She was a new student who transferred in. I needed to listen to her so I could place her. I had never seen color-coded keys and it gave a good reason to have a nice get-to-know-you conversation. She said her band teacher labeled all their clarinetists’ keys like this. It was a nice horn.
Wow! I’ve spent my whole teaching career explaining the fingerings and expecting students to get it.
I HAVE had students label all their music notes. I didn’t allow it if I knew about it…..explaining that they were going to encounter more notes than they were going to be able to label.
btw I wonder if that teacher labeled trumpets or trombones.
Cheer for first half, band for halftime, back to cheer for 2nd half
One of my all time favorites because it shows commitment and dedication. This girl is a cheerleader during the first half of the game, then, while the other cheerleaders have a break, she runs to the band, grabs her drum and marches halftime…..and then back to cheer for the rest of the game.
In the high school where I taught, we were just beginning to work on Africa: Ceremony, Song and Ritual. It was an incredible piece of music written to display some of the beauty and complexity of African music and drumming.
I have two “racist”-related stories to go with our preparation of this piece. The first happened several years ago when I invited (and then had to un-invite) an area African drumming group to come to our school to lead a Master Class for our students and open our concert. That will be for another post.
More recently, as part of our discussion and preparation, I spoke with the class about how African drums are considered “sacred” and that we would treat this music and our performance of it with that type of respect.
As part of that discussion, I spoke a little of my son’s study abroad experience during his undergraduate work at Duke University, when he spent a summer in Ghana. He was one source of telling me how reverently the Gananians treated the drumming instruments. He also told me the exceptional level of respect they gave “white people”, especially men.
He stepped over some local cultural norms when he insisted on helping with the food preparation and in washing his own clothes. It should be noted that the home where he stayed was considered one of a “nobleman” from the area.
Not comfortable with the female servants doing his laudry, David tried to do his own. The best he could get was for them to let him help them.
“Everyone wanted their picture taken with the white guy, and they wanted hugs. When I went to church, they would always set me on the front row, if not on the platform itself.” -David Gardner
What really sparked the shocked response was when I told this class (mostly white with a small hispanic component) about my son’s experience in a Drumming Circle, where several of the students from his trip participated. The comment that the drumming leader made (multiple times) was that….
“You all are playing like a bunch of WHITE PEOPLE.”
I got a noticeable gasp of disbelief and shock when I shared that quote. I explained that this was not something a white person said, but rather was a critical statement made by a Gananian African about how non-Africans were playing his instruments.
I was not trying to be or show any form of racial disrespect, but rather, to use a quote from someone who should know the instrument….. Incident averted.
In 7th grade, attending a band clinic at Morehead State University, I made the definite decision that I wanted to be a band director. No one on either side of my family had been to college, so I was clueless in many aspects of what it would take.
My band director, James Copenhaver, pulled me aside one day to explain:
You want to be a band director. That means you’re going to need to go to college, but your family can’t pay for you to go (My parents were divorced and my polio-surviving mother was raising five children.)
Your grades are okay, but not good enough for academic scholarships. You’re not athletic, so that is out.
The best chance for you to get to college is to become good enough on that clarinet that by the time you graduate, a college will pay for you to come. You’ve got four years.
I was looking for something else and stumbled across this…. the narrative portion of a teacher eval on me about a year after they tried to pink-slip me. It was likely a scheduled observation and one of those times you find out what students think of you — because they can make it go really well or horribly wrong. Not sure why they insert the name so often. I find that distracting. Apparently, this was early as we were learning the piece, “Africa: Ceremony, Song, and Ritual”. I should point out that the artifacts passed around and the email read came from David’s summer studies in Ghana.
VIII. NARRATIVE (March 2007)
As I entered Mr. Gardner’s class, I immediately noticed the projector displaying announcements. Specifically, the following were scrolling: Leadership Truths, Characteristics of Quality, Birthdays, and the agenda for each day of the week. In addition, Mr. Gardner used the speakers in the band room to play audio of the African piece that has been the focus of instruction. When the bell rang, Mr. Gardner turned on the lights; students immediately became quiet. Mr. Gardner began to lead students in a warm-up activity. He used the projector during this time. Mr. Gardner’s band room is orderly and conducive to learning. During the last warm-up exercise, Mr. Gardner requested that a senior conduct. Next, Mr. Gardner assigned the following exercise: students were to submit five suggestions that could improve the African piece. He allowed students to make suggestions regarding his performance, as well. Next, Mr. Gardner shared some African artifacts with students. They passed the artifacts around the room while Mr. Gardner read aloud an email message from a study-abroad student in Africa. Students were very attentive during this time. Next, the band started performing the piece; this piece is relatively new to the students. Mr. Gardner balanced praise with constructive criticism. Mr. Gardner transitioned into a rhythm exercise. He allowed students to choose the object they were to use to demonstrate rhythm. Students enjoyed the exercise. Mr. Gardner uses modeling to support his direct instruction. It should be noted that when there are students talking during Mr. Gardner’s direct instruction, other students remind those who are talking to be quiet. Mr. Gardner led students again through the piece. At the end of the period, students were quiet and attentive during announcements. Mr. Gardner praised students as they left, and he reminded them to submit the “suggestion sheet.”
Other good points will be listed below.
1. Mr. Gardner’s class is engaging. Students enjoy the learning environment and are
clearly motivated by the instruction and varied strategies.
2. Mr. Gardner has a passion for teaching that translates into excitement for the students.
Someone tweeted a prompt, “that one time at band camp”. This was my response. Did this several times. Official practice for the fire fighters. Great fun for hot teens during band camp.
I learned late today that May 20th is National Band Director’s Day. I’ve had several directors who have impacted me different ways.
ROBERT CROWDER took over some of the elementary school bands when my initial teacher (more, in a moment) worked out to stay at the high school. Mr. Crowder was the first black teacher I had any extended contact with. He was so nice and soft spoken. He taught me at 10th District in grades 6-7. I was in 8th grade, at the huge, inner-city @2500 student Jr/Sr high when MLK was killed. Racial tensions were sky high for a while, including daily walk-outs 10 minutes before school end by hundreds of black students. I didn’t experience it directly, but apparently Mr. Crowder did a lot to help restore a calmer atmosphere in the school.
SAMUEL SANDERS was my Jr High director in 8th grade. I was 1st chair, but always goofing off in rehearsal. He pulled me aside one day and said something like, “You’ve got a lot of potential, but you’re going to throw it all away if you’re not careful.” That impacted me and I changed.
JAMES COPENHAVER taught me in his and my first years. I was in 5th grade and he just got the job. He didn’t like the way I held my horn. He sat down next to me, quietly explained hand position while patting me on the top of my head with his college ring turned around. I have great hand position still. Freshman year, he pulled me aside to say, “I understand you want to be a band director. That means you will have to go to college and I know your family can’t send you. You have four years to work on that clarinet, so that, by the time you graduate, you’ll be good enough that schools will pay for you to come.” He was right. I have so many stories about him. To say he was a strict taskmaster might be an understatement, but he did so many things to help me along. He got me scholarships to summer camps and connected me to the best clarinet teacher (below) in the area. He left after my sophomore year. He taught me to always strive, not only for excellence but for the top spot. I tried to pay him forward when I taught. It was hard because his tactics would be problematic today….but I get enough notes and feedback from students and parents that I know I impacted some lives.
RICHARD FOUST moved up from the Asst position for my last two years of high school. He was a great jazz musician. Overall, he kept the band strong through my graduation.
ROBERT RODEN was my clarinet teacher throughout high school. He was also a band director. He had the first chair clarinetists from two other area high schools in his studio. (Senior year he gave the three of us the same solo for festival). Mr. Copenhaver convinced him to give me an ‘audition’. After listening from his living room lounge chair, he offered me lessons with a condition. “You’re pretty good. I can help you get better, but you can’t afford me. I have a bad heart and am not supposed to do much hard work, so if you will mow my lawn, shovel my snow and do whatever else I need around the house, I will give you lessons UNTIL the day you show up here unprepared.” I have tried to pass that forward, but it is hard to find that level of commitment in the lives of super-busy teens. Mr. Roden died in the Beverly Hills Supper Club fire in 1976. There were @160 deaths. My dad was off duty, but at the fire helping fire fighters.
WM HARRY CLARKE was my college band director. The day I walked into the Fine Arts building for a visit, there was a music major at the door waiting for me, calling me by name and escorting me to meet Mr. Clarke. I learned a lot about conducting and rehearsal technique from him. One skill I never mastered was his ability to always remember names. We had a huge band and he knew everyone by name. That is powerful.
PHILLIP MILLER was my college orchestra director and clarinet professor. He was a good teacher, not such a good human. Other than telling me he had wasted four years of his life on me (when he found out I was an education vs performance major), the most memorable takeaway for me was that, just before I would walk on stage for a solo performance, his words to me were, “Make them stand up.”
I was a music teacher in the system from 2005-2020 (retired). This happened during that time.
The hs building has over 40 outside doors. Custodians check those doors every evening because there have been cases of someone leaving a stone in a door to keep it from locking, sometimes for innocent reasons, others not so.
There is one particular door used primarily by the instrumental, choral, theater, and special ed departments. Special Ed is rarely there after school hours, but there is almost always something going on with at least one of the other departments for after school and/or evening rehearsals.
A security check revealed that our area door remained “pinned” (unlocked) one evening after everyone left. That is definitely a mistake.
Instead of talking to, reprimanding, or even disciplining the staff mostly responsible for that door, an edict went out to over a hundred faculty and staff members (“all call” style) announcing,
“Effective immediately, pinning a door unlocked requires administrator approval.”
After trying to think of a way the music department could work with that, the decision was that I would be the one to request clarification.
I sent an email so the admin could think it through vs an immediate response. It went something like this:
“As we discuss compliance with your directive about pinning a door, we have two general scenario possibilities for which we would appreciate further advice or clarification, please. Would you prefer that each of our departments provide you with an exhaustive list of days and times we request approval for enabling entry (music store dealer, parents/staff coming to assist with props, meetings, rehearsals….., students for after school lessons or evening rehearsals, etc., – or that we contact you for each such incident as it comes up?”
What do you think the response/reaction might have been? Hint: I wasn’t fired.
I promised multiple stories. Here is Story #2. The first story is HERE.
I was a music teacher in the system from 2005-2020 (retired). This happened during that time…not sure the year.
$ $ $ $ $
Word came to the instrumental dept that one of our two contracted summer sessions would be cut from the budget and band parents could take over funding to keep both sessions functioning.
I was tasked with making our case before the board. The “conversation” went something like this…..
Me: Our FIRST summer session starts before the end of the Spring semester when we start integrating incoming students and preparing for the local June parade. Do you want the band to represent the school in the HD parade?
Board: Of course, the band MUST march in the parade.
Me: Our SECOND summer session starts a few weeks before the Fall semester and is when the band learns music, marching fundamentals, and the performance show for football games and band competitions. Do you want the band at the football games?
Board: Absolutely, the band MUST be at the football games.
Result: Funding continued for both summer sessions.
I have used this video multiple times in ensemble rehearsals. Really makes a strong point in the difference in expectation and excellence level in music. Please listen to all of it.
She was a new student who transferred in. I needed to listen to her so I could place her. I had never seen color-coded keys and it gave a good reason to have a nice get-to-know-you conversation. She said her band teacher labeled all their clarinetists’ keys like this. It was a nice horn.
I was a music teacher in the system from 2005-2020 (retired). This happened during that time…not sure the year.