Teaching Music

You wanted a water break?

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.

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Bullying, Band and Best Practices

By John Gardner

Bullying In Band

UPDATE: Be sure to read the parent comments at the end of this article.


Over a decade after high school graduation, he told his parents he was bullied as a high school freshman, not telling them at the time because he feared they’d make a big deal of it.

He DID go to a teacher who ignored or brushed aside his emotional plea. In his valedictorian speech at graduation three years later, when he listed the “Top 10 Things I Learned in High School”, one of them was…..

“….that my head really does fit in a gym locker.”

Still no response. This was before all the more recent publicity of the terribly negative lifetime impact that bullying can have….but

…there is no excuse for inaction. EVER!

Fortunately, this story doesn’t end tragically…. but that doesn’t make it right.

Bullying in Band…..surely not, right? …

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Safety, Transparency and Reputation when Coaching Students

By John Gardner

transparencyFor a short time during my earliest teen years, without concern about walking to and into his home, I studied piano with a single guy who lived a few blocks away. During high school freshman year, I took lessons with a college girl who came to our school and went with me into a sound-proofed practice room. Later in high school, I would travel weekly to an area band director’s home for instruction. Concerns about safety transparency and reputation never came up.

But times are different now. Priests, coaches, and teachers are convicted of having inappropriate relationships with children and students, creating a sensitive and suspicious society that dissuades good teachers and students from participating in the time-tested tradition of individualized instruction.

The concept of innocent until proven guilty does not apply. No one can afford even an accusation. A School of Performing Arts that provides private lessons for area children put windows in all the classroom doors, instituted a parental sign-in/out procedure, and has a staff member walk in on every lesson every time. Band directors schedule lessons in busy offices or in large ensemble rooms full of distractions. College students video lessons with middle/high school students, not only for critique but also for security.

One band director told me that

…you don’t have to be guilty….an accusation can destroy a reputation and/or cost your job. And unfortunately, even after proven innocent, the doubts, questions and hesitations can continue to damage a reputation that took decades to build. Teachers have to be soooo careful.

The very nature of individualized music instruction almost mandates that student and teacher be alone in a room with a closed door. How do we take the legitimate safety concerns that student, parent, and teacher share along with the teacher’s concern for reputation (and employment) and still provide specialized, accelerated training?

SAFETY is everyone’s concern even if from different perspectives. Be aware and be careful.

TEACHERS

  • invite parents to sit in or be nearby during lessons.
    • My experience: When I teach 1-1 lessons in my home, parents can relax in my living room while I work with the student in the dining room. A 6th grader’s mother would bring a book and sit in the room.
  • leave a door open or at least ensure it is unlocked and/or has a window. Enable anyone to walk in on you. That delay while you get up to open the door from the inside can cause undue suspicion or concern (and increase interruption time).
  • schedule lessons when others are around. Avoid evenings or non-school days when teaching at school or make sure someone else is home if the student is coming to your home studio. Do everything reasonable to remove any question andensure both student and parent are comfortable. Keep in mind that teens are increasingly cautioned to beware of one-on-one situations with adults. Respect that.
    • My experience: When a mother requested I work with her student over holiday break, I scheduled it at school along with an appointment for another teacher to drop something off to me during the lesson time. I left the band room door opened and set up the chairs in clear view from the hallway so passing janitors could see and hear.
  • video or audio record the session. Make sure everyone knows. Place the camera so both teacher and student are visible, but NOT in a way that makes the student uncomfortable or could set you up for a different kind of complaint.
    • My experience: When I teach lessons via Skype, I ask that the camera be pointed so that I can see either fingers, embouchure or both, so I am usually looking at a profile view of the student’s top front. When girls start adjusting their clothes, there is some discomfort. Be aware, empathetic, and be careful. Explain your reasoning — or move the camera to remove the discomfort.
  • if you have a regular coaching schedule, post the schedule. If you have a website with a calendar, parents (and students) are better reminded and informed.

PARENTS

  • check references. In addition to safety, you want to make sure you’re getting a good product (teacher). If the teacher is an outsider coming to the school, the school should have conducted a background check. Ask.
  • sit in or be in the area, at least periodically. Sitting in an adjacent room can provide reasonable privacy while often enabling you to hear your child play. They won’t do that for you at home, right? Bring a book.
  • for virtual lessons (via Skype, for example), be in the area. You don’t have to stand over the child’s shoulder, but listen in and even walk in a couple times….say hi to the teacher.

STUDENTS

  • meet a new teacher for the first time with a parent and in public.
  • go with your gut.
  • if anything makes you uncomfortable, speak up or get out. Nearly 100% of the time, you are either mis-interpreting or the teacher is completely unaware and will respond and adjust. Don’t destroy an opportunity based on your misunderstanding a teacher’s oversight.
  • if a parent is dropping you off, have a cell phone to call if the teacher is not there, you finish early (or going over), or you otherwise need parental pick up.
    • My experience: It was during a storm and I was mid-lesson after school when the power went out. Emergency lighting came on, but not enough to continue.
  • if you are going to a lesson, tell your parents (or someone) when, where and for how long.
    • My experience: I’ve had an unnecessarily disgruntled parent when I scheduled some after school coaching with a student who never got around to communicating and mom didn’t know what was going on ’til the student didn’t get off the bus. My mistake was assuming the parent knew.

TRANSPARENCY helps everyone.

Sometimes there is a drop off in parental involvement and in student/parent communication during high school. Teens want more responsibility and independence and both parent and teacher should strive to help them in those areas. Assumptions often cause problems, however, and most issues I’ve ever experienced in the triangular relationship with parent and student elevate because somebody “assumed”. Several years ago, I gave each of my business office employees a personalized, engraved magnet that said, simply:

Assume Nothing!

TEACHERS…provide a list of expectations and policies.

  • Payment. How much, how often and what happens when they don’t. Are materials (music) included?
  • Cancellations when you cancel, when student cancels, how much notice and what if there isn’t any?
  • Minimum requirements; lessons per month, practice time, materials such as tuners or metronome, a functioning instrument with adequate supplies (reeds, etc)…
  • Privacy. Don’t share student/parent contact info or details about what happens during lessons. That is why they are called “private” lessons.
  • Communication. Be easy to contact. Determine whether your communication is to be with the student or parent. Any written communication with the student should be copied to a parent, when possible, including texts, emails or other types of media messages.

REPUTATIONS are slow to build and quick to crumble.

Students and parents need to realize how important that is to the teacher, especially when their very livelihood depends on it. Younger or single teachers need to be hyper-aware, but no one is too old, fat, bald or ugly for legitimate concern and caution.

Without an element of TRUST, this simply cannot work. Hopefully, the teacher has ‘earned’ some trust from both the student and the parental. It is unfortunate that we hear via national news when trust has been abused. That is horrible. But it is also a very, VERY small percentage of people. My advice to all…. in a nutshell:

Be Aware & Take Care!

Thanks for reading.

 

 

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National Band Directors Day

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.”

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5 Steps to Cleaning Technical Passages for Instrumentalists

By John Gardner

Solo and Ensemble no frame

“If the notes are on the paper, it is your job to play ALL of them.” -John Gardner

Too often, when I have heard high school (and college) students perform a piece, there are then inevitable technical passages. Rarely do I hear long technical passages played cleanly and correctly. The word ‘slop’ comes to mind. The reason the performance contains slop is because the practice contained slop.

Here’s how a typical high schooler practices:
     Start at the beginning
     Play to the technical passage
     Slop
     Stop
     Go back to the beginning and start over.
     Repeat the above steps.

Cleaning technical passages

  • Stop repeating what you CAN play and concentrate on what you can’t. I suggest circling those 3-5 most problematic spots in a solo. Then, when you start to play the piece, instead of starting at the beginning, start with the problem passages. Play them first — and last, twice as often as the rest of the piece. Don’t always start at the beginning just so you can sound good.
  • Always, ALWAYS stop and fix it.
  • Break longer passages into smaller pieces
    • Play the first 4 sixteenths plus the first note of the next beat.
    • Do that until you can play it PERFECTLY 3 times in a row.
    • Play the next set of 4 sixteenths plus one note. Get it perfect 3x.
    • Play beats one and two. Perfect.
    • Play beat 3.
    • Play beats 1-2-3.
    • etc.
  • Slow it down, get it right, and then speed it up GRADUALLY.  
    • Use a metronome (free apps available for iPod, iPad.
    • Start with a tempo at which you can play it perfectly.
    • Increase the speed on the metronome no more than 5 beats per minute.
    • Don’t increase until you are consistently clean and correct.
  • Change the rhythm. What you are doing is practicing small groups of notes quickly without playing all of them quickly at the same time. By reversing and changing these rhythms, you are playing different groups of notes quickly.
    • Play 16ths as if you’re playing dotted eighth/sixteenth combination, exaggerating the quickness of the 16th.
    • REVERSE. Now play pairs of 16ths as sixteenth/dotted eighth. This is harder to do.
    • Then play them as three triplet sixteenths and an eighth note.
    • REVERSE to play eighth plus three triplet sixteenths.

Practice your performance, record yourself, critique your performance, mark your music and repeat the above cleaning steps.

A youth baseball quote I recall from years ago comes to mine;

“Be sure you catch the ball before you throw it.”
Musical translation:
“Play it right before you play it fast.”
——————-

 

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Sight-reading Tips

By John Gardner

Solo and Ensemble no frameMusicians auditioning for acceptance or for music scholarships are working on prepared pieces — likely the same piece he/she is using for solo contest. An aspect of many auditions that are a challenge is the demonstration of sight-reading proficiency. Colleges want to know how quickly you can learn their music.

In most sight-reading circumstances, there will be time for you to preview what you are about to play. In a concert band festival, the sight-reading session involves 10 minutes to look over a piece (counting/clapping rhythms, checking out different aspects, before time is up and the judge is ready. Whatever amount you get, gage the time to get through the following:

Key signature. What key are you in? Finger through the scale. Look throughout and see if or how many times it changes during the piece.

Notes. Check range. If possible, sing or sound what you see…. Can you hear and sound what you see? Some people refer to those aural skills as “seeing ears” and “hearing eyes”.

Time signature. Does it stay the same or change?

Tempo. If marked, this should give you a general guideline, but keep in mind that is a performance tempo. For sight-reading, look for the most difficult passage that you will play, get a quick idea of how fast you think you can play it accurately, and use that as your overall tempo. Once you start, you don’t want to change the pulse depending on difficulty.

Rhythms. Scan for anything that looks tricky and take a moment to count, clap, sing or whatever — to get that/those rhythm(s) in your head.

Dynamics. Scan for them and then be aware as you play.

Stylistic markings. Staccato, legato, articulation, accents, etc. The tendency in sight-reading is to concentrate on notes, which are primary but watch for the other signs as you go. Like driving the car, staying on the road (notes) is important, but watching the road signs (slow down, stop, cross-walk, etc) are equally important to getting to your destination safely.

Once you start – DON’T STOP! If you miss a note, that one is history, you can’t go back and fix it … part of practicing for sight-reading (or for any performance) is to force yourself to continue.

Finding music to sight-read. Get books from other similar-range instruments. Pick random hymns in a church hymnal. Check the band director’s office. Go to the music library and pull out random pieces. For sight-reading practice, however, don’t keep playing the same piece(s), unless it is to prepare them for performance or to see how quickly you can perfect them.

Another important aspect to sight-reading is evaluation. If possible, have someone else listen to you and critique what you played. You may be playing a rhythm wrong that you will continue to play wrong.

Hope this helps. Add your comments or send questions.

 

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Rossini

Clarinet soloA few years ago, probably the last time I played thru a top-tier piece, I was alone on the local hs stage using Smart-accompaniment on a laptop and audio recording via phone…. I was probably preparing to assign it as I had made cuts for solo festival limits. I did flub the final 38-note run up to that high Ab (couldn’t hold onto it)…. but the rest of the 7-pages went well and fast, phone audio microphone considered.

Anyway… I recently shared the online link for someone to listen for some of the things we’re working on … (scales, arpeggios, chromatics, articulation, ornaments, etc). Told the parental I was going to look for the music. FOUND IT, well Joan did. No, not going to assign (yet), but do intend to use it for the above-mentioned fundamentals.

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I thrive on their youthful enthusiasm

I was looking for this symbol when I found I had used it on a post from some years ago. Yes, it is not always the teacher who impacts a student.

Valentine's Day

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Why an ‘A’ is not enough in music

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.

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