I didn’t get in a lot of trouble in school, and never for anything disrespectful, hurtful or damaging. I was never “sent to the office” because of behavior in a classroom. But I did get at least three days of detention that I recall. I’m not sure detention straightened me out because I don’t think my mischievousness caused any long-term harm.
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The Worship Ensemble in son’s church this morning included one American, one American-born Armenian…. and the rest all Ukranian — from the church’s Russian-speaking Ukranian Growth Group. That is genuine outreach. btw…I couldn’t pick up on the Ukranian vocalist’s accent….but Joan did… Don’t say anything political, because this is not.
The starfish story (not my original) is about someone trying to make a difference and I think of it periodically when I find myself trying to balance that healthy, professional detachment from the lives of individual students with the reality and significance of those lives and my desire to make a difference by being more than “just” a classroom teacher.
Working with students is not a life or death proposition, of course, but some seem to get washed up on the beach. Here’s the story and 10 ways to make a difference. Those 10 ways represent my core beliefs in teaching and working with teens.
The man was out for a walk on the beach when he noticed a boy frantically picking things up and throwing them into the ocean. Curious, he approached the boy to discover that he was picking up starfish that had washed up on to the beach — and was throwing them back into the water.
“Son, what are you doing?” the man asked.
“The tide is going out and these starfish got left behind. I’m throwing them back into the water to save them.”
“But son, there are hundreds of miles of beach. You can’t possibly make a difference.”
As the boy picked up another starfish, he threw it into the water and then turned and said to the man,
“I made a difference to THAT one.”
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Teen years can be trying times. Parents may be fighting, separating, dating and remarrying, which means the teen now has to not only deal with a break up of a foundation in his/her life, but often now has to live in multiple households. Some have to adjust to step-siblings, job losses, financial struggles and more. Then, there are the complexities of school with seemingly unending pressures to perform, trying to get through the dating games, often without an anchor or example to follow. Influenced by increasingly negative social standards, or lack of standards….. teens can get caught in the rise and falling tides. Most learn how to negotiate life’s trying currents, but can turn the wrong way, make a miscalculation or poor decision — and find themselves high and dry on the beach…..and they need help. Not every student needs, wants or will accept a teacher’s help. Sometimes the teacher’s effort is both unappreciated and unsuccessful.
But try we must…because we CAN make a difference “to THAT one”.
Ten ways to make a difference:
Be real. You can’t fake it with teens, they will see right through you. If you can’t be real, you should not be there. Please leave education.
Be available. How easy is it for a teen to say to YOU, “Can I talk to you?”? What if it is not during class or immediately after school? In how many different ways are you available and do students know and understand that? Do they know if it is ok to email, call, text or instant message you? When a teen says they need to talk, somebody needs be available. Be that person. Consider your use of texting and social media.
Be there. Yes, you’re “on duty” at school. What about when a student is in the hospital, at the funeral home, pitching in the softball/baseball game, getting baptized, being awarded Eagle Scout status, or when their garage-type band is playing at the coffee shop? Take your spouse or your kids and just be where you can when you can. They will notice.
Trust them. If you want trust, you need to give some. I have a periodic discussion about trust, abusing it, losing it and the difficulty in earning it a second time. Read: “I WANT To Trust You“. Teens make mistakes and the trust area is one of those places where they can mess up. But help them learn. Take a reasonable chance. Yes, you’ll get burned some….but you will also empower leaders to rise up.
Respect them. There is a good chance they will recognize and return it.
Advocate for them. Of course you have students who are financially challenged and could benefit from music lessons, a better instrument, participation in a select ensemble or some other training. You won’t always succeed, but try to find funding to help. Call the employer to help him get that job. Write a letter to help her get that scholarship. Help them with college applications their parents can’t (or won’t).
Listen, really listen. Teens typically think that people don’t listen. They think adults are quick to lecture, criticize and correct, but are slow to listen. You don’t always have to have the answer. Sometimes there isn’t an obvious answer. Sometimes listening is the answer, because in allowing them to share, you enable them to find their own answer. Unless they are sharing something illegal, dangerous, hear them out. Don’t argue. Don’t interrupt. Don’t pre-judge. And when you can, share your wisdom, experience, expertise and advice.
Expect and Encourage Excellence. Students will complain when the load is heavy and the challenge is significant, but they know, even when they won’t admit, that achieving excellence requires work. They want to achieve and succeed. Being there for them doesn’t mean lowering your standards. Make them stretch. They’ll appreciate you eventually, even if not today.
Don’t assume. A question I ask often is, “You okay?” Simple question….and sometimes they shrug it off, but there have been many times for me that this gives them the opening to ask for help.
Don’t give up. It can be difficult, disappointing and even deflating when teens mess up. Don’t give up on them. That’s what the rest of society wants to do sometimes…. They will be disappointed that they disappointed you, but your unconditional support (not approving what they do) is vitally important to them.
This time of year can be stressful for those romantically attached, hoping to become, casually dating, good plutonic friends or single not by preference. I understand widowed or divorced, too…. but this post targets mostly high schoolers. If you have it all figured out, STOP HERE!
The director had been out for a few days, so I ran the rehearsals….and organized this prank. I wish I had zeroed on facial expressions. NOTE: No harm was done. Students exited one door, walked around and came back in another. We lost about 2-3 minutes of rehearsal. I wonder what it looked like on the CCTV monitors in the admin offices.
These have happened in the last few days, so it merits a post, imo.
YOU KNOW YOU’RE GETTING OLDER WHEN…..
— you realize that the clarinet you are using to demo for the student is older than the student’s mother who brought student to the lesson.
— a friend posts about being in a type of medical office of a type you’ve never heard. …. but then that friend’s friends are talking about their experiences with that type of doctor.
— you make a pot of coffee and forget to go back and get a cup.
I prepared this list for one of my woodwind students and modified it some to include other instruments. There are links within this article to other articles I’ve written about literature selection, accompanists and the judging scoresheet categories.
Pre-performance
The basics. Music, instrument. People have forgotten both.
Solo Part – ORIGINAL for judge. Measures numbered.
Have you paid your accompanist? Customary, usually following performance. More about respect, preparation and appreciation for your accompanist, click here.
BRASS.
Valve oil
WOODWINDS.
Backup reed – in case something happens to yours that day.
Mouthpiece cap – Keep on when moving – protects and looks professional.
PERCUSSION.
Backup sticks/mallets.
Arrive at the school/venue about an hour before your performance time. Find your performance room and then you can go to warm-up. Don’t over-practice. Just review your challenging spots. Your ensemble should run through the piece. Note that these warm-up rooms can be noisy.
Performance Room
Arrive at performance room before your time. You can go in ahead of time (or anytime) and listen to other performers. Most in Group 2 will be h/s. If your accompanist is late because of accompanying someone else, just explain that to the door person or judge.
Have the book opened to your solo when you present it to the judge.
If judge asks questions, answer politely (as you always are).
Sit or stand. Your choice. I prefer standing. Judge may want to see your fingers, so don’t put the music stand directly between you and the judge. Be able to make eye contact with your accompanist.
Do not start until the judge tells you to. He/she may be completing notes on the previous performer. If permission received, play tuning note with piano – last chance to check your reed.
Be prepared to introduce yourself, your school, and your piece (title/composer).
When you finish, especially if there is any applause, a slight bow is appropriate to acknowledge. Applause is the audience saying thank you — a bow is your thanking them for the applause. Recognize your accompanist.
You will not get your music immediately – probably after the performer who follows you. You will not get your scoresheet. Those go to your band director at the end of the day.
The door monitor will write your rating on the wall schedule.
Performance categories (sheet may vary slightly)
A separate post with addition scoresheet categories ===> HERE.
Intonation. Are you in tune with the piano? With each other (ensemble)? Do you have individual notes that are out of tune? Accuracy to printed pitches.
Performance factors.Choice of literature, appropriate appearance (related to performance), poise, posture, general conduct, mannerisms, facial expressions. Formal dress is not required, but jeans with holes and advertisement t-shirts will not only affect the appearance score, but also — judges can decide much about you before you play your first note. You are “on” from the time you take your performance position until you exit.
Did I forget anything? Let me know so I can improve this post for the next time. And note that rules per state are different… I tried to be generic in that regard.
We had a Marching Band Drill Writer/Visual Tech who would use this instruction when talking about “horns up”. He wasn’t from Boston, but used that type of accent. Here is what he was talking about:
“Wait LONGA” means don’t rush it. Don’t move early. Wait until the last possible moment.
“Move FASA”. Once you move, move fast….like two film windows….. one you’re down, the next you’re up…. with very fast movement.
“Hit HARDA”. Without losing any teeth, stop the movement as if it hit something.
I was rehearsing one of the concert bands on Pep Band music. One ensemble tended to lose tempo. To reinforce my point, I started them with a metronome — and then stop directing. After some time, I would restart the metronome. I described what they were doing:
“Sounds like a gradual ritard. You’re slowing down.”
No one in the ensemble said anything and I gave it no additional thought.
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But then, one of the building admins confronted me about a parent call. The parent was upset because the daughter came home telling him I said they were retarded.
I asked if the Admin had a quote of what I was accused of saying. She pulls out a piece of paper reads;
“Sounds like a casual retard slowing down.”
Admin instructed not to confront the student, but to talk to the band.
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Following is my followup with the band…
One of the agenda items on the board was “music term of the day” and next to it was:
Ritardando Ritard. Rit.
I asked the ensemble what those three terms mean.
Numerous correct answers.
Then I asked them to think back to the pep band music rehearsal last Tuesday — and I asked them what the overall group’s problem was (especially) that day…..
[We were slowing down]
Good answer.
Then, I shared the quote I was accused of saying…..
“I didn’t record myself, and I don’t think I said the word casual because that just doesn’t sound like something I would say. But let’s go with that for now. If I used any form of those three terms in the context of last week’s rehearsal, what do you think I was saying?”
[That we were slowing down.]
Good answer.
Now, let me tell you what I absolutely didn’t say — and would NEVER say….. I was NOT calling you retarded.
[Collective eye roll and OMG kinda responses.]
One four-year ensemble member, said….
“You would never say that.”
We went on to talk about what should have happened….. That if/when I said something that an individual thought was offensive, out of line, or even unclear — that this individual should come and talk to ME first.
[Collective yes nods.]
And that if your parent needs to call someone, who do you think they should call FIRST?
Good answer.
Then…we went on into rehearsal. I responded to the Admin the results of our conversation. Admin calls the father to explain Italian music terms.
The parent apologized, the daughter spent the next four years maturing as a productive ensemble member, and as far as I could tell, a respectable supporter.
This graphic illustrates a scenario we all face, individually, in business, in school as well as in music ensembles. Most of us, at least once, have been to the edge, looked down, looked across and pondered the possibilities. It is easy to say you want to get better, but how do you make that leap to the other side?
Realize that not everyone WANTS to get to the other side.
Many are satisfied with the way things are, represented by this marching band member attitude:
I am okay where I am. I am not last chair, I can play my part reasonably well, I can pass the playing test. I see those people on the other side…..so much pressure, so much work, and for what? Band is a good social group. It is a good place to find a date, to make friends, to feel connected. I enjoy the bus rides, the longer the better. The band parent provided food at competitions is good and I like the freedom during the down time to hang with my friends and watch some other bands.
You are, after all, standing on solid ground. It is safe where you are. You KNOW where you are and are in your comfort zone. You look over the edge and see danger. You could fall, you could fail. You could get hurt.
WANT it….with everything that is within you.
You hear the musician who plays the more difficult solo or watch the marching band put on a crowd cheering performance. You see the elation at the award ceremony and YOU WANT THAT.
In “The Return of the Jedi”, as Luke Skywalker finally stands before his ultimate enemy, the Emperor says to the young Jedi who is viewing and considering his weapon,
You want this, don’t you?
Know that small, safe, baby steps won’t make it.
If you stand on the edge, look down and take a step, you will fall. The gap is wider than that and will require a running start LEAP.
Practice and Prepare to Perform!
Olympians don’t just show up at the games. Basketball players spend hours behind the scenes practicing boring free throws and doing exhausting repetitive fundamentals up and down the floor. The ice skater doesn’t decide at the start of the performance that a quad would be a good idea.
There is no short cut to success. You must be willing to pay the price.
The ice skater going for the quad is literally a “leap of faith”. There is never a guarantee of success, but repetitive practice, falling down, getting hurt, figuring out what went wrong and working harder to get better…..are necessary ingredients to establish confidence and competence to make the jump. A phrase I have used in rehearsals,
Like the ice skater who misses the quad, missing notes (steps, sets) in performance can hurt.
A good cartoon by Tone Deaf Comics illustrates part of this idea.
Commit to go….and then GO!
No more standing at the edge. No more looking down. No more considering the consequences of failure. Back up, focus on the other side, set your mind and then RUN hard at the edge. When the Israelites were crossing the river Jordan, the waters did not part until the priests feet touched the water, the point at which they demonstrated both faith and commitment (Joshua 3:14).
Once you commit to go, you have to “go all out”. Know where you’re going, practice and prepare, commit and go.