I had five music students studying individually with me at the small, liberal arts university. I had a signed adjunct faculty contract for the upcoming year.
The person who asked me to sign the contract called and asked me to come in. It sounded serious.
“We need you to voluntarily let us cancel your contract. You will not have any students this year.”
They had negotiated with a “Performance Major” student to come, but part of that negotiation included that the student would study with the principal on that instrument from the local professional orchestra.
But, when they went to the instrumental instructor, the instructor refused to make the trip for one student. He wanted all of them. To get all of them, the music department needed me to give up my contract. It was a signed agreement, so I needed to do so on my own. Of course, there were apologies.
I did.
In a relatively short amount of time, the performance major changed majors and sold her instruments. Another changed majors and dropped instrumental lessons. And a third was threatening to do so.
And then…..
…..they were back to a number the instructor was not willing to work with.
I got a call from the Department Chair asking me to come in. Mad, hurt, disappointed and convinced I’d never work with the university again, I went.
After knocking and entering, he got out of his chair, down on his knees with hands in praying position — and crawing on his knees toward me as he asked,
“May I grovel for your services?”
At the first private lesson with a student who studied with me prior to the contract cancellation, I noticed several tick marks next to several of the exercises in the book she was working from. When I asked what those were all about,
“He would tell me to play each of these ten times each and then come to the practice room where he had gone to practice.”
I was furious — not with the student. That instructor was banned from the campus.
William Revelli was a legendary Director of Bands at the University of Michigan for decades. I didn’t know that when he stepped on the podium to rehearse the high school clinic band I was in at the Morehead State University. There were six bands. I was in the top (Honor) band and had earned the first chair. That was a pretty big deal — and so was he.
Two remembrances of that Honor Band experience. These are the only two things I remember. I can’t tell you what we played or anything else. But these made a lasting imprint.
At precisely the start time for the rehearsal, Dr. Revelli stepped onto the podium, introduced himself, pointed to two empty chairs and asked that they be removed. Some of us could see the two girls walking quickly toward the stage via the auditorium isle. When they got the the stage, Revelli asked what they were doing.
“We’re in this band.”
“No. You’re not. There are no more chairs.”
“What are we supposed to do?”
“Go tell someone to put you in a different band. My rehearsal has already started.”
And then, he turned to ME and asked me to stand. He asked my name and turns to the band and introduces me as their Concert Master. And then, he asked me to play a tuning note. I did.
After a pause, he asks me to play it again. I did.
“No, play the same note you played the first time.” (He was saying I didn’t match my first pitch.)
Periodically, as the band is playing a new piece of music, they tend to put their focus on getting the right notes and maybe the right rhythm. Dynamics, key signature, accidentals, etc…… are often missed. Two quotes I use in situations like these:
“If the notes are on the paper it is your job to play ALL of them.” and “Play EVERYTHING you see.”
And sometimes, especially with the younger band where many of the students are not yet driving, I will compare playing an instrument to driving a car.
“You want to turn the key, start the car and go….. and hopefully, no one is coming up beside you;
You think you’re good as long as you stay on the road, but what about how fast to drive, that school zone sign or crosswalk?
If you drive the way you’re playing, you’re dangerous, you’ll hurt yourself, or someone else, or you’ll get the cop’s attention and get a ticket.”
If time, I’ll go into some detail.
BEFORE STARTING THE CAR You fasten your seatbelt, adjust the seat and mirrors. Make sure you have your license. Put the key in the ignition. Do you have enough gas?
BEFORE YOU PLAY Check to ensure your instrument is ready; (reeds, valves or slide moving freely). Look at the music. Observe the tempo, time signature, key signature, dynamics — and listen to the conductor’s instructions.
AS YOU DRIVE Make sure it is clear to pull into traffic. Don’t just look straight ahead, check your mirrors. Watch for other traffic, watch for signs (speed limits, road curves, stop signs, traffic lights, railroad crossings, etc).
AS YOU PLAY Be award of the others around you. Blend in. Watch the conductor. Note any accidentals, articulation, dynamic or tempo changes that come along. Follow the road maps; fermata, cesura, DS, DC, Coda, repeat, etc.
Some additional comparisons during the rehearsal might include:
Wrong note/accidental – You hit that pothole
Missed cesura – You ignored the railroad crossing and got hit by the train
Dynamics/tempo changes – You missed that curve in the road sign and just crashed
Have you ever watched someone learning to drive? They are super cautious and focused on everything. Pretend like you’re learning to play this piece and focus on ALL the details.
My first teaching year, fresh out of college, I was only four years older than the seniors in the band. At Camp Crescendo, it was the band director’s responsibility to ensure students were all in the dorms for lights out. There was one particular senior girl, Sherrie P., who started calling me “dad” — and it stuck…at least, during camp. Every evening as I walked around the dorm area to ensure my “children” were all where they were supposed to be, I would hear variations of “Good night dad”…. And “Thanks for checking on us dad.”
I was worried about getting back to school for my first semester on the job and having students calling me “dad” in the hallway.
Fortunately, that didn’t happen.
“G” …
…has been the most common and the most persistent.
“GARDNER”
I rarely felt like students were being disrespectful, or I would never have allowed that. The very few times that I questioned, I told them my first name is “Mister”.
GPA
Toward the end, instead of being 4yrs older than the seniors, I am 4x their age, older than their parents and maybe even some of their grandparents.
Ok. Ok. It is NOT what you’re thinking. C’mon, you know me better than that.
My problem was that I was having trouble hearing conversations, especially at school, which can be problematic. This intensified after a severe ear infection that never completely healed. My ears felt stopped up similar to what can happen when descending from a high altitude in a plane. There was a graduation ceremony, mid-infection, where I could not hear anyone. The other band director realized something was going on. Fortunately, school was out.
When a student, more often a girl, would come to me in a rehearsal, we would have to move into the office so I could hear without all the band noise.
One student explained it to another this way…..
He might ask you to repeat things a lot, and he doesn’t always get it right…..but you can be in another room and miss a note and he is on you immediately.
Voices were a problem. Wrong notes were not.
I was fitted for and received a moderately high-level pair of hearing aids.
They were supposed to be able to pull the voices out of the background noise, but that didn’t really work in a rehearsal setting. The band volume would often be painful. In church, I could hear the pastor better, but the congregational singing became too loud — so I stopped wearing them.
Fast forward two years past retirement, it was a large, noisy hotel meeting room with hundreds of people at tables of ten having conversations, which was the catalyst for unpacking the hearing aids and giving them another shot. There were several college friends at my table and I really wasn’t hearing any of them.
I got them out and tried to put them in….but something has died and the out-of-warranty repair cost would be several hundred dollars.
But there is good news.
Now that I am retired, part of my insurance covers an audiology exam AND a healthy allowance toward new hearing aids.
Super Size Poster Context: Large, only high school in a county that includes students from 20-miles and long-distance phone calls away, some spending over an hour each way on school buses. Marching band is small for the school size and behind some area powerhouse programs in terms of size, staff, equipment, all things financial and cutting edge.
S-Steps To Success
#1 – Super Size
The FIRST thing we need to do is to SUPER SIZE this band. Size doesn’t equal quality, but it can impact the sound. To some extent, numbers translate to sound, crowd appeal and score. That is part of the reason the State Music Association has different qualifying levels for the different class sizes.
We need to Search for Super Sizers. You can help. Be enthusiastic about your band. Enthusiasm is contagious. What YOU say to a middle school band student, or to any prospect, is often much more effective than what a teacher/director says.
Sideline ensemble people don’t have to be band members. Your friends who play piano can play mallet instruments. People who quit band in the past can come back. And then, without taking anything away from what it takes to be a percussionist, we can teach just about anybody how to hit something. And now that we’ve incorporated guitars, we offer an opportunity to some of your friends who are band members of a different type. Know someone with a dramatic voice? Perhaps they can perform the voice-over script.
Sadly, we have seniors graduating. For those who remain, I wrote a note to you,
I’d love to see the school or community have to deal with
a band that can’t fit in the band room
scrambling to get instruments and equipment for the participants
providing 4-5, instead of 1-2 busses
#2 – Sensational Sound
SECOND, you should Strive for Individual Success. If you become the best that YOU can be, then we can work to blend your individual abilities to improve the overall band. A super-sized band can produce more sound, but we need your individual improvement to enable us to play some of the more challenging music you’ve heard.
Study Seriously for Improvement. Consider Individual Study on your instrument. If you can pay, we have access to professional experts on almost every instrument. They absolutely make a difference. For less pay, we can connect you with some college students who are looking for some experience. And if you can’t pay, let us know, because some teachers will make allowances for hard working students. For sufficient interest, we can explore periodic after school Master Classes for instrument-specific instruction in a group setting. And several of you are already taking advantage of some of the musical ensembles at the local university. Instruments need to go home. There are no shortcuts. Proficiency requires practice. Practice doesn’t make perfect, but it certainly helps, and you can’t achieve perfection without it.
Your Individual Level of Musical Success depends on a combination of
your musicianship
your training
your equipment
your commitment
#3 – Sizzling Show
FINALLY, we need a SIZZLING SHOW, and it won’t come cheaply. Sizzling requires specialists in music technology, creativity, art, design and construction, as well as dance, theater and maybe even drum corps.
We need Spectacular Music. That can including paying for licensing and excellent composing and arranging.
We need Stunning Drill Design. Some competitors pay three times what we are able for expert, on-site designers. We have had good drill design by someone in the area, even if he can’t be on site.
We need Superb Special Effects.
When I watch state finals, I notice patterns from the top groups. Effect generators include tarps, ramps, platforms, multi-functional backdrops, and some really interesting custom-designed and built theme-enhancing props.
Most color guards have 2-4 costumes and 4-6 different flags plus rifles, sabers, wheels, sticks, and other theme-specific props.
With the props and the horn and body flashes, we need some theatrical expertise for our show. Marching band is not just about marching and playing any more.
We need Splendid Style, requiring splendid basics. We have to march better, to get it sooner and to push it harder.
We need State-of-the-Art Equipment. Most of the drumlines had 4-6 snares, 4 quads and 5-6 basses. If we want to do that, not only will we have to super-size the drumline, but we’ll need more drums. The front ensembles tended to have 6-8 mallet instruments and 8-15 people. Many of the sideline instruments were individually microphoned with sound controlled by a remote controller managed by a staff person in the audience. Most had new silver Sousaphones or shoulder Tubas. One had ten such tubas and five bari saxes. One of the largest, if not the largest band there, had 100% silver brass instruments (trumpets, mellos, trombones, baritones, tubas). Another had all silver brass except trombones, which marched in a separate block.
This example built from two modified and stacked storage containers.
If we’re going to get more and bigger stuff, are we ready for our own personalized semi trailer, like just about every other Class A band has?
We need a taller, safer rehearsal observation platform. It could be permanent or portable. Portable would enable us to move between rehearsal areas. A design I especially admire is basically a garage (for front ensemble equipment storage, podiums, etc) with inside access to a platform on the roof. One school has such a building in between a grass practice field and a parking lot…so they can watch rehearsals on either surface from the same place.
Let me sum it up this way:
Let’s SUPER SIZE this band by searching for super sizers and staying in band.
Let’s develop a SENSATIONAL SOUND by striving for individual success and studying seriously.
Let’s field a SIZZLING SHOW with spectacular music, stunning design, superb style and closer to state-of-the-art equipment.
You give us what we need in people, equipment, work ethic and attitude – and we’ll take some major steps toward super-sized, sensational, sizzling success.
Some larger competitions can involve dozens of bands with thousands of students with nothing resembling the level of supervision in a high school before or after school or as classes change. For the most part, band parents and the directors are the only ones with direct oversight….. and after a performance, most students are free to congregate back at the stadium to watch the other bands as they mix and mingle.
In uniform, before a performance, you’ll see focused faces as students prepare to do what they are there to do. You might see them move quietly and in formation from the bus area to visual and musical warmup and then to the stadium.
Band students learn dedication, commitment and
that striving for excellence is a worthy goal.
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Most marching band operations are very structured with responsibility and accountability. There are seniors, section leaders, drum majors, staff, directors (where do I put parents in this list) all with authority over the band student. Participants appreciate compliance and cooperation.
Band students learn the value of,
and respect for chain of command.
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Unlike a basketball team with its starting five, there is no bench in marching band. Everybody is in. Everybody is a starter. Few other types of groups will involve people from varied backgrounds. There are children of doctors and lawyers marching with children of single-parents working multiple jobs or utilizing government help. There are the students who have their own cars and those who need rides, those with the iPhones and the free phones or no phone. You will find students in most bands from every church in the community and others who have never been inside a church. And yet, with all these differences, when they put that uniform on (actually, even before they dress)…..they are all on the same team, all equal. A good result requires the best from everyone. Students learn teamwork and cooperate with those outside their friend circle.
Band students learn to cooperate and collaborate
with those from different backgrounds and capabilities.
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You will see students cheer and applaud for good performances of other groups, including those with whom they compete. You’ll see them wishing each other good luck, especially when a band is transiting through the pre-show stages and passing others who have either already performed or have a while yet to go. At a competition, I saw a band applauding the same-county rival band and the new band that their previous director had transferred to. When our band was relaxing and enjoying a band-parent-provided soup & chili bar supper following a recent performance, a competitor band passed by, still in uniform, returning from the field following their performance. Our students applauded their rival until the last one had passed. One of their directors found me to tell me that, “Your students are a class act.” That is sportsmanship….or should I call it bandsmanship?
Band students learn good sportsmanship.
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Marching band is a time-consuming extreme weather sport. Summer rehearsals are in extreme heat and often go 8+hours a day for multiple weeks before school starting in the fall. Think about the temperatures in September and then imagine putting on a winter coat, hat and gloves and running around a football field at a fast pace. But then, by the time mid-October comes, it gets cold enough that students are wearing under armor and other garments under the uniform to try to stay warm. Then, add periodic rain. Sometimes they have to move rehearsals in and outside to avoid it and other times they get wet. When school starts, add 8-10 extra rehearsals Mon-Thur, 4-5 hrs for a Friday football game, then 12-14 hours on Saturday for a rehearsal, travel and competition — sometimes two.
Band students learn to commit, persevere and endure.
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You’ll see both excited and disappointed students as the results are announced, but they will display professionalism many adults would be good to observe and learn from.
Band students learn that there are no shortcuts to success.
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Many students, seemingly for the first time in any significant way, are given tasks and responsibilities and held accountable for them. The band student is responsible for loading and unloading his/her equipment; instrument, gloves, show shirt, correct socks and marching shoes. Some students have “section leader” responsibilities, which for most is a first time they’ve had management and oversight responsibilities for others. They have to learn leadership and people skills. Often, at the end of a 4-5yr career, graduating seniors will talk about how
band “taught them” responsibility and accountability.
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Band students learn that they are individually important.
There is nowhere to hide in a marching band. All students are active participants. In a typical Indiana marching competition, there are six judges watching and listening; four in the press box and two walking around the field going eyeball to eyeball with performers. Band students understand that a trained judge’s eye automatically goes to what is different; someone out of step, out of line, out of tune, and that an individual performance reflects on the total ensemble score. Seniors and section leaders learn how to balance their role as a mentor and teacher/trainer for the newbie members, while also ensuring that even the newbies get up to speed in time for performance.
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Students are trying to follow the ‘dots’ from their chart/dot books that tell them where they are going. It is difficult to see the big picture from that spot on the field, so there are directors or instructors watching from farther back (and sometimes higher up) who will adjust a form or shape. Or perhaps it is to point out that an individual is playing too loudly and needs to balance and blend better with others around them. This is contrary to much contemporary educational philosophy which emphasizes only the heaping of praise on what students are attempting to do. Band students know better, and expect to hear how to improve individual performance. Achievement through excellence enhances self-esteem . The challenge for the individual is to “not take it personally”. I describe to students regularly that I highly value them individually, but that when we are trying to improve a marching performance, that they are but one small moving part of a larger machine and that my job (as a director) is to fix the part to improve the machine….no matter who the part is. Nothing personal.
Band students learn to accept criticism, and that self-esteem is raised through the achievement of excellence
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With the extreme time commitment a marching band requires, students must learn to prioritize their time and use it efficiently, especially when it comes to getting homework done.
Band students learn time management skills.
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When you ask people who were in a marching band years ago, they may remember how their overall band performed or competed, but probably not likely that weekly score or placing that seemed so important at the time. But they will remember the values they learned, which is why former band students encourage their children to participate in band as well. This is not the article to argue that band utilizes academics, multiple arts and significant athleticism….. but they get all that as well.
Son David sang this solo in several show choir solo competitions his senior year in high school (2001). It is an emotional solo from the musical “Civil War” about a son asking someone to “Tell My Father” about his death on the battlefield.
To increase the impact, David borrowed a reenactor Civil War uniform. He wouldn’t let me hear the song until he performed it. I remember the first time I saw him walk toward the competition room, in “full uniform”….he walked, pridefully, in total character and ignoring stares from other students in the hallways. Dressing in ‘costume’ was not a common thing for solos.
And the first time he walked on stage, he confidently and effectively commanded audience reverence and respect. Each time he finished, it felt like there was an ever so slight gap, prior to applause, where the audience was wiping tears and unsure if applause was appropriate, especially after the final line.
After one of his performances, I heard a couple girls from another school talking in the hallway:
“I just heard this guy dressed in a Civil War uniform sing a song to his father and it made me cry.”
It made me, David’s father, cry every time.
Here are the lyrics:
Tell my father that his son Didn’t run or surrender That I bore his name with pride As I tried to remember You are judged by what you do While passing through
As I rest ‘neath fields of green Let him lean on your shoulder Tell him how I spent my youth So the truth could grow older Tell my father, when you can I was a man
Tell him we will meet again Where the angels learn to fly Tell him we will meet as men For with honour did I die
Tell him I wore the blue Proud and true, through the fire Tell my father so he’ll know I love him so
Tell him how I wore the blue Just the way that he taught me Tell my father not to cry Then say goodbye
8th-grade students going into a large high school should consider the advantages of being in (staying in) marching band vs entering as a General Population Freshman. If you’re already signed up, yay for YOU. If you were in 8th grade band, but have not signed up for high school marching band…..read on — and know that it is not too late to change your mind. And if you have never been in band….the good news is that you CAN be. Join the Color Guard — or ask for a spot in the front ensemble. We can teach you auxiliary percussion parts. Play piano. You’re hired!
The local high school has a population near 1500 with about 40 outside doors and multiple main north/south and east/west hallways. Lockers are somewhat segregated by class….so most freshmen lockers are far away from seniors’. It is a safe school with only rare hallway confrontations. Great students, BUT…. a freshman walking down the “senior” hallway might hear some comments.
What’s that freshman doing in our hallway? Did you see him trying to talk to a senior?
For the most part, seniors ignore freshmen and freshmen steer clear of seniors….
This is a story about how a discouraging professor positively impacted my Philosophy of Education.
My college clarinet teacher didn’t want me in Music Education, arguing that with a ‘performance’ degree, I could teach anywhere “except in a public school”.
He unintentionally challenged me to use relationshipsand respectas pillars of how I teach. Here’s a paraphrase of what he said:
“You’re a decent clarinetist (in 4yrs, I don’t ever recall him saying I was ‘good’), but there are so many things you do without thinking about them — that you’ll be a terrible teacher. How will you explain playing in tune? You do it, but you can’t tell me how. What are you going to do when your band gets some technically difficult passage, just tell ’em to ‘play it’? How will you explain hearing what you see? A performer never has to explain those things. And besides, you don’t want to waste your time on teenagers. They are high maintenance, make stupid decisions and ruin their lives. And your failures will significantly out number your successes. Don’t do education. Be a performer and get paid for what you can do.”
I was crushed, defeated, depressed and discouraged, choosing to ignore his selfish speech while adapting some of his discouragements as positive aspects of my teaching.
He was a good teacher but a terrible human. He hated students, especially those who “wasted his time”. We learned out of fear, not respect. We never heard him perform, so we could never strive to reach his level. I remember waiting outside his studio, watching the girl exit in tears and crush her reed against the wall …. and then hear…. “Next”. (GULP!) One of his final comments to me, “I’ve wasted four years of my life on you.” But, that was because I ended up with a Music Education degree vs Clarinet Performance. He taught me the instrument and gave me motivation to never be like him.
He influenced me in the areas of Relationships and Respect. Here is an except from my Philosophy of Education.
I invest heavily in Relationship Building. I want to know my students. By knowing their situations outside of the classroom (family, financial, etc) I can better know how to effectively relate in the classroom. If I see online that the family cat died the night before, I can understand and empathize with a mood that could otherwise be misidentified as a bad attitude. A phrase I use periodically is that I “love, admire and respect” my students, and they know it. My office desk tends to be a hang out area before and after school and rehearsals. And when students are congregating in the band room, I often join them.
I want my students to Respect me because, 1) they know I care and have their best interests in mind, and 2) they know I know what I’m doing. Here’s a memorable example:
In a clarinet sectional, we were working on scales and I was trying to get students to play faster. One stopped me with, “That’s as fast as a clarinet can go.” That gave me an opportunity to demonstrate that a clarinet, could indeed, go faster.
So THEN…. they are willing to listen as I go into detail about WHY they need to practice scales and HOW to practice them to increase proficiency.
I DO education without ever telling a student that he/she wastes my time.
