Legendary trumpeter, composer, and teacher Clark Terry died on February 21 at the age of 94. His remarkable career included stints with the bands of Count Basie, Duke Ellington, The Tonight Show, and Oscar Peterson, along with appearances on more than 900 recordings. In his April 1991 interview with Doug Beach for The Instrumentalist, Terry spoke about his early years and his nearly decade-long stint with the Ellington band.

The Navy Years
    I entered the Navy in World War II, and I immediately became involved with musicians who had been in the big bands: Willie Smith, Joe Wilson, and Big George Matthews from the Basie Band. We had a pool of musicians at Great Lakes, and whenever the Naval Base needed a musical group, we’d put together a band from the pool. We had sessions all day long every day. That’s where I learned all the tunes in all the keys, and aside from that, I had time to practice. Being in the Navy with all those players made me want a career in music.

The Ellington Years (1951-59)
    I refer to my years with Duke as that period when I attended the University of Ellingtonia. Duke had so much to offer because he was so beautifully endowed with magnificent ideas in theory, harmony, and counterpoint. Playing his music was a great education, and so was hearing the way he voiced things and how he used the players in his orchestra. He used them as individual voices and would write parts especially for them. There were no 1st, 2nd, or 3rd trumpet parts; each one had a guy’s name on it. Duke knew the areas in which certain people were interesting. Rex Stewart had a way of depressing his valves and playing a concert D. He’d get the note and a guttural sound to go along with it. Whenever that note would come up in a chord, Rex would have it.
    Ellington knew how to use players to the greatest of their abilities. In fact, he was such a great psychologist that he’d get things out of you that you didn’t think you were capable of. We recorded an album called Drum Is a Woman that was all about Mardi Gras. Duke said to me, “I want you to portray Buddy Bolden, New Orleans’ first great jazz trumpet player.”
    “Maestro, I don’t know anything about Buddy Bolden,” I said. “You don’t even know that much about Buddy Bolden.”
    “Oh sure I do,” he said. “He was dapper and suave and he always liked to have himself surrounded with gorgeous ladies, and he had such a big fat sound that when he tuned up he could break glasses across the river. He could bend notes like you never heard before in your life. Bend me some notes,” he said. Duke’s portrait was so convincing that I thought I was Buddy Bolden, and that was exactly what Duke wanted. He could put Harry Carney on the top of a solo and put Ben Webster or Jimmy Hamilton on the bottom and  come up with a unique sound. That’s one of the reasons why bands playing the same charts as Ellington cannot sound like the Ellington band; they don’t have those personalities.

The post Clark Terry appeared first on The Instrumentalist.

    Fundraising has been one of the least enjoyable parts of my job, and I have found that the ultimate goal of any fundraiser is making the most money with the least amount of effort. Although my success in meeting this goal has been rather uneven over the years, at long last I have found the perfect solution, and it came rather unexpectedly.
    I was listening to a radio broadcast of a high school playoff football game a few months ago when a penalty flag was thrown, and the broadcaster called it the “Arkansas Storm Shelter penalty flag.” My first reaction was confusion over what I had heard, but after the next infraction, when the same phrase was repeated, I realized that the penalty flags being thrown were sponsored by a company called Arkansas Storm Shelter. It sounded crazy to me. What company would want to be associated with something bad like a penalty?
    On the other hand, I figured that at least half the football audience would welcome the penalty flag. What’s more, the idea, for better or worse, was definitely memorable. Here I sit, several months later, remembering the name of the company and perpetuating its name in this column.
    With that in mind, I think it might be a great idea to have band concerts sponsored by businesses willing to have their name associated with various aspects of the performance, both good and bad. One could print all of the ads in the program or, for a little more excitement and publicity, announce them as things occur. Here are some examples:
    All students who arrived late for tonight’s performance are sponsored by Cazzio Watches. Wear a Cazzio and you’ll never see your grade drop for being tardy again!
    Tonight’s intonation problems are brought to you by Haynie’s Hearing Associates. Come see us – you might not know what you’re missing.
    Any wrong notes in tonight’s performance are sponsored by Emergency Paramedic Services. When something goes wrong, we’ll make it right.
    Any harsh tones heard tonight are underwritten by Blat, Blat, and Splat, Attorneys-at-Law.
    All technique problems in Restive Overture are brought to you by the Arthritic Foundation of America.
    Any moment of tonal blending is brought to you by Faxwell House Colombian Coffee, the perfect blend!
    All rhythmic precision problems in the march tonight are funded by Pristine Pacemakers, Inc. Never lose a beat again!
    All screaming babies during the performance tonight are brought to you by Stoneline Mutes.
    All balance issues are underwritten by Crawford Mental Health Associates. Feeling a little off? Let us get you balanced again!
    Articulation problems in tonight’s performance are sponsored by Chevy mud trucks. We can plow through anything!
    The tempo of the closing galop is brought to in part by Russian Whole Foods and Dragon Chinese Restaurants.
    All dynamic levels above fortissimo are brought to you by the Concussive Arts Society and the National Lung Association.
    All family members who get up during the middle of a song to make their exit are supported by the publishers of Emily Post’s Etiquette, 18th Edition. Manners matter!

    How much you would charge for each ad is up to you. Regardless, it sounds like easy money to me. By the way, this article was brought to you by your friends at the Inclement Weather Channel. They let writers know when there will be snow storms that will allow them to brain storm!

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    One of the biggest hurdles for students learning to improvise is moving from playing what amounts to a series of scales and arpeggios to playing well-crafted lines with good voice leading. Even those students who have made great progress in understanding the theory behind jazz harmony, knowing their chord-scale relationships as well as their arpeggios, will still have something missing in their playing. The best tool for overcoming this hurdle is transcription; this – and implementation of musical language gained through transcription – is the x-factor that transforms correct improvisation into great improvisation.
    Transcription is writing out and studying an improvised solo of a jazz master. It is the most effective way for a student to absorb the intangibles of jazz playing such as time-feel, phrasing, and expressive gestures. In addition, improvisors encounter many common chords and chord changes, and transcription is also is an excellent way for a student to glean language that can be used over these.
    As they learn more and more jazz language, one of the best things young jazz players can do for themselves is begin an improvisation notebook filled with the bits of language they pick up organized by possible application. The four most common applications are material that works over a I chord, one-measure ii-Vs (usually two beats of ii7 followed by two beats of V7), two-measure ii-Vs (a measure of ii7 followed by a measure of V7), and a page of altered dominant lines, such as, flat 9 sharp 9, and flat 13. Collecting material for these four sections will provide more than enough for a high school student to build a firm foundation.

Getting Started
    Shown below is a set of chord changes with numerous one-measure ii7-V7 progressions. Inexperienced students would likely approach this progression by practicing the appropriate scales and arpeggios and then using that material as a jumping-off point for their improvisation. However, by incorporating language from the jazz lexicon, meaning a passage from a transcribed solo, the student will not only have more success navigating the harmony, but also will sound much more authentic. The first step would be to direct the student to a solo with language that is appropriate for the harmony under study.

    Find and transcribe language that fits the material under study. It is great to have contemporary favorites like Mark Turner or Chris Potter, but to really get serious about this music and studying it, go to the people your favorites studied – masters from 1955-1965 who forged this language. These dates aren’t absolutely hard and fast, but that is our common practice period, when the rules of bebop and straight-ahead jazz improvisation were codified and put into widespread use, beginning with Charlie Parker in the mid to late 1950s and continuing through John Coltrane and Sonny Rollins.
    For the chord progression on the previous page, the following piece of language, transcribed from a Dexter Gordon solo on “Smile” from Dexter Calling, will provide plenty to work with.

    The line has many song features, including good voice leading (note the 7-3 resolution between the Gmin7 and C7(b9)), as well as the use of an altered ninth on the dominant chord for more color and stronger voice leading to the Fmaj7. Plus, it sounds good.

Master the Language
    Before using it in the chord progression under study, students must gain command of it. Although the only way to master a line is to play it by ear in every key, I usually only write each bit of language into my improvisation notebook in the key of C for ease of study. I never write the same line in all 12 keys.
    Students can practice the line any way they can think of, including ascending chromatically, descending chromatically, and through the circle of fourths or fifths. While moving the line through the keys, different technical challenges will present themselves. Negotiation and mastery of these challenges will reap great rewards in the development of the student’s technique as well as the student’s ear.

Analysis and Application
    Encourage the student to find all the places in the chord progression in which the language under study might fit. This will mean transposing the line into a number of keys. It is best to keep the notes in their original form as much as possible, but the language can also be tweaked to fit the harmony. A good rule is if the line has to be altered to make it function over the harmony, then it should be. If the line still functions over the harmony with color or altered tones, then these notes can be left as they are. In the case of the chord progression below, the line is altered in measure six to fit the Dmin7(b5) chord, because the regular fifth doesn’t fit the harmony.     Meanwhile, the section of the lick that falls on the dominant chord has a flatted ninth, but this can be left alone because it not only works with the chord but also provides strong voicing leading and a rich color. In this case, a solution would look like the example below.

Practice versus Performance
    This is not a solo to be used in performance, and I would caution against ever putting a solo together piecemeal based on various pieces of jazz language that have been transcribed. The above example is only for practice, and the goal is for students to be able to play that language in all the keys to which it can be transposed here without having to work at it; it should sound natural, not forced. While practicing this language, the student should be extremely deliberative and patient. There should be many repetitions of the progression in which the student plays only the line under study in the appropriate places.
    Once the line feels natural I encourage students to add improvised material both before and after the line. The challenge then becomes moving from improvising material to logically setting up the piece of language and then moving back into improvisation. The idea is for students eventually to be able to pull out all or part of this line during an improvised solo; at this point that piece of language is so absorbed that elements of it come out in improvisation without having to be so specific about it. I liken it to having a conversation. We all have an 800- to 1,000-word lexicon that we use, but each of us sounds like an individual when we speak. In a conversation people both use the same lexicon, but we each have individual, original thoughts that make use of that material.
    The improvisation notebook is an ideal place to collect the ideas students have researched and studied through transcription. As students develop and glean more and more language, they will find these books invaluable not only in preserving ideas but also in mastering them to the point that elements of them can be used spontaneously in improvisation. Rather than a rudimentary language based on scales and arpeggios, they will be developing an improvisation language based on the masters of jazz themselves.

The post Learning the Language of Improvisation appeared first on The Instrumentalist.

   For double bassists, shifting is a way of life. While other string players have their earliest experiences in the comfortable confines of first position, young bassists are introduced to shifts right off the bat. Consider that the most commonly used method books introduce violinists to their first shifts late in the second or even third volume, while bassists must begin shifting in the first few pages of volume one. This is like an acrobat going straight from the swing set to the flying trapeze.
    Because of the instrument’s size, players are limited to one whole step between first and fourth fingers before having to change strings or shift to a different position. This makes shifting skills essential, and to succeed on the instrument, a player must develop these skills as securely as possible as early as possible. There are many ways to approach teaching these skills. Here are some ideas that have worked for me through many years of teaching.

Left Hand Shape
    Start with establishing the basic left hand shape. The hand should form a C (like the C on a Chicago Cubs baseball cap). Be sure that the fingers are curved.

The hand should be placed on the fingerboard in a manner that does not promote any clutching between the fingers and the thumb. Instead, the fingers should stop the string primarily through the use of arm weight. The thumb should gently touch the back of the neck and be positioned somewhere behind the first or second finger. The elbow should be relaxed and not held high, allowing the forearm and wrist to form a straight line.

The Importance of Arm Weight
    Understanding the use of arm weight is one of the most important factors in developing good shifting technique. While maintaining a good C-shaped configuration, place the left hand on the fingerboard at the crook of the neck with all four fingers down. Allow the rest of the left arm to relax all the way through the shoulder. This creates a hanging sensation, as if you are hanging from a ledge, which allows the hand to remain in a strong shape without becoming rigid.

    The opposite approach, clutching the neck with the left hand, will have the immediate adverse effect of diminishing smooth, successful shifting.

Standing vs. Sitting
    Left hand clutching is a common problem for students who stand to play. These students often resort to holding the instrument in place by clutching the neck with the left hand. Of course, some of the finest bassists in the world stand while playing, but my experience is that many young players are able to understand the concepts of left arm weight and hanging from the fingerboard more easily when seated on a stool to play.
    For this reason, I usually start all of my young students seated. A standard 29" stool easily found in hardware stores works just fine (and for shorter students, it may be necessary to shorten the legs of the stool). Have the student sit on the front edge of the stool with the right foot placed firmly on the floor and the knee bent slightly outward. The left foot should be placed on one of the rungs of the stool.

The instrument then fits securely alongside the right leg and is supported by the left knee, which should contact the instrument behind the seam where the back and rib join.

    In this configuration, the instrument stays in place and is a stable platform for the left hand to move freely up and down the fingerboard. This configuration provides stability and security similar to how a violinist uses a shoulder rest to help ensure left hand freedom.

Take the Thumb With You
    Consider the following figure played up the G string.

Note that at the point of the shift, the hand should move as a unit, keeping its shape. Many young players will want to leave their thumbs in the relative security of first position while the rest of the fingers struggle up to the target note. This tendency, however, creates an awkward hand shape and undermines the relaxed configuration that arm weight allows.
    Exercise: Have the student place the left hand in first position with all four fingers down (fourth finger on B natural on the G string). Release any tension in the thumb and gently touch the back of the neck to create the hanging sensation. Next, the student should smoothly slide the hand as a unit down the fingerboard until the thumb encounters the crook of the neck (the fourth finger should be on or near an E natural). Reaffirm the hanging sensation and the position of the thumb behind the first or second finger, then smoothly slide the hand as a unit back to first position. Be sure to take the thumb with you. An added benefit of this exercise is that the thumb detects reference points such as the crook of the neck to aid in shifting accuracy.

Shifting into Thumb Position
    As the player shifts further up the strings, it becomes necessary to adjust the left hand shape as the base of the hand encounters the shoulder of the instrument. At this point, the left hand should be slightly pronated, allowing the fingers to point more down along the axis of the fingerboard.

From here, the shorter fourth finger is generally not used anymore and the elbow is raised just enough to bring the inside of the wrist up off of the instrument’s shoulder. The thumb should be brought up onto the fingerboard. It is important to develop a smooth, unified motion of raising the elbow, hand pronation, and thumb placement when shifting through this range. The same unified motion in reverse should be used when shifting back towards the scroll out of thumb position.
    Exercise: Place the left hand on the G string with the proper shape and the fourth finger on E natural. Now, slowly slide the hand to an A natural (up a perfect fourth) with the third finger on the same string to play the following figure:

    Pay particular attention to having a smooth coordination between raising the elbow and pronating the hand. The elbow should not be raised excessively; unnecessary tension should be avoided. Now practice sliding back to the E natural with fourth finger with the elbow and pronation motions reversed. When shifting back, pay particular attention to letting the elbow fall into the position where the weight of the arm is responsible for stopping the note.

Shifting in Thumb Position
    Some popular method books introduce thumb position early, requiring students to play traditional folk songs in this range during the first stages of development. Thumb position should not be feared by students (or teachers). Shifting in thumb position follows the same basic concepts outlined above. In this case however, the left hand shape should be formed to help the player navigate to the end of the fingerboard and beyond. The fingers should point down the fingerboard with the hand slightly pronated and the knuckles raised.

    As noted, the fourth finger is not generally used in thumb position. The thumb helps to hold the string down. Left arm weight should still be the means by which the string is stopped, and the thumb should always move with the rest of the hand when shifting.

Lead with the Fingers
    It is important to remember to lead with the fingers when shifting in thumb position. Keep the fingers pointed down the fingerboard. A common problem is the tendency to supinate or roll the hand over so that the base of the hand leads and the fingers roll up towards the palm and end up pointing back up the fingerboard. Instead, maintain a proper hand shape and avoid any rolling motion in order to achieve more consistent accuracy.
    Exercise: Place the left hand on the G string with the proper shape and all figures down, including the thumb. Relax the arm and reaffirm the hanging sensation. Next, play the following figure, smoothly sliding the hand towards the end of the fingerboard, paying particular attention not to roll (supinate) the hand forward while ascending:

    Keep the thumb a steady distance from the first finger, usually a whole step. Once the end of the fingerboard is reached, reverse direction and slide back towards the scroll, still maintaining the right hand shape, amount of pronation, and space between the thumb and first finger.

Conclusion
Bassists in the twenty-first century are called on to play many musical roles, from being a sensitive and accomplished collaborator in an ensemble to being the featured artist in non-traditional soloistic roles.
Mastering the technique of shifting is not only an essential skill, but it also opens up a new world of musical possibilities on the instrument. Limitations of range and accuracy cease to be a barrier, and full advantage can be taken of the lyrical and sonorous qualities of this instrument in any musical situation.      l

The post Elements of Double Bass Shifting appeared first on The Instrumentalist.

    The three most important characteristics of timpani playing are always playing in tune, executing the part with impeccable rhythm, and producing a beautiful sound on the instrument at all times. The reason I have listed these concepts in this particular order is very simple. If the timpanist is out of tune, the timpanist’s contribution to the ensemble is absolutely unneeded. When the player is in tune and the rhythm is solid, then the timpanist can be a timekeeper and conductor from the rear. However, the timpanist who also plays with a beautiful tone along with the other two elements becomes a true artist. A timpanist with excellent tone can change the aesthetic of any ensemble from middle school band to professional orchestra.

Pitch and Tuning
    Tuning the timpani initially should occur in a quiet environment if possible. This is typically not the norm so it is important for the timpanist to place an ear close to the head to hear the pitch carefully. The best pitch sources are a tuning fork, a piano, or a vibraphone. When students are learning how to tune, these three tools seem to produce the clearest pitch in my experience working with students – but make sure the piano has been tuned.
    After playing the desired pitch on one of the three tuning tools, the timpanist should sing the pitch quietly and tap the timpani lightly in the playing spot with the pedal at the lowest position, which should sound the lowest pitch of that particular drum. After tapping the drum, slowly gliss the note up until it matches the desired pitch. If this does not work the first time, lower the pedal and start the process over. It is important for students to be patient when learning this valuable skill. During my first couple of lessons in college my teacher, Cloyd Duff, said to me, “It is not a sin to play out of tune but a sin to stay out of tune.” I have not forgotten this quote and I share it will all of my students during their first timpani lesson with me.

    When playing in an ensemble, timpanists should be unafraid to make pitch adjustments if they feel the pitch does not match the ensemble. A great way to troubleshoot an intonation problem in an ensemble is first to play a little softer to make sure all of the other voices can be heard. This will help timpanists identify what direction to adjust intonation. It is important to continue to move the pedal slightly until the timpani matches the pitch of the group.
    It is worth noting that an ensemble’s intonation typically rises at the end of pieces as the volume goes up. The timpanist should keep a foot on the pedal so this adjustment is made easily and smoothly. Various instruments in band and orchestras have sound and pitch tendencies based on the material the instruments are made of. Woodwind instruments that are made of wood tend to have a warm and low quality to their tone, which can be perceived as sounding flat. The timpanist must not be fooled by the round sound of these instruments. The same warning applies for the brass instruments. When these instruments play high in their range, they could be perceived as sounding sharp. These observations may seem overly generalized, but the aim is for timpanists to pay attention to the sounds around them in a more intimate way.
    Timpani typically have eight tension rods that hold the head firmly onto the bowl. It is absolutely essential that each one of these rods sounds the same pitch. This allows the drum to produce a clear, centered pitch. If one rod is lower, then the head has a flat spot, meaning when the drum is hit loudly the pitch dips low briefly. The best way I have found to adjust a tension rod is to move it up a quarter turn to see if it improves the problem. Do not move a tension rod more than a quarter turn to avoid overcorrecting the problem and putting the drum out of tune the other direction.

Rhythm
    The most important concept timpanists should grasp is that they are playing from the back of the ensemble. The sound has to travel at least 30 or more feet to reach the conductor and even farther to reach every part of the concert hall.
    I avoid telling students to play on top of the beat, because students given that instruction often stop listening. Timpanists must play with the ensemble, and they just cannot be late. I like to tell timpanists to be aggressive, but this doesn’t mean loud. To me, aggressive playing is active, not lazy; it means being overly attentive to what the rhythm and sound are doing every second you play. It also means being primarily concerned with what the audience hears  rather than what the timpanist hears. Aggressive is an attitude of concern that your notes get to the audience on time. Aggressive playing is assertive with a lot of energy. Play rhythms with commitment and a lot of integrity because the sound has to get to the front on time. Record the ensemble and play the recording for the timpanist, then evaluate where rhythms are and where they should be to sound on time in the group. It is essential that timpanists listen carefully to know who they are playing with and what their role is in the music at any given time.
    One concept that works well in getting your rhythm from the back on time is to always pay close attention to the shortest notes of each rhythmic figure. For example: if the part has a dotted quarter note, then an eighth note, then two quarter notes, the eighth note is punctuated or brought out to make the rhythm move forward. The same would apply with one eighth and two sixteenth notes; bring out the sixteenth notes. This is especially important on the 29" and 32" drums.

    Another element that contributes to clear rhythmic execution is mallet choice. A concept that works well is the faster the rhythm, the harder the stick. The slower the rhythm, the larger the stick. Young players tend to use big sticks when they see a passage that is loud. The problem with that stick choice is that it creates a lot of width but not a lot of volume. If the timpani is playing a rhythmic passage with the entire ensemble at a loud volume, a general stick works extremely well. If the timpani is playing a fast rhythmic passage alone, it is better to use a hard stick so the passage shoots clearly through the ensemble. I recommend that a school have a minimum of four pairs of timpani mallets: soft, general, staccato, and ultra staccato. Ultra staccato mallets are typically covered in billiard felt, and staccato mallets are covered with American felt hard side out. General mallets are covered with German felt soft side out or American felt soft side out, and soft mallets are covered with German Felt soft side out. These four pairs should get the timpanist through anything your ensemble will perform.

Great Sound
    The sound description I give my students is quite simple: a timpanist’s job is to produce the sound of a 70-foot-tall string bass that is played by a 60-foot-tall bass player. Timpani should have a wonderful sustained sound that evokes that of a bass. You produce this sound on the timpani through rebound. When the timpanist lifts the stick off of the head at the moment of impact, he will produce a beautiful sound on the instrument. If the stick is not lifted off the head after the moment of impact, the tone can be distorted or unclear.
    The key to producing a beautiful sound is to let the stick bounce naturally based on its velocity without letting it fall again after it rebounds. The lift off the drumhead should not be artificial or exaggerated; it is a natural movement that comes from the wrist. The player lets the stick bounce, then uses the hand and wrist to assist the stick in staying up. This is true regardless of the dynamic level or the number of notes played on the head. Young players rarely seem to realize the amount of sound that is needed to be heard in an ensemble, but it is still important to sound appropriate at all dynamic ranges. Lift the stick off of the head and pull the sound out of the instrument at all times.
    A great timpani sound can also be achieved by timing. The timpani part is always heard in the context of what everyone else is playing. Whether the timpani part is melodic, textural, or supportive, a beautiful sound should always be the timpanist’s priority.
    Students should not be fooled by the size of the timpani; it is possible to play the instrument with the same agility as a snare drum. Timpani playing should not have a slow, lethargic feel; it should sound light and elegant. The timpani is one of the most dramatic instruments in the percussion section. Students should spend as much time as they can discovering the endless possibilities of sound production on this wonderful instrument.

The post The Three Aspects of Timpani Playing appeared first on The Instrumentalist.

    Woodwinds should be a vital component of any marching band. However, they are rarely used to their full potential on the field. Here are some tips to get the most out of the woodwinds during marching season.

Instrumentation
    The first question for any band director should be which instruments to use in marching band. A full woodwind section in a concert band will sound brilliant on stage, but this same configuration doesn’t cut it on the field. For a full and well-balanced outdoor sound, the ideal marching woodwind section should be comprised of one or two piccolos, a rather large number of flutes, a very large number of clarinets, quite a few alto saxophones, and a relatively small number of tenor saxophones. Tenors add to the overall sound of the marching band quite well, but they often play parts similar to the trombones, making a large number unnecessary if the trombone section is of adequate size.

Piccolos
    Some schools only march piccolos, and others use both flutes and piccolos but still march six or seven piccolos. There is no need for this many piccolos, because in the right register the instrument is easy to hear. Few flutists start high school with experience playing piccolo, and marching band is the worst possible ensemble in which to play piccolo for the first time. Students don’t realize how different the intonation tendencies can be from those of a flute, and this can lead to many tuning problems, made doubly likely if the piccolos are in poor shape.
    The ideal solution is to take the two best flutists, have them march piccolo, and keep everyone else on flute. If there are a good number of flutes playing in the right register (not below B4), accompanied by two great piccolo players, you will hear this section just fine with far fewer intonation problems.

Bass Clarinets
    Bass clarinets are of little use outside. If funding is available to build a marching bass clarinet section of at least six players, this is enough to make a difference on the field, but for average programs the expense in cash and personnel is rarely worth it. These are extraordinarily expensive, delicate instruments best used only in concert band.
    Marching bass clarinetists are frequently used to double tenor saxophone or low brass parts, but another rarely considered use is to have them double the Bb clarinets down an octave. This adds heft to the clarinet parts and produces a good single-reed sound.

Baritone Saxophones
    Like bass clarinets, these instruments serve a vital role in concert band, but the potential to destroy these large, delicate machines is far too great for their rather negligible role in a marching band. At best, marching with baritone saxophones is inadvisable because of their weight, and in larger ensembles with sufficient numbers of sousaphones or convertible tubas, they are entirely unnecessary. I marched bari sax my first two years of high school and still have neck and back problems from it. If a director chooses to march baris, it is an absolute necessity to invest in high-quality, well-fitting harnesses for the players.

Double Reeds
    Nearly all bands forgo the use of the double-reeds while marching. These instruments are incredibly expensive and fragile and are generally inaudible in a marching band. If an oboe or bassoon is being used for a solo in the show, it should be microphoned, and great care should be taken to ensure that the instrument is not damaged in the process. Be aware of where the color guard is compared to the location of a double reed instrument on the sideline, so it is not knocked off its stand by an errant flag or rifle toss.

Getting the Best Sound
    The obstacle woodwinds face in projecting on the field is that unlike brass instruments, which are intense, directional sound generators, woodwinds have numerous toneholes that allow the sound to exit the instrument in a diffuse way, yielding a tone that has much more difficulty traveling to an audience in the open air. This means that it takes quite a few woodwinds to equal the volume of even one brass instrument, and if the trumpet or trombone sections of a program are considerably larger than the flute or clarinet sections, the marching band will sound out of balance and very brass heavy, all other things being equal.
    Woodwind players, in an effort to be heard, can very often get into bad habits of overblowing, biting (for single-reeds), and playing with very bright, edgy sounds. Very often these tendencies find their way into concert band. Therefore, it is incredibly important to properly balance and write for the band to begin with, so that the flutists, clarinetists, and saxophonists will never feel compelled to resort to drastic measures.
    The easiest and quickest way to create a balanced sound on the field is with music selection. If flutes and clarinets only ever play in unison with trumpets, they will rarely be heard. It is better to select or arrange music that has the woodwinds featured as an independent voice from the brass. Additionally, part division should be simple. There should be at most two clarinet parts and one doubled flute/piccolo part, one alto sax part, and one tenor sax part. Keep the woodwinds playing as a section; the field is no place for four separate clarinet parts.
    Playing in tune is never unimportant, but it is especially important for marching woodwinds. If everyone is in tune, the sound is much fuller than if everyone is out of tune. An in-tune section of 20-30 clarinets will sound a lot louder than a section of 20-30 out-of-tune clarinets.
    When it comes to fullness of sound, avoid asking woodwind players to push. Although this word seems to work well for getting brass players to use more air, woodwind players hear it and start blowing from the front of the embouchure. They close off the throat and become tense, leading to a small stream of air, a bright sound, and intonation that is all over the map. For indoor and outdoor playing, woodwind players should focus on getting a good, full breath and using all that air. The lower in the abdomen woodwinds feel like they play from, the bigger sound they will get. The greatest jazz saxophonists can fill a room with sound this way. Power playing with good sound and intonation comes from a full and relaxed breath. This is true both indoors and out.

Show Design
    I frequently have heard arrangements in which there is a call and response between brass and woodwinds. Although this works well if the right steps are taken, when the brass are grouped together on one side of the field and the woodwinds are grouped together on the other with all instruments to the front sideline, this will very rarely sound well-balanced, even with good instrumentation. A much better idea would be to stage the woodwinds much closer to the sideline and the brass much farther away, or to have the brass play backfield.
    If the brass are in front, avoid staging woodwinds too far backfield; they should still be close to the front. If the brass are in front and the woodwinds are far in the back, the woodwinds won’t be heard. In addition, avoid spacing woodwinds far from each other; like instruments should hear each other. If everybody is spread out, they will never be able to lock in on intonation, and the sound will suffer. Keep the whole clarinet section close together. Break the section in half or thirds if there are enough players, but keep groups close to each other.
    A final pitfall is charting a big transition during a woodwind feature. If woodwinds have to make a far-away spot while playing an important line, it will not come out as well as if they were standing still or only moving a little.

Horn Angles
    The temptation to over-exaggerate posture should be avoided. Students should never tilt their heads backward. This can lead to health problems and will have an adverse effect on the sound of all of the woodwinds. This position hinders the airstream, and both clarinetists and saxophonists will be exerting upward pressure on the reed, leading to a thin, less-than-desirable sound. Another area of concern is instrument carriage and angle. In an effort to look disciplined, many students allow substantial tension to creep into their arms and hands, resulting in vastly slowed-down finger action. In stressing a uniform appearance, attention should be given to ensuring that students are as relaxed in their back, arms, hands, and neck as possible.
    Flutists suffer the most from overextended posture. Upright posture and a properly-supported flute will be much more advantageous to the sound of the ensemble than will an over-tensed flutist who is gripping the flute in a way that makes technical passages impossible.
    Clarinetists should be watched carefully, as they have a tendency to swing their instruments out much too far, resulting in poor tone quality. The clarinet should still be held at the same angle as it would be in concert band.
The normally accepted method of holding the saxophone is impossible while marching. In concert playing, while standing, the saxophone must be supported by the neckstrap, but it should also always make contact somewhere on the saxophonist’s leg rather than being held out from the body by the right hand. When the saxophone is held out, it can lead to great tension, loss of mobility in the right fingers, and eventual health problems, such as tendinitis. However, to keep from injuring themselves, saxophonists must hold the horn out from their bodies a bit while marching. It should be made clear to the young performers that this should only happen while they are in motion, and that the saxophone should be in contact with their body the rest of the time. The neckstrap should always be pulled up far enough that the head can remain erect and so that the saxophonist does not have to lift the horn.
    Flashy horn angles should be taught with an eye toward how the instrument should be played. Clarinets and saxophones should remain as close to a normal playing position as possible. If the band is standing and playing, woodwind players can lean back a little at the waist, but the head should not be tilted back, and the arms should not be flared out. The tone will be terrible. Holding the instrument four to five inches from the body and leaning back a bit is much healthier and will sound better.
    A fine marching band is a wonderful component of an instrumental music program, providing public relations and many other benefits for the band program. Woodwinds have an extremely important role within this ensemble. Giving them every opportunity to make their voices heard can help make it an excellent marching season.

The post Woodwinds on the Field appeared first on The Instrumentalist.

    Teaching in small communities offers a wealth of opportunities and benefits for directors. Unfortunately, smaller schools also have some struggles, including low enrollment for band and marching band. While some directors require marching band participation as an extension of the band class, other directors do not. The loosening of the participation requirement ensures full participation in the curricular band class.
    As a grade five through grade twelve instrumental music teacher in a small rural school district, I have been forced to adjust marching requirements throughout my tenure. Years before my time, marching band was required for the band class. Many students who were active in sports dropped band due to the conflict between marching and their sport. This hurt not only the marching band, which only has a fall commitment, but also put a hole in the band class for the entire school year. Because there were many changes in directors over a short period before I was hired, when I arrived there was no set policy concerning marching band and the curricular band class. Through the years of tweaking, I have developed a system that balances the demands of the program and students as well as possible.
    The marching band, with the duties of only football games and community parades, is entirely extracurricular. The curricular band class has graded public performances and community parades. The only overlap between marching band and band class is the community parades.
    This balance allows student-athletes to participate in concert band and also provides a full band to march in community parades. When asked my reasoning, I liken it to the military wind bands of the early 20th century. They could perform well while marching down Main Street, and in the community gazebo or band shell. The only difference is our band shell is the high school auditorium.
The policy developed gradually over time. It took four years to establish the policy and another four years to fine-tune the process. Looking back, I better understand the obstacles and benefits to small school band programs. While each school is different, I have discovered that so many directors in small schools face the same concerns.

Barriers
    A small student population creates difficulties when recruiting and maintaining enrollment of band members. Another barrier can be the socio-economic status of families. The district budget shortcomings often mirror the average community budget, causing funding problems. Schedules can also be limited with certain classes offered only during times that conflict with band. The final common barrier is that a limited amount of music exists that will be an appropriate challenge for all the students in an ensemble with members ranging from grades seven through twelve.

Benefits
    While barriers may seem daunting, small schools and communities have many benefits. Even though a small student population can limit recruitment, directors can provide greater feedback and show genuine interest in a smaller group of students. Students may become more committed to the band and less likely to drop later.
    Band parents in smaller schools may be fewer, but they are more dedicated. Just the other day I attended a community fundraiser for the local volunteer fire department. While I was enjoying my wonderful turkey dinner with my family, I noticed a band parent was serving at a near by table. This gave me the opportunity to ensure important information about an upcoming performance made it home. I could have called from the school, but a phone call from school usually means bad news. Instead, I used the opportunity provided by the small community to connect from one person to another.
    The booster meetings in small schools may be smaller, but they can be run with a clearer purpose. Because fewer special interests are competing and many of the families are friendly beyond the booster group, a better understanding of parent motivations will develop. While limited family finances can hinder many band trips, fundraisers can be planned with precision rivaling the best financial minds. The parents always want more bang for their buck, but unlike in larger schools, fewer families can skip fundraisers and simply pay cash for a trip. This need for higher returns energizes fundraising efforts and increases participation. My boosters have been able to offer a free spring trip to all in the band program for the last three years because of the fiscal focus of the organization.
    Last year, because of the continued success of the fundraisers, our boosters included the beginning fifth grade band members in the spring trip to see a baseball game. The bulk of the boosters’ funding comes from two well-organized and effective fundraisers. The level of efficiency reduces the amount of time needed for raising money. Our fundraisers are only held in August. Unlike groups that pass out new fundraisers monthly, we do not burden our group by making them low-paid sales representatives of some fundraising company.
    Smaller schools allow opportunities to find creative funding sources. Three years ago my boosters filed the paperwork to become an official 501(c)3 nonprofit incorporation. This allows the band boosters to accept tax-deductible donations. On our last big trip, scheduled every four years, the cost of the transportation was $7,500. Because of the tax status, major businesses with a nationwide reach and a charity initiative donated the lion’s share of the money needed for transportation. The boosters raised the remaining money from smaller sources in a similar manner. In the end, our students did not pay one penny for the transportation.
When preparing for the trip the band had another funding opportunity to solve an ongoing problem. Because of our nonprofit tax status and community work, we could solicit a donation of $4,000 to purchase new uniform pants. These new pants replaced the decade-old pants that were in disrepair. Even though our school did not have the funds for new pants, our booster group, as a 501(c)3, found a way to pay for them with help from a community donation. Not only did the students get free transportation, but they also had new uniform pants to wear, all because the boosters of a small school thought outside of the box.
    The final way small schools show an advantage over larger schools is the strong impact student leaders have on younger members. In many small schools it is common for a seventh grade student to pass a senior in the halls. At a larger school, the senior might not look twice at the seventh grader. In a band program marching grades seven through twelve, this senior already knows the valuable impact the seventh grader has on the band. They’ve sweated and toiled together over hot August band camp days. They are brothers and sisters in arms from the team building exercises of band camp. Imagine how happy the seventh grader feels when the senior says, “Hello” in the halls. Imagine the pride the younger student feels when their non-band friends can’t believe they know seniors, and the seniors say hello first.
    Well-trained student leaders can more than make up for the lack of a marching band staff. There have been days in band camp when a parent or other distraction takes more time than I have, causing me to be at the practice field behind schedule. The first few years when this would happen, students would sit in the shade in a holding pattern until I gave instructions, even though all goals and the schedule of the day were outlined in the morning. Since I have tweaked my student leadership training over the years to make students more active, I can be sure time is not lost. Some years, students have been so helpful I have reported to the practice field a few minutes early, only to find my students have moved from sectionals to a full run-through of the field show without me. This could not have been possible without careful selection and training of student leaders.
    Because each director and school population is different, it is important to create a culture that capitalizes on all the benefits of a small school. As a director, you should use the benefits of your community to overcome any obstacles. Time is universal. While my process may not work for your situation, the calendar I follow may help in shaping your program.

February
    This month, we focus on parade preparation. Because my curricular band class and extracurricular marching band combine for parades, I spend February rehearsals reviewing the parade music. It also gives me ample time to prepare and send reminders to families. Even though many marching band members participate in the band class, I still have students who do not play in the concert class, particularly my band front. These communications remind students not to double book their calendar.

March
    I make copies of the parade music and redistribute it to the band members because music is sometimes lost or destroyed during the year. The band front has been encouraged to review the parade routine. Even with a busy schedule, they are responsible for dusting off the cobwebs. The month ends with students prepared and performing the first spring parade, even if the weather does not agree that it is spring.

April
    This month is when the marching band work for next year begins. By the first week of April, with input from next year’s seniors, the show for the upcoming year is chosen. Since the current juniors help with music selection they are already building a buzz about the upcoming season. Time is taken to copy the music and stuff the folders so they are completed by the end of the month.
    Sixth graders are used as managers in the marching band to give them the early experience with the group and avoid overwhelming them when they become seventh graders. Once in seventh grade students are required to march and memorize music. Current managers have an opportunity at the end of each beginning band class to speak to the current fifth graders about the experiences of a marching band manager. This reminds current managers of the fun times they had in the fall and eases any fears possibly preventing a current fifth grader from being a manager next year.
    The spring concert also occurs in April, usually on the last Thursday of the month. The last week in April, after the spring concert, is when Memorial Day reminders begin. Notices for students are created and sent home. These communications, like those created in February, target students who play only in marching band, but serve as a good reminder to all students.

May
    May is the transition month, a time for seniors to relax and enjoy themselves as the sun sets on their time in the band. The last full month of school also gives the juniors time to realize the importance of their upcoming roles.
    The marching band sign-up sheet is posted in the band room during the first week of May. Once a student signs up, they report to me to receive the proper paperwork. All students receive a letter containing important band camp and marching season dates, along with an attached information sheet. Students and parents are required to fill out vital contact information and sign their commitment to the marching band. If old enough, students interested in a leadership role, including section leader or drum major, also receive the required paperwork.
    Aspiring student leaders must apply, just as they would for a job. Applicants for section leader or drum major are required to provide a resume, three letters of recommendation, and participate in an interview process. This process instills a culture of respect for the position and prepares students for the adult world.
    Once students return permission slips, they are given a folder with all pregame, halftime, and stand music. In addition to their music they have a detailed calendar of the season spanning July through December, a shoe order form, accessory order form, and a letter detailing the contents of the folder, in case something is missing.
    The band banquet happens in the middle of the month. The banquet not only celebrates the closing of the year but helps some students who are on the fence about participating in another year of marching band. It encourages students to sign up, if they haven’t already.
    May ends with the Memorial Day performances and uniform collection. It is a time to say goodbye to the seniors and welcome the new student leadership. The torch has been passed.

June
    This is a time off for my family and me. Directors give the better part of their lives to the music program. June is my family’s time for me. Usually by the end of the month, my wife, who was a band director until we had twins, starts to ask if it is July yet. For my sake, I hope she is kidding.
    While June may be a time to recharge, the new student leadership is often having summer sectionals at their homes. This serves two functions: learning the music even before band camp and developing camaraderie in each section. Many of the bonds that solidify a section are forged during these rehearsals.
    As the month ends my drum majors attend a drum major camp at a well-respected university. The boosters pay the amount of a single full tuition divided equally among the students attending. I always try to attend the exhibition for the families at the close of the camp to evaluate progress and encourage students.

July
    July is the crunch month. I write drill for the show during the first week. July is also when the band boosters organize the paperwork and plan of action for fundraisers, which are held during band camp. My wonderful boosters provide me with a folder containing all fundraising information for each family. The only way the band boosters can put the information folder together is from a list I provide at the end of the last school year.
    Student-led sectionals end in July and specialty camps begin.The specialty camps are for the band front and the drumline, each meeting the week before band camp. This gives the more technical sections a head start so they do not feel the pace of band camp moves too fast. This again builds teamwork and lets me guide student leaders.

August
    Band camp runs Monday through Friday, 8:00 a.m. to 4:00 p.m., always two weeks before the first day of sports camps. This usually means band camp begins the first Monday in August, but occasionally it is the last week in July. This is practical because sports camp conflicts cannot be used as an excuse for missing marching band. Also, the county fair usually happens during the third week in August, and many students in my community show animals and participate in the fair. My start date avoids these conflicts.
    The first day of camp ends with a parent meeting. At this meeting all parents receive the expectations of the program. At the meeting the executive board of the band boosters distributes the fundraiser information. The booster officers also explain the role of the boosters in the band program and the areas in which they need help for the upcoming season.
    The first week of camp is focused on learning the music and drill. Student leadership is put to the full test in sectionals. The second week focuses on the parade music and routine, pregame show, and stand tunes. The last day of camp is always a trip to a theme park where students get free admission in exchange for performing in an evening parade.
    The last day is also when the boosters require all fundraiser orders to be returned with money. The focused attack of selling is done so all families are fundraising while band camp is on their mind. This also makes our fundraisers first to reach the doors of the community before other groups sell during sports camps.

September
    School starts with the marching program in full swing. Football games on Friday nights or Saturday afternoons for the away games where the schools do not have lights. The practice schedule is made to accommodate conflicts. The marching band only practices two nights a week, from 6:30 to 8:00. With most sports practices occurring immediately after school from 3:30 to 5:00, the 6:30 to 8:00 marching practice works well. For the students involved in sports, it gives them 90 minutes to relax and eat dinner. Marching practices end soon enough so students do not stay up too late working on homework. Students who are not in sports have from 3:30 to 6:30 to do homework and eat.
    The first practice night in the week is a music rehearsal. We do not go outside. Some of the time is devoted to sectionals for the instruments run by the section leaders, and the other is for full rehearsal run by me and the drum major who conducts the field show. During sectionals my staff and I float between the sections to observe how student leaders are doing and solve problems if the student leadership needs help.
The second night of the week is our outdoor rehearsals, a time to review and fix the problems noticed on film from the previous halftime performances. This practice occurs as a large group, with the band front breaking off occasionally to finesse their moves. Most of the time the band front needs the fieldwork just as much as the instrumentalists.

October
    In October, practices happen only one night a week to avert burnout. With the end of daylight saving time it is too dark to rehearse on the field for a full rehearsal. Most practices are split with outside work first and then inside work on music. By this time most of the fixable problems in the pregame, halftime, and stand music have been remedied. This allows us the opportunity to choose and rehearse the special music to play at homecoming in addition to the music for the community Halloween parade.
    The month closes with the Halloween parade and the ending of the regular season for football. My school has a great tradition of football excellence, so the band has had many chances to perform in the postseason.

November
    With the start of the football postseason at our doorstep the practices are held right before games. We do not have practices on non-game days. At this point the students are starting to run on fumes and getting ready for the winter activities. Practices to prepare for musical auditions are scheduled by the choir director. Not having midweek practices allows students to attend audition rehearsals. At the end of the month, if we are still in playoffs, I devise various fun bus activities on our way to neutral fields for playoff games. In the past I have bought all students in the band a Happy Meal to eat on the way to a game. It always amuses me to see how much the students love the toys. We also have held blind taste test of Hostess, Little Debbie, and generic brand snacks. Only after students vote for their favorite snack do I reveal which is name brand or generic. When Thanksgiving arrives, our season usually has come to an end.

December
    The last month of the year closes the marching band season. Concert band is preparing for the winter concert, county band festivals, and district band auditions that will happen shortly. December is a time for everyone to take a deep breath.

January
    The marching band gets a break in January, and booster meetings are postponed until February. Concert band is the priority of the band program. It is the calm before the storm. February begins preparations for the new marching season.

Conclusion
    Ten months of the year are dedicated to some form of the marching band program. This strict calendar has given my program a compass for the year. A general overview of the yearly calendar is always available on the band’s website and in part of the band handbook.
    Despite all the planning and preparation, things do not always run smoothly. When rough times arrive, the support from the band boosters, the hard work ethic of the students, and the direction of the schedule are essential. In the end, those three elements working well together solve many problems.
    The band is an ever-changing entity. With great care, proper planning, and abundant support a music program can find success, no matter how small the school or community. Change and success come from many small steps towards greatness.

The post The Benefits of Being Small appeared first on The Instrumentalist.

    When the men’s basketball team at Virginia Commonwealth University, where I teach, made its grand Cinderella run to the Final Four in 2011, I found myself talking about basketball in many of my lessons. The process of becoming an excellent musician, like that of becoming an excellent athlete, is essentially about developing an amazing skillset plus that something extra that musicians call artistry and athletes call love of the game. In addition, mental toughness is required. During that run I followed the coverage of the team and learned more about VCU’s young coach, Shaka Smart, and his process-based coaching, which included working on the skills, the strategy, and the mindset for the game. It took me back to my high school days as a swimmer. When I was on the swim team, my coach regularly showed us videos of team competition to point out any flaws in our starts, kicks, and stroke. Giving directions was not enough; she wanted us to see to believe.
    That spring, I realized that in all my years of violin teaching I had not asked my students to take on the relentless spirit common to professional and even amateur athletes. I knew from my practice that recording myself was my best learning tool, but I wanted to expand the whole toolbox of how we learn and become inspired. In sports and music, there is this juxaposition between a realistic – and sometimes painful – look at your performance and trying to keep things upbeat at the same time. It isn’t enough to be realistic, you also have to be positive. So I wrote a grant to experiment with a sports-inspired way of learning. Thanks to VCU’s ALT Lab, my wish came true.
    Two other string faculty members and I brainstormed how to use technology and sports psychology in music school. It was clear right away that instant replay was going to be a big part of our project. The grant paid for three iPads, mounting hardware, five full length mirrors, and sports psychology books and journals. However, what I originally planned and the way things ended up eight months later were very different.

Video Recording
    I had set up a system with a large server that could house a great deal of video capacity, up to half-hour clips at a time. My original thought was that we would get video recordings of students, they would revel in what they see, and we would all go home happy. That wasn’t at all how it was. Students rarely know how to listen or what to look for in the beginning, and they can become overwhelmed and too self-critical to glean any benefit or even be specific about what they saw. It was oppressive and not what I was hoping for.
    What made students enthusiastic was keeping things light and specific. Now when I use this equipment, I use it in much smaller chunks and with narrow instructions. In lessons, we concentrate on one aspect of playing while recording, then listen back and concentrate on that same thing. I also assign students to record themselves in similar circumstances; they have to pick three specific things they hope to improve and record focused on that. Many of the videos are about 30 seconds long now, not 30 minutes.
    I usually insist that students record themselves twice, so they can see the before and after. If they record themselves once, the initial reaction is negative. If they are listening for musicality, the common response is for them to say their playing wasn’t nearly as musical as they thought. I have them work at it a bit and then make a second video, so they can see progress.
    Seeing progress has been the most important aspect of the project, and that was a lesson learned for me. If students see the power of the change pretty quickly, then they get addicted to doing that for themselves. If students watch only their first take, they only see what’s rough. They move to work on something else, video themselves again, and see a new first take, with the same negative reaction. If students don’t see improvement, they tend to be resistant over time, because it can be painful to watch yourself.
    Sometimes, I make students watch video with the sound off. If we are working on something physical, such as bow grip or posture, I turn the sound off so they cannot respond to what they hear, only what they see. Sound is a dominant factor to instrumentalists, and it will distract them from the visual aspect of a video of themselves. When you really want them to focus on something, it is best to block out the other senses.

Applying Video
    In the beginning, a great deal of the work I did was redirecting students’ priorities. I often videoed students and then asked them to react to their playing before we watched the instant replay. They might say “I could have done more crescendo,” then we would watch the video, and I would have them tell me the first thing that popped into their minds. The first thing they might notice on video is that they were out of tune. That gives them a priority list in their practice. If tuning is the first thing that strikes a student watching himself, that will also be the first thing that strikes the audience. The aim is for students to adjust priorities on how time is spent in practice. If, in January, the bow was a little crooked and the video helped fix that, then in February the focus can be bow distribution or standing with better posture.
    As the weeks went on, and students’ perception of their playing and reality came closer to matching, then the videos were used more for exploring why something was or was not happening. As an example, video is great for posture; violinists tend to lean over to one side and keep the head too far forward. It is also great for seeing your hands in space. Sometimes I will just record the bow grip as they play. Students see their hands and might notice that they are extremely stiff or that their fingers don’t move at all. Then I can point out that this is where a brittle sound or a lack of control comes from.
    Sometimes I use video for side-by-side comparisons. I ask a student to video my hand, either left or right, on a passage, and then we flip and I record. We watch both and I ask what the differences are. The students spot them right away; I don’t even have to talk about it. My viola faculty colleague, Molly Sharp, came up with this idea, and it has been extremely effective. Rather than talking about it in words and then getting front of the mirror to compare, the side-by-side comparison works wonders.

Mirrors
    The video teaches, but the mirror helps train. When students discover something in video, they can use the mirror to monitor themselves during practice. Mirrors require no technology; students can watch themselves to accomplish their new goals. This idea of using mirrors came from ballet lessons I took when I was young. The mirrors aren’t wall to wall, but they do reach floor to ceiling to allow students to see what the lower body is doing as well. Also, they are wide enough to accommodate both students and teachers standing side by side. Access and ease are extremely important. Mirrors have to be someplace useful, otherwise students are forced to practice in the bathroom or will not use one at all. The mirrors are set up in large practice rooms that are also sometimes used for ensemble rehearsals, and they have been a big hit. The first couple days after they went up I saw horn players, oboists, and singers all using them.

Journals
    My research in sports psychology convinced me that I wanted my students to reflect and write, but in a non-academic fashion – that is to say informal, untyped, and ungraded. I constructed a workbook journal for them that was largely inspired by Richard Kent’s athletic journaling materials. Richard Kent is an athletic writing guru at the University of Maine who has been helping teams and individuals think and write about their habits, attitudes, and everything in between. The journals I came up with were music specific. The writing was more rewarding for the students than I could have imagined. Journal prompts are meant to spur discovery about their practice habits, inspirations, style of learning, and hardships in their music study. In short, they are about self-discovery, or learning without teaching. Students have three prompts to complete between lessons. I look through them, but not closely; it is students’ work, and I do not grade it. If there is something too personal in an answer, students can fold that page in half, which is a sign that they did the assigned writing but do not want it read.
    Students have learned more about what makes them tick, and I am learning a great deal about them too. One student wrote that some of the best practice sessions happened after a good lesson, which made me realize that I wasn’t sure what defined a good lesson for that student. I asked what constituted a good lesson, and the student replied, “It inspires me when you are really relentless and don’t let me get away with anything.” Every student is different, but now I knew how to inspire this one.
    The first question in the journal asks students to name their best qualities as a studying musician – the habits or attitudes that others would admire. If one of them writes, “I am a hard worker” or “I am relentless in my determination,” that is something we can draw upon to overcome challenges. If a student writes, “I am creative,” then if they are unmotivated to practice or having difficulty staying positive, I can take advantage of that and make practice more creative, because repetition is likely to bring them further down or bore them. We work on plans to play something new or try something in an entirely different way, such as playing music backward or only playing every third note.
    One writing prompt asked students to describe a highlight of their time in music that was not an audition. That one was meaningful to many students, and a number of them mentioned playing for young children.
Another prompt asks students to make a list of things that affect the quality of their practice, with separate columns for positive and negative influences. Ideas like this are meant for students to understand how life influences their work. For students to see in writing what works and doesn’t work for them is simple and powerful and requires no input from me. Every once in a while, I can make a student feel more confident in his instincts. I had a student say, “I have a hard time practicing at home around my roommates because I feel like they are very judgemental.” My suggestion was to practice at school when possible. It seems simple, but he needed to know that his feelings were normal and that the solution, which I am sure he had already thought about, was relatively easy to achieve.
    Many students coming into music school struggle with insecurities but believe that their classmates are extremely talented and have everything figured out. The truth is that everybody is complex and everybody struggles. The writing prompts themselves can attest to the normalcy of their experience and helps them understand that everybody has psychological hurdles, and hard work is hard work for everybody. The shared experience of it can be quite comforting. That wasn’t necessarily what I had set out to do, but I have noticed in retrospect that students feel more comfortable admitting their problems and seeking help.
    I ask students to mark in their journals any problems they are having with their playing in a given week. This could be back pain, being uncomfortable at the frog, or even specific measure numbers. Of course, I will also define what they are having trouble with, but students’ notes are often where we start; I want them to understand that they are in charge of noticing what their problems are and that my job is to be a coach. The journals have helped me be a better coach, with deeper understanding of my students as artists and people. Coach Smart has team mantras but also individual focus points for each player. During one big VCU game, the network showed the VCU locker room, which had printed buzzwords for each player to remember. Dubbed in the press as “relentlessly positive,” Smart both coaches and mentors his players.

Assessment and Large Ensembles
    I have been looking to apply some of the grant work to ensembles and have been asking my colleagues how technology and writing might fit into ensemble classes. I am inspired by the many ideas out there. At a recent conducting workshop here, I gave a demo lecture on intonation, and conversation turned toward using technology in an ensemble setting. One teacher hooked up a microphone to the bridge of one student’s instrument to test scales. The entire ensemble played the scales together, and the full ensemble is audible on the recording, but the pitches of the student who was miked are loud and clear. The teacher graded based on that. Each student had the security and tonality of the group to hang on to, but they were being individually assessed.
    Much of the difficulty with assessment in an ensemble setting is that it is a time drain, either costing rehearsal time or adding to a teacher’s out-of-class time, especially if students submit audio or video recordings. Our discussion centered on using technology in a way that is quick and seamless, without creating a lot of extra work for either teachers or students.
    My encouragement to the teachers was to consider assignments that were not assessed but only there for deeper learning. There are projects that can be done to fill in gaps, including journaling. Part of the group could have a sectional, and the rest of the ensemble could write in journals during that time. If students have an assignment to record videos twice and write about the experience, don’t have them send in the video, just grade pass/fail on whether they did the writing. Some students might just write without videotaping themselves, but for the one or two who do that, it’s not worth the effort to have them prove it when you’re just looking for them to talk about what they learned. If a student fakes that whole experience, it is their loss.
    The aim should be to find mechanisms for students to do things on their own without the time cost of that work falling entirely on the teacher. Ideally, it is just a matter of using technology in such a way that makes it easy while managing students’ expectations along the way. Adding technology shouldn’t make more work, it should make things more efficient. The whole project has been about that in a way: less active teaching but more intense learning for both student and teacher.

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Motion Capture 
    As soon as VCU’s motion capture lab opened, I knew I wanted to see what we could learn about our bodies when we play, so I took violinists and violists into the lab for a masterclass. It was fascinating to see what people noticed about their playing when all they could see of themselves was a stick figure. You see more when you see less. In the motion capture lab, I had a student who was playing very well, and I asked her to look at her stick figure’s legs and tell me what she noticed. Her comment was that her legs didn’t move at all. They didn’t look like real legs but rather tree trunks because a person’s legs should move naturally while playing, at least a little. The Motion Calture Lab allowed us to see other things without the usual visual distractions, including trajectory of motions, extraneous movements, and posture. After class we went to a coffee shop next door to talk about the experience. The students brainstormed ideas for inventions they would like to use next. Among them were a mechanism that could sense how much pressure was being applied to the bow, an instrument to measure bow tilt, and various devices that would record which muscles were contracting while playing.
 

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