8-10 rehearsals out of play. We have Area Festival 3rd quarter but that's also District Honor Band Auditions that students have to practice for. When we are preparing for State 4th quarter I might lose students to testing. Don't forget to look at the big picture. I map out the entire year of performances so I can make sure I am considering all the road blocks along the way to our performance dates.
Last year's programming map for Concert Band

4. Quality
When speaking with other directors there seem to be several different philosophies on the kind of music we program. One school of thought is that we should be appealing to our audience and students' interests, focusing on fun and popular music in our ensembles. Another, and probably more widely accepted in the academics in our field is that we should be focusing on classic band literature, transcriptions and original works for band that appeal to and advance the "art" of what we do. I feel that both opinions hold validity. "Art" music certainly does not hold the popularity it once did when it was a main form of entertainment for society. Learning about it and to play it can help maintain its existence and grow its appreciation. However, when our programming is only focused on core, art music we risk becoming elitists in who we are attracting to our ensembles. With so much time and effort spent on advocating for the continuation and importance of our programs we can not afford to appeal only to a portion of our school's population.

The inclusion of music that appeals to student and audience interest can be a wonderful tool in keeping interest in our programs. However, this does not mean "pop or fun" music all the time. If you notice in my year-long program from above I do not have anything that falls in this category programmed for the band's concerts. I am fortunate that even at the junior high school we have a pep band that plays for the school. I make sure to program music the kids get excited about for this venue. Events for the school and community are a great way to appeal to this aspect of music making, which is why I believe that marching band stand tunes should be modern and recognizable by the current student population. For my younger students who are not quite ready for the pep band I do try to program something fun for them towards the end of the year.  Anything they can get excited over works! Remember, if you're excited about it they will be too.

When looking for music to program one of my first stops is almost always the GIA Publications "Teaching Music Through Performance" series. There are 10 different volumes that cover quality grades 2-5 literature, two beginning band books, a middle school book, a book dedicated to marches, and several jazz books. Each book focuses on an incredibly detailed synopsis of several pieces of music and includes extremely helpful articles by some of the top professionals in the field. These books should be a staple in every band director's library! In addition to these I also frequent the Texas UIL and Florida Bandmaster's required music lists. They are a great starting point to finding what many directors over the years have coined as core literature.


Regardless of what qualifications you put on your programming each year we must remember what an important task selecting music is! Our goal must always be to make meaningful music with our students and we can't have that if we don't program appropriately. Playing great music creates experiences that our musicians will remember throughout their lives, it can speak to our emotions, and connect us. It's that powerful! So remember, with great power comes great responsibility.
Happy programming!!