August 1980

November 1987

March 1993. The opportunity to photograph Dizzy Gillespie’s trumpet came suddenly. Dizzy sent his trumpet to Schilke Music, who made the instrument, for minor repairs. After his death Joan Schilke inquired whether we would like to take pictures before returning the instrument to his family.

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Year One (1985-86)

    In looking back on the first year, I cannot help but have mixed emotions. The culmination of many years’ study is now being used in the occupation I selected way back in high school. Was it as I thought it would be? Did I have a successful year? What were some big surprises? These are questions that should be answered.
    The year started out on a positive note, with students responding well to my more positive and friendly rapport than they had known under their two former directors. (Actually, only one of them was what the students considered mean.) Despite this good start, there were students who doggedly made remarks like “we’ve never done anything like that” or “we wish [the previous teacher] was here.” Any disagreement or dissatisfaction would conjure up the utopia they had the year before – the time when they behaved perfectly and never got angry with their director. (Sarcasm.)
    Memories of how good they used to be were exaggerated. (I knew this because I had listened to recordings left by the previous directors.) Any success that this year’s band had was attributed by some to last year’s teacher, not knowing it doesn’t even take a month to ruin a band’s sound. When it got down to the nitty-gritty, the lack of work ethic began to re-emerge in the eighth grade group. Previous tapes and conversations with the former director showed me they were way behind musically. The seventh grade group, however, had a great attitude most of the year. (And they were far more talented than the eighth graders.)
    Problems began to emerge when several students knew they were not going to be in band the next year because of the reduction from an eight-period day to a seven-period day. These students would not give up athletics or their investment in Spanish. (If students completed two years of Spanish, they would receive a high school credit if they took one more year. It didn’t seem to matter to them that in high school they only had to take one year of Spanish to get the credit they desired, so they actually could just take it later. I made the mistake of sending out a letter explaining this point, but without first clearing it with the principal. The Spanish teacher understandably got a little upset and complained to the principal. My facts were all correct, but I should have consulted the principal on how to handle the situation.) This scheduling difficulty, combined with bad-mouthers, caused a general deterioration in attitude.
    Despite these problems, we managed to be successful musically, performing well on concerts and receiving excellent marks (IIs) on concert music and a superior (I) in sightreading at Region Concert Contest. I expected good scores at the contest and was pleased that my concept of the band sound and the level we were at was consistent with the view of experienced judges. (I brought in some experienced band directors to guest-conduct my band before the contest to get a realistic picture of where we were. Even though I expected IIs, I was hoping against hope that we would get Is and was disappointed that we didn’t, particularly since one judge was one I had done my student teaching under.)
    I feel bad that there were negative feelings about band on the part of many kids, but at the same time I temper those feelings by noting three points about the year: the common problem of transition, the positive attitudes of other students, and the beginner band.
    I cannot say that I fully understand why transition is such a difficult time, but I can verify that it is a problematic situation. Somehow, unexplainable in some ways to me, the introduction of a new director is hard for students to handle. They have to adjust to a new personality and ways of doing things. Many build up a chip-on-the-shoulder attitude, waiting for me to make a mistake (not too long a wait, I’m afraid) so they can mercilessly pounce on me. I was prepared for such problems, but it hurt just the same. Richard Bishop (my colleague at the high school, also new) experienced the same things, so I was not alone nor irrational in attributing many of my problems to transition – a sickening term.
    Fortunately, there were many students who worked amazingly hard and made great progress. Many students not only thought band was good, but great. I really developed a close relationship with several students. This particularly positive association with students and parents gave me the encouragement I strongly needed.
    I suppose the only true measure of my success will be with my beginning band and future groups that are mine from day one. In general, attitudes in the beginning group were excellent, and they made great progress. Some parents who have seen beginning groups here for the last several years say this was the best yet. (This was probably true, but I have discovered since that parents are likely to think their kids are the best ever no matter the case.)

    The next several sections contain a list of the biggest surprises about teaching, some general observations about band, and some adjustments I wanted to make for next year.

Three Surprises
    Being a teacher is much tougher than being a student. I could not believe how worn out I was by the end of the school day. If I did not get to bed by about ten o’clock at night, I was dead the next day.
Maintaining classroom discipline is much more mentally taxing than I imagined.
    I was able to develop a solid band sound my first year. (This was one of my biggest worries when the school year started. I had never had to teach a whole beginning band from scratch, since I was a student teacher in the spring. Looking back, I wouldn’t really say my junior band that year had a solid sound.)

Observations
    Students quickly perceive (often mistakenly) any inequities between themselves and others in their relationship with the teacher.
    Girls’ athletics is such a big deal now that you cannot even count on their full dedication to the band program. (This was my biggest surprise. When I was in high school five years earlier, girls’ athletics was no big deal as it seemed that only tomboys were participating. Now girls of every ilk were wanting to specialize in sports, too.)
    My next move (job-wise) will be to a larger school where there are more kids to go around. (I actually stayed in Paragould School District for 23 years. It grew to the point that it was the size school I preferred. However, I eventually moved to Riverview, which is the same size as Paragould when I started. But that’s another story.)

Adjustments
    I would possibly adjust the rehearsal slightly so that all students participate as much as possible during rehearsal. Less personal attention, but more action. Sectionals outside of class may be necessary to offset the shift. (I still do this.)
    Be more open to suggestions and questions even though the odds are they are irrelevant or smart-aleck. (Hey, I couldn’t help but be a little cynical after the year I had had!)
    Maintain more distance and create a more obvious “fine-line” in student-teacher relationship. Quickly punish disrespect. (I had let some students joke around in a way that was disrespectful. I was a little insecure and didn’t want to make some of them mad since I had seemed to have so few supporters.)
    More activities like playing at more football games, even possibly at basketball games.
    Demand that the students watch more and do not verbally count off all the time.

Was this a successful year?
    Despite the struggles, it was definitely a good year. I’ve been told the first year is the toughest, and that most first-year teachers are ready to quit by Christmas. If things ease up next year, it should really be good.

Year Two (1986-87)

    I wrote this reflection the summer after the completion of my second year. Keep in mind that I am not bragging with the comments; they were originally intended just as something that I could read in future years.

    Several fellow band directors told me throughout my first year that the second year would be much better that the first. After my first year of experience, I was praying that this was no myth. Fortunately, they were correct. Although I had a good first year, it was not smooth enough that I could go on that way for another twenty years. This year I proved to myself that one could have a well-disciplined junior high band.
    I was slightly apprehensive about what would happen to my wonderful sixth grade beginners over the summer. I often heard about the frightful transformation that occurs in the short span of three months. (I actually had faculty members tell me how much the kids changed for the worse over the summer. Talk about lowering expectations!)
    Although second year players lose that lovable, wide-eyed look of a beginner, I found that their behavior was just as good as the year before. The eight graders who remained after the mass summer exodus (about 15 band members quit for some reason or another, varying from legitimate class conflicts to hating my guts) behaved remarkably well. As a result, rehearsals were pleasant and productive. (Having all of those kids quit was quite a blow to my ego. I didn’t always have the best band directors growing up, but quitting never seemed like an option because of my love for music.)
    The 7th and 8th grade bands combined throughout the year since the 8th grade band was small (20). I decided to keep the band busy so it would remain a top priority with the kids. I found last year that band would take a real backseat to other activities when we weren’t busy. We played at seven football games (with two or three rained out), including an away game at Piggott. Our last game was at a high school game where we planned a mass band extravaganza. Unfortunately, we were rained out.
    Seventeen of our students made the All-Region Band. That was the fourth largest total from any of the 21 schools in our region. Solo and ensemble performances also went very well, with 94 of the 120 entries receiving medals. The kids were ecstatic at their success.
    Region Concert Contest was a great success. The kids did everything I asked of them, and I thought that if we didn’t get top scores (I), then I certainly did not know what I was doing! We did make straight Is on our prepared numbers and a II in sightreading. This band sightreads very well, but I just botched the song badly, having gotten the pages of my music mixed up after looking over the piece. (The score was not stapled on the binding. You can bet I checked that every year thereafter. However, I never encountered a score like that in the sightreading room ever again.) The Is were very strong and boosted my confidence. I found that I could develop a good band sound and that what I thought was a fine sound was confirmed by the judges. (My concept of a good band sound had grown from the previous year, and my assessment was much more accurate at this point. We played “Command March” by John Edmondson, “Denbridge Way” by James Swearingen, and “Adventures” by Jared Spears.)
    My first real experience recruiting was successful. (I say real recruiting because I did not have beginners the previous year because of our switch from middle school (grades 6-8) to junior high (grades 7-9).) Forty-two students signed up for band. I wanted better numbers, but there were not that many good students available. Only 4 or 5 A-B students did not sign up. (I also based that opinion on music aptitude test scores. However, in looking back on this I realize that I could have used improved recruiting techniques to draw in even more. I was simply doing what was done during my student teaching.)
    The year was capped off with two final concerts – one at the high school for the parents and one at the junior high school for the students. The principal and vice-principal both said that this was the best band they had heard in all their years at PJHS. (About ten years. Administrators are not always the best judges of bands, but if that’s what they think, it is certainly a plus. One of the songs we played on the school concert was Lionel Richie’s “Dancing on the Ceiling.”)

    In some ways I now wish that I had written a reflection every year of my career, but at the time I felt that the first two years and the contrasts that they presented were the most critical. Also, after the success of the second year I really felt like I was right where I belonged.

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    We have had such fun putting together this 70th Anniversary issue. It has given us a chance to take stock of our long history, reconnect with old friends, and remember the great people who helped build music education and this magazine in the post-World War II period.
    While some anniversaries can drown in self-congratulation and nostalgia, we wanted to make sure that the bulk of this issue contained new material. We invited a distinguished group of teachers to write essays on any topic and were amazed by how many people took time to help. From Frank Ticheli’s recollection of a classmate who convinced him not to quit composing to Terry Austin’s memories of a concert that changed his life, the Anniversary Essays provide a wealth of wisdom from some of the best in the business.
    Working on this issue also reminded us of the many giants who made incomparable contributions to the development of music education. It is easy to forget that the repertoire for concert band remained somewhat meager until a wave of innovative new composers arrived in the 1950s and 1960s. On page 54 you can see how many classic band works were first reviewed in our pages (mostly by the legendary John Paynter). The list of composing luminaries in these early reviews includes Erickson, Grundman, Hanson, Reed, and Chance, among many others. They built a musical foundation that continues to support and inspire us today.
    We also surveyed a number of respected teachers who have made significant contributions to our pages over the years. We asked questions that probed into the lessons they had learned as teachers. When we inquired about their most memorable former student, almost everybody had a touching story to tell. These answers reminded us that we do not always know the good our words and deeds can have on others. Often it is the stray compliment or word of encouragement that makes all the difference.
    Any look back at the history of The Instrumentalist would not be complete without recognizing two men who steered our ship for many years. Our grandfather, Traugott Rohner, launched the first issue of the magazine in September 1946 with a bright magenta cover and big dreams for his new enterprise. He placed a bet on his new dream by putting a second mortgage on his home. An immigrant from Switzerland in the early part of the 20th century, Traugott Rohner achieved the American dream at every stage of his life as a teacher, musician, inventor, and publisher.
    Our father, James T. Rohner, led the magazine as publisher for 40 years with lawyerly determination and attention to detail. Although he scrutinizes the magazine with a more forgiving eye since passing the baton to us, we never have to wonder what he thinks about our efforts. As young editors, the worst markings we ever received on our manuscripts were “yukko editing” or even the dreaded “just start over” in our father’s unmistakable scrawl. He made everybody work harder, striving for better articles and covers because he believed that busy directors deserved our very best.
    There is no way to thank properly all of the authors, advertisers, and readers who have made the magazine special over the years. We are never less than humbled by your support. Every day, in ways large and small, music education changes lives.

James M. Rohner
Ann Rohner Callis
Publishers

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“Easy program music in 2/4, 3/4, 4/4, and 2/2 time.”

    The above comment, made about the grade 1 songbook above, is the first review, in its entirety, to appear in The Instrumentalist’s New Music Reviews section. Begun in September 1954 with the aim of “offering readers an opportunity to select music” for their ensembles, in the early years this section was more of a listing of new publications than actual reviews, although a comment or two was included for each piece. It is perhaps a sign of the times that the first anonymous reviewers felt it worthwhile to mention which compositions and arrangements included a full score.
    That first installation of reviews included 60 band and orchestra works, with many thousands more to follow, ranging from such heavy hitters as William Schumann’s Chester to comical numbers like Herbert Hazelman’s A Short Ballet for Awkward Dancers. Long-time contributor Charles R. Groeling, who meticulously kept track, reviewed more than 10,000 new works himself, writing in March 2007, “In the years I directed a high school band, such stellar composers as Roger Nixon, Vaclav Nehlybel, Norman Dello Joio, and later Jack Stamp and others emerged. I even enjoy reviewing re-releases of marvelous pieces I first conducted in the 1960s and 1970s. This is like reconnecting with old friends.”
    In the spirit of reconnecting with old friends, we sought out the original reviews from some of the works listed in Harry Begian’s 1991 article, “Standards of Excellence for Band Repertoire,” a listing of his recommended grades 3-5 band works. Here are excerpts from reviews of pieces on his list, in hopes that you will find an old favorite to revisit or discover a treasure you never knew existed.

Grade 3
Allerseelen by Richard Strauss, arr. Albert O. Davis (Ludwig). Favorite Strauss art song. First setting for band. Melody surges throughout. Much in style of Wagner. Tranquil beginning and end. April 1955

Toccata for Band by Frank Erickson (Bourne). An unusual piece in that its style is not too closely related to the formal conception of a toccata. . . . There is unique coloring and interesting writing for each instrument. Parts for percussion and low brass are particularly good, and the generally good taste throughout adds musical interest to technical one. May 1957

Fantasia in G Major by J.S. Bach, arr. Goldman and Leist (Mercury). Here is that rare example of Grade V music, both in worth and stature that is completely playable by the Grade III group. The score is always in good taste, and the five part contrapuntal style is a delight to play and to hear. (Begian lists this work as Grade 4.) May 1960

Hebrides Suite by Clare Grundman (Boosey & Hawkes). The scoring is superior with more than average emphasis on the colors of the horns, bass clarinets, bassoons, and saxophones. The result is a British quality of sound both in the score and in the folk-like melodies. April 1963

Liebestod from Tristan and Isolde by Wagner, arr. Glenn C. Bainum (Kjos). For most bands the flow and flexibility have been improved throughout the taking out of needless embellishments. . . . It is all worth the effort, and this would seem to be a lasting contribution to band literature in both the concert and contest sense.  (Begian lists this work as Grade 4.) November 1964
Il Re Pastore Overture by W.A. Mozart, arr. Clifford P. Barnes (Ludwig). More musicianship and musical chronology can be taught in one well played performance of a transcription of this kind than in weeks of method books and lecturing…. It should not be shunned by major bands, anymore than it would be overlooked by major symphony orchestras. March 1965

Three Ayres from Gloucester by Hugh M. Stuart (Shawnee). The composer states that the composition came into being through his “fascination with an old 10th century couplet: There’s no one quite so comely/As the Jolly Earl of Cholmonde-ley.” A bit of “Old England” makes this a delightful program piece that most bands can take in stride. January 1970

Blessed Are They by Johannes Brahms, arr. Barbara Buehlman (Ludwig). This arrangement will quickly rank with the dozen or so top works for young band that stress the elements of expressive, rich playing, gratifying musical results, and superior opportunities to learn musicianship through performance. Only because of the long phrases and the frequency of accidentals is this more difficult than Grade II; and it is musically Grade IV.
March 1971

An Irish Rhapsody by Clare Grundman (Boosey & Hawkes). The tunes include “The Moreen (The Minstrel Boy),” “I Know Were I’m Going,” “Shepherd’s Lamb Reel,” “Cockels and Mussels,” “The Rake of Mallow,” and “Kathleen O’More.” The short transitions and modulations are tastefully handled, and the scoring in general will flatter the sounds of even young groups. April 1972

Grade 4
Chorale and Alleluia by Howard Hanson (Carl Fischer). A straight-forward and pleasing non-dissonant modern work. Trumpets have essential part. May 1955

Pageant by Vincent Persichetti (Carl Fischer). Original composition for band. Modern in sound with lively climax. May 1955

Psalm for Band by Vincent Persichetti (Elkan-Vogel). Modern-sounding number for symphonic band. Dramatic ending. Extensive use of separate choirs. May 1955

William Byrd Suite by Gordon Jacob (Boosey & Hawkes). Each [movement] is masterfully scored to flatter the original material and display the color of the modern band at its best. Isolated passages may slightly exceed Grade IV in difficulty, but are balanced by many others that are not harder than Grade III. August 1961

A Festival Prelude by Alfred Reed (Marks). The choirs of brass and woodwinds are used with intimate understanding. The blending of the brass sounds is outstanding. August 1962

Choral Prelude: So Pure the Star by Vincent Persichetti (Elkan-Vogel). This is one of the loveliest things of its kind. It contrasts sharply from the tempo and mood of most of Persichetti’s music. The arrangement is totally fervent in its sincerity, and is beautifully constructed around a chorale melody of breadth and dignity. September 1963

English Dances for Band by Malcolm Arnold, arr. Maurice Johnstone (Mills). There is an undeniable touch of humor in the lighter works of Malcolm Arnold that sets him apart from his colleagues, even those like Gordon Jacob and Benjamin Britten whose musical humor is well known. December 1965

Chorale and Shaker Dance by John Zdechlik (Kjos). This is uncomplicated music with a contemporary originality coupled with elements of traditionalism that make it highly playable and strong in audience appeal. April 1973.

Do Not Go Gentle Into That Good Night by Elliot Del Borgo (Shawnee). It is rare to find music of this length and significance packaged for Grade IV consumption. Other than some difficult arpeggios for bass clarinet and rather high ranges for first trumpet, the only severe challenges to good school bands are duration, changing styles, and unfamiliar (at times) melodic intervals. March 1980

Grade 5
American Overture for Band by Joseph Wilcox Jenkins (Presser). A truly magnificent new overture in a palatable contemporary idiom for the very best symphonic bands. Requires fine skill from every player and superb artistry from the horns. September 1956

Canzona by Peter Mennin (Carl Fischer). Unlike many of his contemporaries, he exploits the instruments for their color and style without extending unreasonably the limits of range and technique. The only phase of the composition that might prove to be a stumbling block to a Grade IV performance is the rhythm, which is always active and stimulating and often complex. September 1958

Incantation and Dance by John Barnes Chance (Boosey & Hawkes). The indication of Grade V should in itself be insufficient to discourage bands from trying this excellent new composition. June 1964

The Solitary Dancer by Warren Benson (MCA). The work is a masterpiece in economy of resources, sensitivity for wind and percussion colors, and subtle development and recession of instrumental and musical frenzy. There are no super demands from the players except for musical style, good listening, and careful precision in ensemble. October 1970

Slava! by Leonard Bernstein, arr. Clare Grundman (Boosey & Hawkes). This overture is filled with vaudevillian razz-ma-tazz complete with glissing trombones, electric guitar, and lighthearted 78 sections. The technical demands are similar to the composer’s Overture to Candide, but the mood is much more slapstick. If you are looking for a number with great audience appeal and you have technically advanced musicians, this would be a terrific choice. April 1979

Beowulf by W. Francis McBeth (Southern). I found the [three] movements appealing and playable. If you are looking for a dramatic compositions with few exposed lines, this may be it. (Begian lists this work as Grade 4.) October 1986

Elegy by Mark Camphouse (T.R.N.) Although long, the work presents a wonderful challenge for soloists, sections, and conductor as it exploits the colors of the modern concert band. If you have the ensemble and soloists, don’t miss this emotional piece. (In the original review, this work was listed as Grade 6.) March 1990    

The post Before They Were Classics appeared first on The Instrumentalist.

    After five years of teaching band in elementary and middle school, I began a new position where I was also responsible for teaching orchestra. This teaching assignment gave me some concerns because my experience with string pedagogy was limited. I wanted to be sure I was able to effectively address the needs of all my student musicians.
    Teaching an ensemble outside of your primary area of expertise can be a challenge. This challenge is amplified when working with younger students, because teachers of these students must shape and develop fundamental musical skills and habits. Teachers who work outside of their primary area of expertise can gain new and valuable musical understandings because they must go through this experience both as a teacher and learner. I learned a great deal teaching orchestra, and several beneficial tips helped me along the way.
    These points of advice could apply to all forms and styles of music teaching. Whether you are a violinist now directing a jazz band for the first time, or a vocalist suddenly tasked with directing a chamber orchestra, these tips can help you transition into less familiar territory with more success.

Observe Exemplary Teachers
    Seek out experienced directors who are experts in the areas in which you will be teaching, and schedule times to observe those directors teaching ensembles that parallel yours. If you are responsible for directing an advanced middle school chamber group, try to find a veteran teacher who leads a similar ensemble. Beyond parallel ensembles, it is important to identify directors who teach in schools similar to your school in terms of instructional time, scheduling, performance expectations, or student body makeup. Finding an exemplar director who leads a program similar to yours will help you to gather useful, relevant information and ideas when observing.
    Among the many benefits to peer observation, watching other excellent teachers will help to build a good teaching vocabulary in your new discipline. While observing one orchestra teacher, I learned several analogies that proved helpful for coaching students to move their bow slowly when appropriate. This director instructed students to “pull their bows like taffy.” When I have used this analogy I found that it effectively communicates an image that helps students to zero in on their slow bow technique.
    Follow-up conferencing with the teacher post-observation is helpful, because the director can explain the reasons for certain choices with regard to classroom organization or instruction. Perhaps the teacher arranged the musicians differently from your approach. Learning the rationale behind another director’s methods can help to inform and enhance your practice.
    Finally, it may be helpful to seek out other music educators who have taught outside their area of expertise. Teachers with this experience may be able to offer perspective on how to convey a particular tactic that works for them, or they may offer some insight on how your new world is parallel to the ensemble setting that is more familiar to you.

Seek Out and Accept Critiques
    Beyond observing other directors, try to find opportunities to bring in expert directors to observe you and your classroom. Finding directors who have time to do this can prove challenging, as most directors have busy class schedules. However, other teachers may be willing to make time to observe if visiting your class can be treated as professional development leave. Another alternative is to call on retired directors, who may have more flexible schedules that will allow them time to visit your rehearsal. A retired director can draw upon years of experience, which can lead to detailed and thoughtful feedback about your instructional approach.
    If schedules allow, try to invite more than one experienced director to observe your classroom. This should provide multiple perspectives on the strengths and challenges you face in your new instructional setting.
    It is also important to be receptive to criticism and suggestion. Because teaching requires a large degree of personal investment, it can be difficult to accept advice or criticism without being affected personally. Ultimately, you should try to view any critique or constructive criticism with the mindset that the other teacher is simply hoping to improve your students’ overall experience.

Take Lessons
    Consider taking private lessons on one or more of the instruments you are now responsible for teaching. Many studios offer instruction to students of all ages, and some may even have instructors who specialize in teaching adults. Private instruction will deepen your understanding of the nuances associated with each instrument, while also cultivating a sense of empathy for your young students, who are similarly exploring new territory.
    If you live near a college with a music education program, it may be possible to enroll in or audit an instrument-specific techniques class. A class like this may give you a refresher that enhances your ability to address the needs of your new ensemble.
Also worth noting, some schools may be willing to provide teachers financial support for private lessons or related coursework, as they are a means of professional development. If you plan to take private lessons or enroll in coursework specific to a certain instrument, be sure to check with your school administrator regarding potential funding.

Model with Integrity
    Modeling is a useful pedagogical approach, especially with young instrumentalists. However, it is critical that when you model, you are setting an exemplary standard for students. Providing students with inadequate examples will only create problems. To set an exemplary standard for modeling, you may want to consider asking a more experienced student to demonstrate certain skills. For example, when a piece in our orchestra’s repertoire called for tremolo, we had our first chair violinist model the technique, and she effectively demonstrated this for the other students, while offering useful tips she had learned from her private teacher. High-quality online videos may also be useful in helping to communicate or demonstrate a technique that you may not feel secure in showing students yourself. If you want your trumpet section to achieve a warmer tone quality but struggle to achieve the sound to which you aspire, consider other avenues for effectively modeling that tone quality.

Ask for Help
    It is impossible to be an expert at everything, so be forgiving of yourself if you do not always have the answer. Explore options for bringing in a guest artist or co-teacher who can help you with targeted instruction in areas with which you are less familiar. I did this during my first year teaching orchestra to teach the concept of shifting, which I had never taught before. I brought in a guest teacher to lead several lessons on shifting, while I observed her approach and the materials she used. The students benefited greatly from her expertise, as she was able to communicate essential components of technique more effectively than I might have done as a first-timer.
    Similarly, bringing in co-teachers or volunteers to help with small group instruction or sectionals can be invaluable. Many times local private teachers will be happy to come in and assist with a small group sectional, because they see it as a good opportunity to promote their studio. These individuals can provide your students with detailed, instrument-specific insights and advice, while also serving as a model on these instruments. While this type of assistance is useful, it is also important to have a good sense of your guest teachers’ style and approach to music teaching and learning before inviting them into your classroom. Be sure to do adequate research on each guest teacher’s style and reputation, and check references.

Seek Advice on Repertoire
    Directing a different ensemble also means learning new repertoire. Certain guiding principles may apply across ensembles of various types, but instrument-specific considerations add another dimension to repertoire selection. Experienced directors in a given discipline can offer important insights regarding what works – and what does not – for a developing musician in that area. As experienced directors know, you should not rely solely upon what music publishers deem appropriate for a given age group or level.
    Consider browsing other directors’ repertoire libraries, and ask questions about the various pieces they have chosen. For example, you might ask a director: “With which group did you perform this piece, why did you choose this piece, and at what point in the year did you perform it?” Some area directors may also post their libraries or recent concert programs online, which can serve as a useful resource as you learn about repertoire in your new discipline. Furthermore, you may choose to survey older students in your program about the pieces they have played in order to figure out which pieces they enjoyed or found appropriately challenging.

Conclusion
    Directing an ensemble outside your comfort zone can be a challenging but enriching experience. Directors who are given the opportunity to lead a different ensemble should approach their new and unique responsibilities with rigor and determination, seeking ways to enhance their own content-specific understandings and skill sets within the new classroom setting. Achieving success in less familiar music teaching scenarios is possible if you are able to refine your understanding of new musical disciplines, seek out the advice of experts, and maintain a teacher-as-learner mindset.

The post Branching Out, Teaching Outside Your Primary Area of Expertise appeared first on The Instrumentalist.

    Imagine you are a new teacher one week before school, preparing the concert band rehearsal space, putting seats in a concert arc, and setting out percussion. Slowly the students trickle into the rehearsal room with quizzical looks on their faces. Finally, one of the students mentions that the band period is used for rehearsing marching band during the first quarter. This information is a complete surprise because it is entirely different than the way your high school rehearsed marching band and the complete opposite of what you were taught in college.
    This was my experience when I started the school year at my first job in Conneaut, Ohio. I thought maybe Conneaut High School’s marching band schedule was an outlier, but then I found out that this was common not only in Ohio, but across the country. This made me question if had I been taught incorrectly. My high school band experience was part of a strong, suburban music program, and I wondered if my way would work in a small, rural school. I wrestled and pondered with these questions before concluding that if providing a strong music education for my students was the first priority, then marching band should be treated as a voluntary, extra-curricular activity and therefore should be rehearsed after school. Although this was a difficult decision, I followed my instincts and moved marching band out of the school day in my first year. Over my six-year career at this school, this change paid huge dividends for the program and the music education of the students.
    There were 23 students enrolled in the instrumental music program when I started. Five years later there were approximately 70 students. The high school concert band performed grade 2 music with difficulty when I arrived, but three years later the students were able to perform grade 4 music with dexterity. I attribute this development to intense focus on concert band, which devoted the time needed to develop tone, intonation, balance, music theory, and sightreading at the beginning of the school year. This was possible only because of the fundamental change we had made in the program by practicing marching band after school and using the band period for concert band rehearsal.
    Programs big and small have voluntary, after-school marching bands that are quite successful. This is true of both competitive and non-competitive marching styles. There are several concerns that may arise when marching band is turned into an after-school activity, but these are usually easy to overcome.

Rehearsal Space
    Every band director will need to find the schedule that works best for the band, and flexibility is the key. At our school we tried many rehearsal times. One year we held rehearsals immediately after school, but there was a lack of outdoor space so we were relegated to a small field that was severely slanted. (Imagine having to high-step uphill for half of a rehearsal.) The following year we were assigned to a soccer field that slowly turned into a mud pit. Finally, we settled on a time that afforded us the football practice field, which was ultimately the best rehearsal space.
    None of these scheduling challenges detracted from the quality of the group. Overcoming the adversity was an experience that made us stronger and more cohesive.

Student Schedules
    Approximately half of the students in the marching band were involved in fall sports, and this unavoidably led to conflicts. The coaches, music staff, and administration all worked together to create a plan to handle scheduling conflicts in individual student schedules. Together, we found that the best solution was to have the students provide directors and coaches with copies of their schedules for each activity. This made it the student’s responsibility to alert each group leader to the conflicts.
    This system not only worked well, but it also provided students the opportunity to learn the importance of effectively handling their own schedules. When a conflict did appear between two activities, the time-conflict resolution chart was applied to resolve the situation. This usually involved a compromise, but it was for the benefit of the students.

Student Interest
    Another concern often expressed is that students will not participate in marching band if it is held after school. The reality is that when directors provide a worthwhile experience, students will participate. Many different traits are needed to form a successful, student-centered marching program. The aspects that keep students interested and involved include social activities, travel, student leadership, teambuilding, and school spirit. Although these elements are not exclusive to marching band, often they are already built into the program, and if they are not, they can easily be added.
    I developed an intensive leadership-training program for my students. The training started in March with an overview of leadership to prepare the students for interviews and auditions in May. Once leaders were selected, they were expected to attend a week-long leadership workshop and weekly meetings during the season. The leaders learned a great deal from the experience, and the entire band program benefited.
    Teambuilding was also a major part of the program at our school. We spent one hour a day at band camp on teambuilding to build our band community; this time was indispensable to group performance and cohesion. In my experience, performing quality marching music also motivated the students to participate. Travel was another key part of the activity because we went to every away game and took trips biannually; these extra-curricular activities unified the group. The small activities described above led to higher interest and involvement, even with rehearsals moved an after-school time, and most of these aspects of the program cost little or no money to implement.

The Best Music
    At our school we played a mix of off-the-shelf arrangements and music specifically arranged for the group. Usually the music that had been arranged for the marching band was the most popular because there was director oversight in making sure the arrangement was done well and fit the group. Some stock arrangements are great, but they are written with a one-size-fits-all mindset, which does not always work well.

Concert Band Participation
    Russel Mikkelson wrote in a March 2006 article in The Instrumentalist, “Some directors believe that concert band rehearsals should occur only when the weather is too inclement to march. This view has become so prevalent, a band director once ended a letter to adjudicators of a competitive marching event by writing, ‘See you in the off-season.’” This is the kind of viewpoint that leads to a lack of student interest in concert band. Instead, directors should view concert band as the premier musical group; those with this perspective tend to have highly successful concert bands. Conversely, if the band director believes concert band is an off-season pursuit, that viewpoint will flow through the entire program, and the student’s beliefs will follow.
    Directors who perceive low interest in the concert band should take a hard look at repertoire selection. A problem arises when the marching and concert music provide the same experience. The main qualification for a piece of music should not be whether the students will like it, or whether it will make them sound good. That kind of music rarely helps develop musical abilities; instead, it only creates the illusion of proficiency though mediocrity. Students recognize high-quality music, and they will enjoy this music. However, if the repertoire sounds the same all year, then students will become tired of the sound of band music because they are not experiencing the full range of available colors and styles the band can offer.
    Another advantage for schools with year-long curricular concert band is the opportunity to present more concerts than those with marching band during the school day. After we moved marching band rehearsal outside of the school day, students at our school were able to perform 33% more concert literature each year. These students experienced a more complete and diverse musical diet than the students who participated in the program in years before, and this provided more opportunity to focus on great works of literature.

Change in Quality
    Directors worry about the effect on marching performance if marching band rehearsals are moved out of the school day. A study conducted in 2000 found that marching bands that rehearsed after school earned higher ratings at contests than those that rehearsed during the day. It is a fair estimate that during marching season, roughly 30 to 50% of marching band rehearsal time is spent discussing movement and not music.
    Concert band rehearsals, in contrast, are geared toward teaching fundamental playing concepts that we want young musicians to strive for each day. Directors should always aim to teach fundamental musical concepts during marching band, but the multitasking involved in achieving movement while playing may inhibit students from applying these skills. Further, the development of musical skills that require higher-level thinking is often difficult for students. This is especially true when student abilities are highly taxed by the movement aspect of marching band. By moving to a schedule that allows year-round concert band, directors will have the opportunity to engage students in developing a deeper understanding of basic pedagogical concepts.

Consistency
    During marching season oboists and bassoonists may not play their primary instruments at all, which could mean a break of five or more months without playing. If the rest of the students took that much time off, it would be apparent in their sound. However, some students are forced into this because they do not play a marching band instrument. Double reed players are not alone; horn, baritone, and tuba players often use a different instrument during marching season, and proper playing techniques may suffer. In addition, students who participate only in auxiliary groups will be in a similar situation if they are also members of the concert band. When students switch sections or instruments for the marching season, they usually lose at least nine weeks of time on their primary instrument, which is roughly a quarter of the school year. This adds up to an entire year of playing time missed through four years of high school. There are rewards to students being proficient at several instruments, which can happen if a student learns a second instrument for marching band. However, this should not be done at the expense of an excellent education on a primary instrument.
    When a student plays a primary instrument all year, then instrumentation, tone quality, and intonation problems in concert band will begin to improve. Directors also may see increased interest in instruments like oboe, bassoon, and horn.

No More Ultimatums
    The ultimatum that all students must participate in marching band to be part of concert band serves no educational value, and many band programs experience attrition when this requirement exists. A science teacher could not make participation in a robotics team mandatory; this sort of requirement would not be allowed for any other class, and band should be no exception.
    Moving marching band rehearsals outside of the school day and removing the requirement that students participate in marching can have a positive effect. With these changes made, students who might have quit band between middle school and high school because they didn’t want to march now will be able to stay in the concert program.

Making it Work
    When I first proposed this change at my school, I was told by many administrators, coaches, and other directors that it would not work in the district because the students would be stretched too thin; but it did work. Changing the status quo boosted the entire program. Teachers will encounter different levels of resistance to this change, but as a band director, the primary concern should be what is best for the musical education of the students. Directors who are unsure about making this change should give it a trial period of a year or two. If it does not work, then the switch back will be easy. Another possible solution is to rehearse concert band three days a week and marching during the other two.
    Most directors probably would agree that marching band is an important aspect of their program and the school, but they likely also would attest that concert band is the central musical experience. Music educators also might agree that administrators tend to feel that marching band and pep band are more important than concert band. The psychological effect of moving marching band to after school is that it will place concert band and marching band on a more equal footing. With this change, it is clear that concert band is the class and marching band is the activity.

Implementation
    Any director who aspires to make this change in scheduling should do so, but approaching the change without a clear plan or administrative support can cause problems. The following four steps should help to ensure a smooth transition.

Step One: The Plan
    Scheduling: Decide when and where the marching band will rehearse. You may want to gather the schedules of other after-school activities to find the time with the fewest conflicts.
    Music Selection: Select the music you want to play for marching band and concert band. It is often best to have all the music for the next school year selected before the end of the current year. You can use music as a recruiting tool.
    Resolving Conflicts: Establish how conflicts with other activities will be resolved.
    Rehearsal and Attendance Procedures: Determine if you will need to implement new procedures for starting and running rehearsals. Keep in mind with later rehearsals that, as the season moves on, daylight becomes a factor. Attendance procedures may need to change to make rehearsals more fluid. Often having section leaders report attendance to a student leader or an assistant director will provide the most fluidity.
    Creating a High-Quality Activity: Decide if you will offer anything besides just the activity to increase student interest. As an activity, the social aspect of marching band can be quite important. Taking a trip to a theme park may become part of the way to gain and keep student interest. The activity itself must also be educationally sound, so music and rehearsal style are also important.

Step 2: The Pitch
    Colleagues: Discuss making this change with any marching band staff. Their support will be key to the success of the transition.
    Administrators: Once your colleagues are on board, schedule a meeting with the appropriate administrators. It may help to create a written report with  your step-by-step plan, objectives, and reasons why this is educationally superior for students. Provide administrators with the educational rationales for the change and the reasons why it will help the band program overall.
    Students: If you receive the approval of your administrators, introduce the change to your students. You must be excited and explain to them why moving marching band after school will make their bands better. If you make this change about the students, they will work with you to achieve great success.
    Parents and Community: Once the first three groups are excited about the change, these final groups are fairly easy to bring on board. When talking to parents, explain to them how it will help their children. When talking to the community, explain how it will improve the band program.

Step 3: The Follow Through
    Start to ease into the practice. Send out rehearsal schedules early in the first year of the change. At my school we held a meeting before the end of the school year during which we went through our handbook and the schedule for the following school year. All students in marching band were required to attend with a parent. We offered this meeting on two nights to accommodate schedules. Since it was a required meeting, we also had uniform fittings, and this helped boost attendance.
Let the students know the plan. Do not keep them in the dark when they notice a change. Sometimes students may not feel comfortable talking to you, but advise them to discuss it with their student leader and ask the leader to bring concerns to you. Either approach requires sound relationships built on mutual trust.

Step 4: Re-Evaluation
    Throughout the season evaluate the transition to after-school marching band. Make notes on what succeeds and fails. If something is not working, you may be able to correct it immediately instead of waiting.
    Include students when evaluating the progress of the change. Student leaders are often spectacular at holding honest discussions. If students are included in discussions of this nature, then they will become stakeholders in the success of the transition, and often they will become the biggest advocates of the new scheduling system. At the end of the season, decide what needs to be improved and changed for the following year.
    During your first few years after the change, you should provide a written report for the administrators, students, parents, and community. At our school we often provided examples of how the group had improved when compared to previous performances. This makes the reasoning for moving marching band after school plain and undeniable. Celebrate student successes.

Conclusion
    Many directors have made this change and found that their program improved, and many of the strongest programs in the nation have been using this practice for years. If more schools would adopt this change, the level of musical education would rise and the next generation of young musicians would have a greater love for and understanding of high-quality music as performers and listeners. My students benefited from consistent concert band rehearsals, and my experience as a student and teacher stands as proof that it can be successful in any place.

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