Music Selection
    Great arrangements for drill writing are those that include a variety of changes within the style, tempo, key, and dynamics of the music. Each change in the music is an opportunity for a visual change in the drill. More frequent musical changes yield more variety and creativity within the staging and movement of a show. However, small bands often face instrumentation limitations that can make selecting music difficult. Arrangements that keep the melody exclusively in the upper woodwinds and trumpets might be the easy choice from an instrumentation perspective, but this often leads to the drill developing an element of sameness simply to ensure the band’s available melodic instruments are appropriately staged for best musical effect. Arrangements that include more melodic doublings in the alto and tenor voices, as well as frequent melodic shifts, will make it possible to use a small band’s instrumentation more creatively on the field.
    When selecting music, also consider how the length of the show and the number of pieces performed may affect the band’s presentation. A show built around successive arrangements that are longer than two minutes are often difficult for smaller bands to sustain. The number of climactic moments in these arrangements may not be effective for small ensembles to perform over the course of a six- to nine-minute production. Smaller bands might do better with four or more shorter arrangements that fit the show concept. Multiple short arrangements create more frequent style changes in the music and a faster-paced show. 

Planning
    Once music has been selected, all directors and staff should fill out a flow chart similar to the one shown below to serve as a rough storyboard of how the show might look. Flow charts should also be used as a final round of checking for the director and staff to make sure good arrangements were selected prior to sending the music to the drill writer. There are many variations on what can be included in a flow chart. Below is an example that I use, which is based on the example from The System: Marching Band Methods by Gary Smith. Categories may be added or deleted based on individual preference. Rough sketching of potential formations is encouraged during this process as well.
    Once a flow chart has been created, look for variety in counts, movement type, instrumentation, and staging/focal point. If there is substantial similarity in any of these categories, see if a section can be revised. For instance, be wary of 32-count transitions that use a single type of movement. Transitions of this length develop slowly and rarely match the intensity of the music. These are also difficult for young bands to march precisely. Consider breaking 32-count transitions into two separate maneuvers or creating a combination of movements within the same set. Further, multiple 16-count maneuvers should be analyzed in relationship to the music to see if any phrases can be adjusted visually in count sequences such as 12+4 or 8+8. If you find too much similarity in the movement column, consider substituting some movement choices to include more variety from the following options as the music permits: follow-the-leader, reshaping, floating, expanding/contracting, rotating, random, sequential, body choreography, or combinations of these movements. Body choreography such as horn flashes, backfield faces, and poses should be accounted for during the flow chart process even if this movement evolves overtime. When these are added later they can sometimes look contrived. If the instrumentation is too similar perhaps you can insert a drum break, make cuts in the score, or insert four counts of silence to delay certain melodic impact points and yield something new visually. If there is too much similarity in the staging column consider how the color guard is being used and if opportunities could be created to frame a section or soloist.
    If you are hiring an outside drill writer, be sure a consultation meeting is arranged prior to signing a contract. The purpose of this meeting is for the writer to learn about your program and vision for the season. It is important to share the ensemble’s strengths, give a rundown of drills and shows that have worked well in the past, and discuss who your audiences will be, whether this is football parents or competition judges. It is also important to share the logistical needs of the show, including props, soloists, cuts to the score, drumline size, colorguard roster, and equipment changes. ask about the writer’s policy regarding rewrites during the season, as we all know there are variables that may affect personnel, especially in a smaller band, over the course of a season. They might not be able to accommodate the request, but it definitely is okay to ask, as we all know the variables that occur during a season.

Writing Drill
    Directors of smaller ensembles who are designing their shows should consider the following charting suggestions when they are ready to begin writing.

Shrink the Field
    Only use as much of the field as fits the ensemble well. Generally speaking, a horizontal space of 40 yards (between the two 30 yard lines) with a depth that extends to approximately the center of the football field (sixteen to twenty 22.5-inch steps behind the front hash) should be appropriate for an ensemble of fewer than 60 members. Formations should fill as much of this space as possible, but resist temptation to send students past these limitations, especially wind players. Although props are not essential, they can be effective in shrinking the field while adding greater effect to your show, and they are also useful for hiding equipment changes.

Linear Formations
    When charting linear formations, use two- or four-step intervals. These provide greater field coverage while also strengthening the eight-to-five grid. For a diagonal line, use a 31.8-inch interval, which keeps the endpoints lined up with the eight-to-five grid and which, in perspective, follows a two-step interval when joining another linear formation. At the bottom of the page are several examples of linear formations charted using the grid while employing these guidelines.

Block and Wedge Formations
    Small bands can often benefit from well-staged block or wedge formations, which are simply stacked linear formations. The same guidelines of two- and four-step intervals still apply. When charting blocks and wedge formations with a small ensemble, use windows to avoid masking members of the band. The following images are examples of block formations when viewed in various perspectives. For each example, red formations demonstrate using windows while the blue formations are examples of blocks not using windows. In perspective, the blue formation masks or screens members in the vertical lines while the red formation using windows enables the audience to see more members of the ensemble without diminishing the visual effect of a block shape.

    It is okay to experiment within the guidelines of two- and four-step intervals when charting block and wedge shapes for small bands. Used effectively, a variety of these formations in different scales and shapes will prevent drills from developing a sense of sameness. At the top of the next page are examples of several block and wedge shapes using various interval relationships of two and four steps.

Sample Block and Wedge Formations

Curvilinear Formations
    When charting curvilinear formations for smaller bands, use a three-step interval, which provides 50% more field coverage than a two-step interval, and makes it simpler to fill the space of a smaller field with a smaller ensemble. Below is an example of two curvilinear formations. The red formation represents a three-step interval while the blue formation represents a two-step interval.

Geometric Shapes
    Geometric shapes should be neither subtle nor small, because subtle angles and small formations lack clarity from the audience’s perspective. Four-sided shapes, such as squares and rectangles, are ideal for smaller ensembles so long as they are charted with enough depth. Ten yards of depth, or a distance of sixteen 22.5-inch steps, on each vertical side should provide enough vertical distance for the audience to recognize the shape. Small ensembles can use perspective and masking to their advantage with four-sided shapes. Below is a rectangle using 26 performers. Each horizontal line requires nine individuals in a two-step interval, and each vertical line has been charted using only four performers in a four-step interval. Knowing that each vertical line will mask performers, designers can chart vertical formations in four-step intervals in relationship to horizontal formations of two-step intervals without impacting the form. By making these adjustments, this rectangle can be charted with ten fewer performers than the same rectangle using a two-step interval throughout. This technique helps incorporate personnel efficiently. 

Difficulties Using Other Geometric Shapes
    Triangles and shapes with five sides or more are difficult for small ensembles to perform. Shapes with more than four sides require subtle angles and more personnel, in addition to a greater depth of field to be performed effectively. On occasion, the music and visual variables will align where these types of geometric shapes are effective, but they are usually rare. Below is an example of a triangle using 24 performers in 2-step intervals.
    When viewing the chart, intervals appear clear and the triangle shape is easily understood. In perspective though, the form is lacking the clarity of the image on the chart. More depth would be required to make a more effective formation. Elongating the shape by four steps would require at least one additional performer even when reassigning the vertical formation to four-step intervals. For small bands this may not be a possibility because of instrumentation limitations as well as staging considerations prior to and after the formation. If you are committed to a triangle formation with a small ensemble, consider a wedge instead if the transitions and staging of the ensemble permit.
    In general, four-sided shapes are ideal for smaller ensembles. Squares, rectangles, and diamonds are great but explore more asymmetric and slanted forms such as trapezoids and parallelograms to create more variety when writing these shapes.
    Small ensembles can form circles, but circles are among the most difficult formation for bands. Keep
the intervals to no more than two steps and make sure there is enough depth to make the formation readable. Always check perspective with your geometric shapes. If you are unhappy with their clarity, determine whether you can revise the shape without adversely affecting staging or the transitions around the formation. Re­forming into a wedge or block shape is often a good solution, but small bands may find elongating a shape less practical because of their limitations of instrumentation and personnel.

Combining Formations To Create a Drill Set
    When charting multiple elements in a single set, be sure to preserve the same interval within each drill element. Use curvilinear formations in three-step intervals, and use windows and occasional four-step intervals in linear formations. Keeping the same interval within an element will make the formation more readable and will also enhance field coverage for smaller ensembles. At the bottom of the page is an example of multiple design elements being incorporated in an ensemble drill of 42 field performers. 

Masking and Screening
    Many variables within our ensemble can mask performers and drill segments. For small bands, masking can make the group appear even smaller and less readable. Ensure that the following variables are accounted for when developing the drill:
    •  Height of the drum majors on the podium in relationship to the field in front of them.
    •  Proximity of drill elements on the field to each other in perspective.
    •  Height of individual marchers in relationship to others.
    •  Color guard flags obscuring formations.
    •  Front ensemble staging in relationship to the sideline.
    •  Sousaphone bells and marching bass drums.
    •  Height and width of props.
    •  Color of uniforms in relationship to field and yard lines. White uniforms often blend in with yard lines.

Closing Thoughts
    Writing drill for your ensemble can be a fun and rewarding process as you see your design come to life over the course of a season. There will be moments of frustration at times, but there is always a solution. Here are some final tips:

    •  Chart your opening set no closer than 16 steps from the front sideline. 
    •  Be cautious of using cluster pods or fragments in an opening set of a show, as these make a small band appear even smaller.
    •  In real time, the opening set is often the longest held formation of a show; use a formation that covers the field but does not further invite attention to the smaller size of the band.
    •  Ensure the brass and drumline remain in relatively close proximity throughout the drill.
    •  Fill the space of the smaller field.
    •  Asymmetric formations and curvilinear formations have a lower degree of error. Symmetrical forms and geometric shapes have a higher degree of error, but have phenomenal impacts when accurate. Use the latter judiciously.
    •  Keep transitions simple, especially when you are featuring another section. Transitions can take attention away from the focal point of the show.
    •  Make sure focal points in the formations match those of the music. 
    •  Always keep the music and scores available when designing and teaching. The visual production should enhance the musical arrangements.

    Do not let the computer screen stifle creativity or tempt you to write something too advanced for your ensemble. Seek out drum corps performances in your area and keep your eyes trained on single drill elements within these shows for ideas. Happy drill writing.

The post Drill for Small Bands appeared first on The Instrumentalist.

    Keep your baton, and your rehearsals, moving. Directors talk too much, and the more we talk, the less students listen. Giving just one instruction and immediately restarting the ensemble keeps students listening and playing. Better yet, sing what you want them to play, then immediately restart. Students listen more when the director says less.
    Start the ensemble with the baton. At every opportunity, avoid counting off. The ensemble will learn, very quickly, to follow the director’s physical cues, and the director will become more physically communicative. When counting off is unavoidable, use as few counts as possible, and do not include other information or reminders in the count off.
    Give instructions only once. This includes giving the next starting measure. When instructions are repeated, students learn they do not need to listen the first time.
    Start with an ensemble breath. Patiently insist on it. Avoid substituting a director breath. When the director breathes audibly on the preparatory beat, most often the ensemble does not.
    Give instructions only when the ensemble is silent and ready to listen. Begin playing only when the ensemble is in playing position and ready to go. Students want to play, and when they learn that their behavior is the key to moving the rehearsal forward, they will get on track to go. This can be learned in a positive but persistent manner. “I’ll wait” almost always produces silence. Avoid talking over the students’ chatter, and do not start without everyone ready.
    Baton up means ready to start. Avoid such filler as “Shh,” “Set,” “Here we go,” or “Ready.” Avoid giving more instruction after the baton comes up. Students should learn that when the baton comes up, music immediately follows.
    Use positive language. Focus on the desired musical effect or technique. Avoid spending valuable time discussing what is wrong. Keep everyone on the same positive team.
    “Let’s do that again.” Repetition is a valuable teaching tool. It is about the learning more than the teaching. Sometimes students just need another try, and sometimes, when they get it right, they need another run at doing it correctly to make it secure.
    Include scales, technique, a chorale, sightreading, and sightsinging in every rehearsal. Find materials for these and make them a regular, fun, and meaningful part of every rehearsal.
    Start on time and end on time. Do so out of respect for the rehearsal and out of respect for the other things students need to get done in a day. End each rehearsal with a one sentence compliment about achievement. 

    Record a video of yourself on the podium for one rehearsal and then give yourself a grade on these ten points. Directors are rarely fully aware of all of the things they say and do until they can watch themselves.
    There is plenty of work to do both on and off the podium, and while these ten habits are important, there is one more that surpasses them: Be yourself and have fun.

The post Ten Great Podium Habits appeared first on The Instrumentalist.

Have I attained my goals?
    Did I enjoy the journey?
    What things went great that I want to continue?
    What things went wrong that need to be corrected?
    Did I try anything new? Should I keep doing it?
    Was I cooperative and helpful with colleagues and administrators?
    Is there something that I procrastinated on that I must no longer put off?
    Was I persistent enough in adverse circumstances?
    Did fear hinder my growth and success?
    Was there something frustrating or stressful that I can head off in the next school year before it becomes a problem again?
    Did I show open-mindedness? Did I truly think on matters brought to my attention and consider suggestions that were made?
    Did I seek out other opinions?
    Are there aspects of my personality that are hindering the success of the band program? Am I egotistical?
    Was my decision making sound and prompt?
    Did I show proper respect to everyone I came into contact with?
    If I had been a member of my band, would I have been inspired? Bored? Loved?
    Was I unfair to anyone?
    What word would best describe my attitude this year?
    How was my work/life balance? Did I give the attention to my family that they deserved?
    Did I challenge my students?
    Is there anyone I did not thank personally for something they did for the band?
    How did I handle my most problematic students?
    How can I be better organized next year?
    What one thing did I do to grow professionally?
    What is something I can do this summer to come back a better band director  next year?

    There is an old saying that you can teach for 30 years or teach the same year 30 times. Taking the time to reflect, keeping the great things going, and improving weaknesses will help you avoid the latter.    

The post Final Bell appeared first on The Instrumentalist.

Release the Kraken
By John Willmarth (Tapspace, grade 3)
For four players on a single five-piece drumset
    This is a great work for introducing young students to percussion ensemble, as well as for programs that have limited instrumentation. Each player is assigned various pieces of a single drumset, and the piece covers a wide range of possibilities through this interesting idea. Not only do the interlocking rhythms and grooves create some engaging drumset-like patterns, but the overall musicality and dynamic contrasts produce something much more than generic-sounding drumset grooves. The grooves and fast rhythms passed around the ensemble are sure to make this quite enjoyable for your performers.

Stick Insect
By Jane Boxall (Honeyrock Publications, grade 3)
For four players playing drumsticks
   This is a short, somewhat simple, and entertaining work. Sitting on the floor with drumsticks, four players play corresponding rhythms, creating some engaging grooves, and interact with the players beside them by playing on their sticks as well. This choreography is sure to be exciting for performers and audience alike, and the techniques employed are great pedagogical tools as young students are introduced to percussion ensemble playing. 

Rung Again
By Chris Cockarell (Row-Loff, grade 3)
For four players with four ladders
    This novelty work has each player using drumsticks to create interesting and interlocking grooves by striking, buzzing, and scraping various surfaces of the ladders. It is amazing that such a musical realization can come from simple home hardware. The work provides interesting and humorous choreography for your audience to enjoy.

Heads Up
By Mark Ford (Innovative Percussion, grade 3)
For five players on various sized drum heads and three drums
    In this work, each player carries a drum head and plays it in a variety of ways including on the head and rim with a drumstick, with their hand, and by striking the head on the ground. Three frame drums are later added into the setup as the intensity of the work increases. The result is an entertaining combination of hocket (almost drum line style) grooves, visually engaging choreography, and exciting rhythmic interplay that makes this more than just a novelty work. The accessibility of the instrumentation also makes this work an ideal candidate for programs with a small instrument inventory.

Rothiemurchus
By Brad Meyer (Bachovich Music Publications, grade 3)
For eight players with eight pieces of wood and eight toms
    The simplicity of instrumentation for this work only makes the performance more engaging, as players weave in and out of hocket grooves, commanding rhythmic punctuations, and intriguing metric modulations. The composer calls for each player to have a slate of purple heart wood and one tom tom, which is played in various fashions, such as on the shell or rim. Much of the piece requires the players to pass quick rhythms around the ensemble and will be reminiscent of some taiko drumming ensembles, or even modern drum lines. The work traverses a wide scope of musical possibilities with a seemingly simple setup of drums and pieces of wood.

Fanfare for Tambourines
By John Alfieri (Colla Voce, grade 4)
For six players with six tambourines, two toms, and bass drum
    This work not only provides a great example of the wide range of sounds possible with a tambourine, but also indulges the audience with an entertaining show exploring these possibilities. As the work uses the majority of techniques that students should be familiar with, it could also be a great educational tool in tambourine pedagogy. All players have a tambourine, and three of the players also cover one of the three drums. The work employs interesting rhythmic grooves through various kinds of tambourine rolls and such extended techniques as placing the tambourine on a drum and playing with sticks. This is a fun work to perform and a real crowd-pleaser, not only because of the grooves and techniques required by the performers, but also because of how animated playing the tambourine can be.

Stubernic
By Mark Ford (Innovative Percussion, grade 4)
For three players on a 4.3-octave marimba
    Stubernic has become a staple of the percussion ensemble repertoire, thanks to both its beautiful and alluring melodic content as well as the animated nature of the choreography involved with the work. The piece begins with a fast and lively groove. Sections of the work require the players to spin around behind each other as they move up and down the marimba, creating an exciting show for the audience. The middle of the three players then takes on a soloist’s role as the outer players play on various parts of the marimba frame in accompanimental rhythms. Following the solo, the piece accelerates to a climactic and exhilarating ending that is sure to satisfy performers and audiences alike.

Shake
By Josh Gottry (C. Alan, grade 4)
For five players and five pairs of shakers
    Each player performs with various kinds of shakers, such as maracas, egg shakers, and caixixi. The composer skillfully elevates these instruments far beyond their typical time-keeping roles through various interlocking grooves, rhythmic punctuations, and difficult and lively soloistic passages. Furthermore, this work is an excellent example of a potential pedagogical tool for teaching shaker technique. Gottry employs not only typical eighth- and 16th-note ostinato figures, but also more advanced techniques such as various types of rolls at differing dynamics, broken 16th-note rhythms, and accent patterns of varying difficulty. The instrumentation of the work also makes it ideal for a program that might travel but has concerns about instrument storage space.

Shared Space
By Ivan Trevino (self-published, grade 4)
For seven players with a five-octave marimba, vibraphone, glockenspiel, cajon, and two toms
    Ivan Trevino has established himself as one of the leading composers in the percussion world, and this is a great example of why he has come to such prominence. As the title suggests, multiple players share first the vibraphone (on both sides of the keyboard), and then the marimba, making this work ideal for programs that might not have a large selection of instruments available. The piece follows a kind of post-minimalistic groove as it meanders through the rich, lush harmonies that are characteristic of Trevino’s style. It is a very high energy work, and is sure to be a favorite for your percussion ensemble.

Table Music
By Thierry De Mey (Percussion Music Europe, grade 5)
For three players with three pieces of wood or small tables
    This is a fascinating work that requires the players to perform a multitude of actions such as flick, tap, slide, scrape, drum, as well as some theatrical hand gestures. The resulting work is at times rhythmic interlocking groove, part music theater-esque visual, and ultimately a stimulating and animated show for an audience. The work employs graphic notation in the score -and would be a great introduction for someone unaccustomed to notations of this type. Although this is a work for a small setup, the composer uses these simple pieces of wood to their full potential, creating a wonderful and exciting work for the performers to explore.

Music for Pieces of Wood
By Steve Reich (Universal Edition, grade 5)
For five players on sets of tuned claves
This work is a staple in the percussion ensemble repertoire and is a classic example of Reich’s minimalist style of building rhythmic cells. It is written for each player to play a set of tuned claves, but I have seen performances of the work where the performers stand around one xylophone, which may be more suitable for those who are unable to find five sets of tuned claves. Written at a fast tempo, this may be a challenging work for younger players, but is one that all percussionists should play at some point in their musical careers, not only because of its purely rhythmic nature, but also because of the prominent position the composer holds in our musical history. While the first player keeps a steady ostinato of quarter notes, each successive player builds new rhythmic patterns on top of each previous pattern, creating a very intricate and exciting hocket of rhythmic grooves.

Escape: Sextet for Triangles
By Drew Worden (self-published, grade 5)
For six players on six triangles
    This is a fantastic work that meanders in and out of intricate grooves through all manner of triangle performance. The work is written for various sized triangles and would be a great choice for a program requiring a simple setup, or a possible off-campus performance. Through quick hocket rhythms, precise muffling throughout, and even some interesting choreography for the performers, the piece covers a wide musical range with this simple instrumentation. Although the piece is simple in idea, the difficulty, coupled with the ample musicality of the work make this anything but a novelty.

The post Unconventional Works for Percussion Ensemble appeared first on The Instrumentalist.

How a Mindset Can Change
    The good news is that we can change our mindsets and open up new possibilities. Through her years of field research, Dweck has demonstrated that when teachers and parents change their method of feedback to students, and when students learn about how the brain is malleable and adaptable and are taught about the two different mindsets, students can develop a growth mindset. In a study of fifth grade students who were given a set of puzzles to complete, one group was praised for their intelligence and the other group was praised for their effort. Those who were praised for intelligence shied away from taking on more challenging puzzles and ended up performing at a lower level than those that were praised for effort. Those who were praised for working hard were eager to take on more challenges and consequently performed at a higher level than those who were praised for an innate ability.
    Teachers with a growth mindset focus on process, effort, and strategies rather than innate abilities and talent. They believe that wherever their students are when they arrive is just a starting point rather than a determining factor in how far they can go. Growth mindset teachers live by educator Haim G. Ginott’s famous quote, “Treat a child as though he already is the person he’s capable of becoming.”

Creating a Growth
Mindset Culture

    A music program will have a culture; it will either happen haphazardly or by design. There are specific areas to focus on to make sure the culture develops as you desire.

Communication
    The language that we use with students plays a significant role in nurturing a growth mindset. Focus on using hopeful language such as when rather than if: “I am looking forward to when we can all play the sixteenth note passage at measures 16-19.” Avoid the word can’t in rehearsals; if it is unavoidable, add yet: “We can’t play over the break yet.” The word yet is hopeful and it implies the expectation that the group will develop the skill to achieve the goal. 
    Judith Glaser, author of Con­ver­sational Intel­ligence, teaches that words affect us at a physiological level. Lan­guage that unites people by creating a sense of belonging heightens our ability to perform, achieve, and think, and even elevates the immune system. Use words like we, us, let’s, and together as often as possible to create a sense of camaraderie. People are motivated to work harder when they are in it together. In fact, in a recent study at Stanford University, when the word together was used in a work environment, productivity and effort were elevated. Using language that unites us creates trust and leads to vibrant cooperation. Conversely, avoid using I, you, or me, which can lead to division or even confrontation.

Giving Praise
    Dweck’s research demonstrates that how we praise students can play a significant role in whether they develop a growth or a fixed mindset. When we praise students for being smart or talented or for learning quickly, we inadvertently teach them to avoid taking on new opportunities if these could result in failure or challenge their self-esteem. Students tend to shift to a growth mindset when we focus on the process, progress, effort, and perseverance rather than the outcome or the product. Recognize the improvements and step-by-step achievements on the path to the final performance, and avoid giving generic praise, such as “good job.” Instead, be specific, such as, “excellent improvement in maintaining pitch center through the phrase,” or “great progress in separating the staccato notes.” Challenge students to grow by letting them know what they are doing well and what needs to be improved. Zimbelman makes good use of this concept. “At the end of rehearsal, I will give such comments as ‘The first section is beautiful, but this section needs more work,’ or ‘I appreciate your time and your efforts today. This is where we need to continue to grow.’ ”
    Theodore Roosevelt keenly ob­served, “Com­parison is the thief of joy.” Avoid comparing students or ensembles, especially by using better or the best. Shawn Achor writes in his book Big Potential, “By telling someone they are ‘better’ or ‘the best,’ you are placing an unconscious, implicit limit on your expectation for what they can achieve. If we’re striving only to be better than someone else, doesn’t that set our expectations for ourselves too low? It tells us that as soon as we are just a little bit better than another person, we can stop trying, even if it means stopping short of our potential.” Maintain focus on individual improvement and progress rather than measuring a student’s work against the achievement of fellow classmates.

Giving Feedback
    When giving students feedback, strive to be specific and direct, while offering solutions and strategies rather than just criticism of what is wrong. Paint the vision of what can be. For example, “The entrance was together but our release lacked clarity. Let’s release with an inhale on count 4 so that we enter silence with sensitivity.” Aim to guide students through feedback to create what success researcher Anders Ericsson in his book Peak calls a “mental representation” of how the tone quality or music should sound. Remember to use the word yet: “We haven’t achieved rhythmic clarity at measure 43 yet.” Notes Zimbelman, “Giving feedback is an excellent opportunity to remind students of the power and responsibility they have. Rather than only say something needs improvement, I say that it needs improvement in sectionals, which puts the responsibility squarely on students’ shoulders to get the work done and at the same time lets them know I believe they can accomplish the objective I just set out on their own.”

Using Body Language
    We communicate an abundance of information non-verbally, especially with the eyes, smile, and torso. In fact, in a 1967 study by Albert Mehrabian it was determined that when communicating face to face, non-verbal communication conveys more (55%) about feelings and attitudes than words (7%) and tone of voice (38%) combined. Maintain an open, welcoming posture and eye contact that encourages and supports students, and respond to good progress with a smile.

Sharing Rehearsal Goals
    The beginning and ending of any endeavor greatly affects the mindset, as supported by research presented by Daniel Pink in his new publication, When: The Scientific Secrets of Perfect Timing. Begin rehearsals with clear goals expressed, whether written on the board, projected on a screen, or spoken. Note what was accomplished along the way, and conclude rehearsal by reminding students what was achieved and what will need additional work at home and in the coming rehearsals. Keep the focus on the process and the journey.
    Says Todd Zimbelman, “One daily goal is to focus on building technique through fundamentals. Our top group spends 30 minutes out of a 90-minute class working on technique. Our next two groups spend about 45 minutes of each 90-minute class working on technique. Students are always a reflection of their teacher. Many programs focus on technique, but if you are bored, just going through the motions of a monotonous routine, the students will pick up on that. I wrote my own technique book and like to mix it up through changing the dynamics, changing the tempo, changing the articulations. Technique building is not optional, so we make it musical and we make it passionate.”

Todd Zimbelman

Changing the Brain
    Neuroplasticity is the lifelong ability of the brain to change, adapt, and rewire itself. Although it used to be thought that we were born with a set amount of intelligence or talents, we now know that we accumulate intelligence and talents throughout our entire life. Administrators have long supported the integration of science and psychology into the music classroom, but students also appreciate learning about such subjects, especially as they relate to themselves. In fact, learning through music will have a greater tendency to stick when it is connected to additional knowledge.
    Rehearsals and home practice are opportunities for the brain to develop, make new connections, and rewire itself. Every time someone steps out of a comfort zone to learn new skills and information, new connections are formed in the brain. The reason people might struggle with new challenges is that such connections start out weak. It is only with persistent, deliberate practice that the unfamiliar becomes the familiar. 
    Daniel Coyle in The Talent Code shares new research on how the growth of myelin in the brain signifies the development of skills and habits. When we first try a skill, the brain creates a wrap of myelin around an axon or neuron. Continued practice leads the brain to wrap more myelin around the axon. Myelin acts as a superconductor for information to travel faster in the brain. Someone who has a technical skill, such as a full-range chromatic scale, has merely put in more time to grow more myelin. Because the brain is malleable and changeable, we can develop skills through effort. Aristotle wisely noted, “We are what we repeatedly do. Excellence, then, is not an act, but a habit.” Christine Wolf notes, “We have a poster in the room that says, ‘Hard work beats talent when talent doesn’t work hard.’ I keep the focus on hard work and effort. If a student says something is difficult, we respond, ‘It’s not difficult, it’s just unfamiliar. When it becomes familiar, then it becomes easy.’ ”
    Although repetition is the key to success, this does not apply to mindless repetition. Instead of just telling students to practice at home, teach and demonstrate practicing skills so that students have the knowledge to develop their skills effectively.  To succeed, students need to know what to practice and how to approach it best, along with consistent and specific feedback. Zimbelman states, “I refer to The Brain that Changes Itself by Norman Doidge quite a bit. We talk about being consistent with how you practice and perform and how to raise the percentages – how to raise your odds of getting it right.”
    Walk students through the problem-solving steps to figuring out a rhythmic challenge or a difficult interval. Modeling is one of the most important forms of leadership. This can be applied not only to practice but also to other skills, such as running a sectional or taking a student leader position. Students can also do this for each other. Establish a mentoring or tutoring system for experienced students to guide younger ensemble members. Have students compare learning strategies, because often the missing link in one player’s success is a strategy that another student found. Wolf says, “At first, I ran the sectionals, but now the students know the process and expectations, and I need only check in with them. Students know how to lead warmups, chorales, and tuning, as well as how to fix notes and rhythms. We also have student teacher assistants in the different bands, so an eighth grade student leader, for example, mentors and tutors seventh grade band students.”
    The aim is to view challenges as opportunities for growth. Openly display your curiosity and love of challenges by sharing what you are reading and listening to. Let students know about conferences and clinics you attended and what you learned. Says Zimbelman, “It is important to me build a strong work ethic in my band program. I never feel like I have arrived. I always feel like there is more to learn and more to grow, so I keep working on myself, too.” Acknowledge that everyone is a lifelong learner and might not immediately have the answer to every question, but when you do not know an answer, look it up – or better yet, ask students to research the question and report back the next day.

Christine Wolf

Expectations
    Set high standards and expectations, and do not be afraid to raise the bar as students progress. Zimbelman observes, “The expectation and belief of the teacher has much to do with what students can achieve. Students will do what you expect them to do. I expect them to play like college and semi-professional players. I expect their parts are learned before rehearsal. I expect them to seek out knowledge of their instruments on their own. Our culture is one of drive and a relentless pursuit of excellence.”
    As long as students are equipped with the right strategies, tools and guidance, they will succeed. When remembering the first year at her current position, Wolf says, “There was nowhere to go but up. We were near the bottom of both the district and state in numbers and proficiency. I looked at the remaining students and figured that if they were still here when everyone else bailed, they must really want to learn music. You have to teach the students where they are at. Everything was learned by rote before I arrived, so I had students play grade 1 literature for that first year so that they could work on sounding good. I had discussions with the students about trusting me and my process – trusting that if they did as I asked, they would improve and sound good. When students sound good, they will want to work harder. You have to find ways for the students to learn what it is to sound good and succeed.
    “I came in with strict expectations on what and how we practiced. In addition to turning in detailed practice records, students are assessed in a variety of ways through performance evaluations, written assessments, and SmartMusic. Students also assess their own performance and participation regularly. I’m a mom with four kids. In the balance of home and work, I do not have endless amounts of time to stay at the school. I cannot do it all for them. The students have to be taught how to be self-sufficient, disciplined, and accountable. The job of rehearsal is to learn how your part fits in with everybody else’s part, and that only happens if students come to rehearsal ready to do so. They should also be able to figure out how to finger a note from the fingering chart and should ask a neighbor before asking me. Give students the tools and they will be successful.”

A Safe Environment
    Create an environment where it is safe to take risks, to stumble, and try again. How we respond to our failures and struggles influences how our students will respond to theirs. It will help your students if you share stories of musical or technical struggles that you overcame, as sharing stories of struggle and perseverance opens pathways for connection and trust. One of my greatest challenges in junior high was learning to tap my foot to the beat of the metronome rather than the rhythm of the music. I wrote in the counting and drew down and up arrows on every beat to show what my foot should be doing. I practiced slowly and sang my music while tapping my foot. After untold hours of practice, I was finally able to tap my foot to the beat while playing complex syncopated rhythms, but it was hard work. It did not come naturally. Challenge students to wrestle with their mindset by having them write about something they were unable to do or understand, and what it took to learn what they now know.
    Says Wolf, “Every student can retake every playing assessment. I want to see improvement and to know that they get it at some point. When the clarinets are learning to play over the break for the first time, many of them struggle. I encourage students not to give up, which is especially important once some students can cross the break successfully while others are still working at it. I give students exercises and tools to make it happen, and I promise that if they keep practicing these exercises, they will be able to play over the break too.
    “I take into account that some students will need accommodations. I work with them so that they can be successful on what I ask them to play, and I look at their effort. If they practice consistently and attend all the sectionals, talent is irrelevant. If students give me their best effort, I will not fail them.”

Student Input
    Students who are empowered to make decisions, permitted some autonomy, and given a voice in the learning process will be more engaged and likely to embrace a growth mindset. When students are involved in the creation of goals for the music program, they are more motivated to accomplish them. In addition to asking students for input and feedback on the ensemble’s goals, ask them to create a plan with benchmarks and strategies to achieve the goals. Share the responsibility of evaluating rehearsals and performances with students; this gets them engaged in their development as musicians. Create a sense of autonomy for students by giving them time in rehearsal to discuss in sections what they can improve. Every student in the section can offer input. Give students the opportunity to step out, listen, and offer support and advice to their peers. Wolf notes, “During rehearsal, I encourage students to share their thoughts. It is quite common for a student to raise a hand and suggest that we work to improve the balance, phrasing, or intonation of a section of the music. I also ask students to share ideas on imagery, stories in the music, and the emotion that a crescendo or section of the piece conveys. At the end of a rehearsal of a piece, I will often ask students to write in at least three things that they know they need to fix. This teaches them to take responsibility and to be effective listeners. Teaching students how to assess themselves makes their individual practice more effective.”
    Rather than obsessing over winning championships or festivals, growth mindset goals should focus on improving as performers and people. Zimbelman balances this well. “We do not focus on competition. We do not go out to win things. We never talk about talent. We always try to make the music sound great and be true to the composers’ intentions to the point that they would be thrilled with how we perform their music if they walked into the room. The standard is always a high level of performance: together and in tune, clear and balanced.
    “Within the band, however, we embrace competition. We have chair challenges regularly but they are done in a healthy way. The two students perform in the room next door with the door open so that we cannot see who is playing. The music is projected onto the screen, and the students vote on the challenge. The students always applaud for the effort. If you get beat, you congratulate the other person. There are no tears. There is no drama. If you want that spot back, then re-challenge the next week.”

Conclusion
    Music educators like Todd Zimbelman and Christine Wolf exemplify what is possible when we create growth mindset music programs. A growth-minded learner recognizes that learning is a process that takes time, effort, discovery and implementation of appropriate practice strategies, and specific feedback. When we recognize the unlimited potential of our students, the journey of teaching music becomes even more meaningful and exciting. We discover that rather than natural talent leading to success, it is through effort, time, the application of effective learning strategies, and practice that our students grow and develop. In the end, it is all about the journey and the joy of making music.     

***

References 
Believe in Students by Matthew Arau (YouTube).
Big Potential by Shawn Achor (Currency) .
Bounce: Mozart, Federer, Picasso, Beckham, and the Science of Success by Matthew Syed (Harper
Collins).
Broadcasting Happiness by Michelle Gielan (BenBella Books).
Conversational Intelligence: How Great Leaders Build Trust and Get Extraordinary Results by Judith E. Glaser (Bibliomotion).
The Culture Code by Daniel Coyle (Bantam Books).
Mindset: The New Psychology of Success by Carol S. Dweck (Random House).
Peak: Secrets from the New Science of Expertise by Anders Ericsson and Robert Pool (Houghton Mifflin Harcourt).
The Power of Yet (TED Talk by Carol Dweck).
The Talent Code by Daniel Coyle (Bantam Dell).
Talent is Overrated by Geoff Colvin (Penguin).
Unlocking Potential: The Impact of Mindset on Success by Matthew Arau ().
When: The Scientific Secrets of Perfect Timing by Daniel H. Pink (Riverhead Books).

The post Developing the Right Mindset appeared first on The Instrumentalist.

How can teachers grow in their craft?
    In 2014, my second year at the School of the Arts, I wanted to give students a clearer idea of my expectations. I took them to the National Orchestra Festival held at the National Conference of the American String Teachers Association (ASTA). We worked hard on the music but only earned a II rating. It stung, but it was also good for everybody, because it was time for us to aim much higher than we were. Just two years later, we competed again in the same National Orchestra Festival and won the top award of Grand Champion, which is one of the highest honors an orchestra director in the United States can receive.
    For someone to learn anything, it first takes an acceptance that there is room to grow. We see this with teens quite a bit. If a kid knows everything already, there is no room to grow. The first step of self-reflection is to open up to the rather scary notion that we do not know everything that we should and we need to make room for new ideas. I have met teachers who are afraid to go to concert festivals. That is an example of being closed off to self-reflection. It takes self-reflection and honesty to say, “I will attend this concert festival and listen to what the judges have to say,” or, “I will listen to these groups, and I may learn that by comparison my group doesn’t sound very good.” 
    The next step is figuring out what can be done better and making changes to my teaching and learning so student outcomes are better, which makes me feel better. There are many good feelings that accompany seeing students improve. It is important to celebrate successes, but without this notion of self-reflection and opening ourselves up to the idea that we can and should improve, we stagnate.
    There is a perception that teachers are not allowed to fail because we are expected to be the experts. When you make mistakes, experience adversity, or get a poor review, it is painful. Instead of running away, use it as a learning opportunity. Dig deep, analyze what you are doing, and figure out the next steps to improve your program. We should appreciate pain and the experience that comes with it, because channeled properly, it will lead to later successes. 

What would you like to see change about how music is taught?
    The old-school approach to teaching is to hand out a piece of music and deal with skills as they come up in the music. I think many teachers teach this way because it is how we were taught. This approach works with that top 10% of students who take private lessons, but it is much less effective for the other 90%, and at the end of the day, “go get a private teacher” is not a teaching strategy. I am in favor of private lessons, but it is not an excuse for incomplete teaching. If we do not teach these students the skills they need to play upper-level music, they will not learn them.
    The biggest benefit of teaching such skills as shifting, finger patterns, coordinating the left and right hands at high velocities, playing off the string, and thumb position is that students learn these skills much faster if we give them a proper sequence for learning and reviewing them, instead of waiting until they come up in the music. Many of these skills take a year or two to develop. Spiccato, the skill of bouncing the bow on the string, is great example. If we pass out a piece that requires spiccato, and students haven’t learned it yet, they will not master it in six to ten weeks.
    In our current school culture, students in every academic class are taught each new skill as fast as the teacher can teach them. Then, on the day before the test, they review the skills and knowledge they learned. They take the test and then move on to a whole new set of skills. This is the culture that even administrators expect to see, which is why administrators scratch their heads sometimes when they do not see band and orchestra teachers start class by telling students what new skill they are going to learn that day.
    In the arts, we introduce a skill once and then review it for the rest of our lives. In music, review may be more essential than how we introduce a skill, and I think it is important for teachers to remember that reviewing skills and how we review those skills will have, in the long term, a greater effect than how we introduce them.
    We need to do a better job of educating administrators that the arts are different. In arts classes, students learn to practice and review things that are taught. This art of practice is something that is only taught in arts classes and on the athletic field. It is becoming a lost skill in public education as our culture becomes more about teaching new facts, doing well on a test, and then teaching more new facts. Music teachers should remember that review and practice remain important.
    There is a second benefit to the orderly teaching of skills in class. If we are not spending rehearsals teaching the skills necessary to play a specific piece, we can focus on the finer details of the music. Students get an opportunity to make music out of a piece rather than merely trying to survive the performance.

What are some of your favorite skill-building exercises?
    One is a slow canon of eight half notes that I use as a warmup almost every day. I call it our tuning canon. The whole class plays in unison first, and we work that until it is perfectly in tune.

    After a unison runthrough, the cellos and basses begin again, followed by the violas, then second violins, then first violins. Each section comes in one measure after the previous one. The expectation here is that students play perfectly in tune first with their section and then with the chord as the canon evolves.
    We practice it in all twelve major and minor keys, and once we have learned how it sounds to be in tune in a key, then we can start playing pieces in these keys more in tune. An E in E major will be in a different place than an E in C major. How the notes feel changes depending on the key, and that is one of the most useful aspects of the tuning canon. Students do not know they are out of tune unless they learn how it sounds to be in tune. If you can get these eight notes in tune, it opens students’ ears to how being in tune really sounds. Once they experience that, they can transfer that knowledge to everything else they play. They can hold themselves to a higher level of intonation by having a higher expectation of what in tune is. They need to experience it first, and they experience it in my classroom through the tuning canon. 
    I suspect some teachers think I am kidding when I tell them about this exercise, but students can and will play more in tune than a well-centered piano. They just have to be expected to listen and adjust the notes. Once they learn what to listen for, they will learn to be in tune. Students will play only out of tune as long as you let them, and they will not listen to their chords until you make them.

What other tuning tips do you have for string players?
    Dominant arpeggios are incredibly important on a string instrument. The dominant arpeggio contains a tritone, which defines the key, and that tritone is what messes up students because it is where finger patterns change. Ninety percent of pitch mistakes happen on the fourth and seventh degrees of major scales. No matter what piece students are playing, that is where they usually play out-of-tune notes. If we spend more time on the fourth and seventh scale degrees, students will play those notes better in tune when they get to their concert music.
    An often overlooked expectation is that students should be able to play fast. Method books may introduce a skill and then have students play music that uses that skill, but how often do directors have their students increase the tempo? I like to have students play a velocity exercise that uses a number of different finger patterns. Students’ fingers learn how to keep their finger pattern no matter how fast they’re going. This is important because fast notes tend to disintegrate finger patterns, which leads to out-of-tune playing. Working finger patterns helps us play in tune even when playing fast.

How do you assign and keep track of bowings?
    Few students really get bowings, because bowings are learned through experience. At the professional level, people spend a great deal of time in the sections of an orchestra before they rise to the principal position, and this is where the necessary experience is gained. I sometimes ask the local symphony for its bowings, which saves me a lot of time. My students take lessons with members of the local symphony. So, if I need help with bowings, I can just ask my students who are taking lessons how they would bow something.
    I recently started keeping a set of what we call principal parts. These are originals of each string part on which all bowings will be preserved, and they stay in the principal player’s folders in the orchestra room. As we rehearse a new piece, we enter all of the bowings these copies, and then they are set aside. The principal players read these parts from day to day and use them in the concerts, but after we are done with a piece, the parts are stored in a special folder until the next time. Principal players also have practice copies that we allow to go home. This way the bowings are not lost every time we put a piece away.
    This is especially useful to me because my symphony orchestra has string players that meet at two different times. Before designating a set of principal parts, the struggle to get those two different classes on the same bowings was endless. Now, the section leaders in both class sections are reading off of the same principal part. When one section changes a bowing it gets transferred immediately onto that part, and the next time the other class meets, those principal players come across that bowing.

How else do you use student leaders?
    I think the world expects a lot from teachers, and every time something new needs to be done, it falls on the shoulders of teachers. In addition, we expect a lot from ourselves, and when we see students fail, great teachers experience that failure themselves. In his book The First Days of School, Harry Wong discusses making students responsible for learning and day-to-day activities, which can include getting the chairs out, getting the stands set up, getting all the music going, and tuning the orchestra. Students should be much more active in the learning and also the processes of the class. When they get involved like that, the ownership of their success and failure becomes more on their shoulders and they become more invested in their program and their learning. So often, we see teachers bend over backwards to do everything for their students. This is especially prevalent in string programs – more so than in band. Band culture has a strong history of leadership that comes out of marching band, and string directors are just now beginning to adopt these ideas and getting their students to be more active leaders.
    At the beginning of class, once students are seated, I have my student leader stand up and tune the orchestra. That gives me the opportunity to take roll and then help students struggling with tuning. Having a student in charge of getting things going is incredibly helpful, especially if there is a substitute teacher. You want students to be able to start themselves.
    I also have a student who is my librarian and manager. We go through an extraordinary amount of music because we have performances roughly every six weeks. Having a manager to keep track of the music in the middle of the rehearsal is essential. If the second oboist says she misplaced her music, my librarian can take care of that while I keep rehearsing. She keeps the library organized and handles everything to do with it.
    Students also work on scales with each other. As part of a certification process, I was asked to look at something that I taught routinely and figure out whether I was doing it in the best way I could. I chose scales – something every string teacher works on – and came up with several beneficial ideas besides playing scales in unison as a full ensemble. 
    String players usually share stands, so I started having one stand partner play while the other listened and then switching roles. After both students played scales, each talked about how the other performed. This was uncomfortable at first, even for the listening students. In fact, there can be more discomfort listening to a person than there is playing for your stand partner, but students start to build trust with each other. Part of this trust is that the person listening to you is going to be kind rather than brutal, but students also start trusting themselves. They realize that they do know something about playing these scales and are able to offer such suggestions as, “Watch out in your third octave; your notes aren’t quite in tune,” or, “You need to get closer to the bridge when you’re playing higher notes.”
    Another scale exercise that has worked well is a worksheet for students to mark where their fingers go for each scale. This requires a different part of the brain than playing a scale, and it reaches students who have good ears but lack a strong visual understanding of where all their notes are on the fingerboard. It helps them learn scales in a completely different way.

What are some of things you learn from being a guest conductor?
    Guest conducting is similar to listening to great ensembles. It opens your ears, and you expand your knowledge of what students are capable of doing; and then you take that back to your own classroom. After I conduct a regional or all-state ensemble, I return to my classroom and do my best to continue being the all-state conductor. I tell administrators, parents, and students that while I might be away conducting all-state for a few days every year, every other day of the year, I am here, and students get an all-state conductor full time. It raises my expectations of how I approach re­hearsals. I step on the podium and ex­pect my students to behave like an alls-tate orchestra. They feel that expectation and respect it. Because I treat them like an all-state orchestra, they give me all-state–level effort.    

    Christopher Selby earned a music education degree from The Hartt School of Music in Connecticut and master’s and doctoral degrees from the University of South Carolina.Selby taught orchestra at the elementary, middle, and high school levels for 18 years before coming to Charleston and has also supervised orchestra curriculum and instruction and led teacher training.

The post An Interview with Christopher Selby appeared first on The Instrumentalist.