Directions: Read each statement below and mark it true or false.

I love being the center of attention. (If true, you have a potential first chair trumpet player.)

I can’t keep my hands to myself. (Students who mark this true should go anywhere but the percussion section – the last thing they need is sticks in their hands.)

I have a problem putting four-piece puzzles together. (If true, this person should avoid woodwinds – too many parts. Put him on a brass instrument where a simple twist of the mouthpiece into the leadpipe will get him off and running.

I love hitting things. (These students should be in the percussion section – it will make their day.)

I have the discipline of an anteater in an ant pile. (If true, suggest shop classes where they can do constructive things with a blowtorch.)

I love the feel of watermelon juice dribbling down my chin. (Students who mark this true should play tuba, because they seem to enjoy unusual pleasures.)

I love putting things together. (Put these students on bassoon – it’s like putting together a jigsaw puzzle every time one gets it out of the case.)

I love taking things apart. (These students should be percussionists. They will be taking things apart and putting them back together for the rest of their musical career.)

I love to make funny noises. (Trombone is the perfect instrument for these students.)

I can’t wait to wear a band uniform. (Students who mark this true should play flute so they might influence all the others who will complain about it.)

I like duck hunting. (Give these students a clarinet or saxophone so they can put their mouthpieces to extra use.)

I can dead lift 120 pounds. (If true, put them on tuba. They might actually take it home to practice once in a while.)

I like to whittle. (Suggest oboe or bassoon.)

I am a complainer. (All students complain. Put them on anything.)

I like living on the edge and taking chances. (If true, put them on horn.)

I sometimes miss hands when I try to clap. (Whatever you do, don’t put these students in the percussion section.)

I can curl 40 pounds with each arm. (If true, put them on a school baritone or tuba so they can help you pull the stuck slides out.)

I laugh at almost anything. (These students should play flute or clarinet so there’s the possibility they might sit in the front row and build your self-esteem by laughing at your smart-aleck asides and corny jokes.)

I hate sports. (Put students who mark this true on horn or tuba because they’re less likely to quit and go pro.)

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The post A Song of Freedom appeared first on The Instrumentalist.

    Stopped horn, when the hand completely covers the bell, is an extremely effective but sometimes misunderstood technique. Passages for stopped horn occur in nearly every genre of music from solos to large concert band works. Mutes and mute technique can also be problematic for intermediate players. Even deciding the correct mute to use for a given passage can be tricky because often there are several workable options.
    One reason stopped horn technique is misunderstood is that professional horn players and acousticians do not agree entirely on what happens when the horn is stopped, but there are two main theories One belief is that closing off the bell lowers the resulting pitch to 1⁄2 step above the next lowest harmonic. This theory can be tested by examining the harmonic series.

    According to this theory, stopping the written C5 on the open F horn should produce a slightly flat B, a half step above the slightly flat harmonic directly below it. This theory is true as long as the player allows the hand stopping motion to lower the pitch of the open note gradually.
    Another theory is that fully stopping the horn raises the resulting pitch by 1⁄2 step, requiring that players finger pitches 1⁄2 step lower than written on the F horn. According to this view stopping the written third space C on the open F horn should produce a C sharp 1⁄2 step above. This view holds when the player attempts to maintain the pitch being played, which produces a tone popping up to the next harmonic.
    Both theories are correct. The first one makes sense acoustically as gradually closing the hand in the bell does lower the pitch. The second view makes sense in terms of fingering because we must finger pitches 1⁄2 step below the written note on the F horn to obtain the correct pitch. A close study of the horn’s harmonic series shows that both explanations are really the same. The B flat side of the horn complicates the issue more because while the B flat side still follows the first theory, attempting to keep the same pitch as suggested by the second theory, raises the written pitch by a 3⁄4 step, rather than a 1⁄2 step.

A Practical Approach
    While the competing theories are intellectually interesting, directors are more concerned with helping their students produce an acceptable stopped horn sound. Proper open horn hand position is essential. Hand positions vary among professionals but there are some characteristics of good right hand position:

• Fingers bent at the knuckle and fairly straight from the knuckle to the tips of the fingers.
• Thumb close against the side or top of the index finger with no spaces between.
• No spaces between fingers.
• Palm slightly cupped as if swimming freestyle or holding shampoo.
• Right hand conforming to the shape and size of the bell, producing a slightly rounded shape when the back of the hand is pressed against the far right side of the bell.
• Knuckle of the thumb lined up with the bell brace and inserted until the thumb touches the upper part of the bell and the bottom edge of the hand makes contact with the bell.

 
   The move from open to stopped horn should be as efficient as possible and should not require a drastic shift in hand position. Here are some additional tips that should help in practicing stopped horn hand position:

     A proper stopped horn sound is compressed, brassy, and even a bit nasal. This sound takes a leak-free seal between the right hand and the horn’s bell throat. The poor intonation and uncharacteristic sound that are sometimes produced with stopped horn can be fixed by adjusting the hand positions. Some players will be tempted to push the hand further into the bell, but this can cause pitches to be very sharp. This problem is more difficult for players with relatively small hands. Keep the thumb pulled back and out of the way of the hand.
Instead of trying to place the hand directly across the front of the bell, try closing the bell off at an angle, which can produce a better seal. The British performer Pip Eastop has developed an ingenious device to help those with smaller hands. His invention is easy to make, inexpensive, and really does work. The key is getting students to take the 30 minutes necessary to make it. (A full description and details on construction are available at
     Players should strive for as much contact as possible between the heel of the hand and the bell throat. Having students imagine they are squeezing the horn between  their left and right hands is sometimes helpful in getting a proper seal. For those with bony hands slightly twisting the heel of the palm so that even more flesh is in contact with the bell can help.
     Another common problem faced by players is the dramatic increase in resistance cause by fully covering the bell. Frequently students are not blowing assertively enough against the resistance to get the desired buzz when composers ask for stopped horn. Filling out the sound of stopped horn will also help with intonation and articulation problems.

Stopped Horn Fingerings
     Players should generally be fine to use F horn fingerings and transpose done a half step between written E4 and C#5, the part of the range that presents the fewest intonation and articulation problems. For the higher register, F horn fingerings will work, but problems of accuracy and intonation will become more exaggerated. For this range try the following fingerings. (The T indicates that B flat horn fingerings should be used.)

     Although these fingerings will work on many horns, encourage students to try alternate fingerings. The fingering used is less important than producing a good sound that is in tune.
     The notes below written C4 often present the greatest difficulties on stopped horn with articulation and intonation being the most common. Although I recommend that students learn to play in this range without the aid of a transposing stop mute, more and more professional players are using these. The mutes produce a louder, more stable stopped sound, and are relatively inexpensive. They usually require that players transpose the written pitches down a half step to obtain the proper F horn fingerings. Be aware that a hand-stopped sound is different from that of a stop mute. Although stop mutes and hand muting can be compatible within a section, avoid mixing stopped horn and straight mute timbres unless the composer requests this combination.
     When rehearsing stopped horn passages it is good to let players perform the part on open horn a few times so they can get a better sense of pitch and articulation before attempting to play the part stopped. Once they do play the part stopped, encourage them to blow forcefully to experience the sensation of producing a compressed, brassy sound.

Stopped Horn Drills
     These exercises will help beginning to intermediate players learn stopped horn technique. If practiced daily these can establish a foundation for more advanced stopped horn effects. Simplicity is the goal in these brief passages, and they progress from easy to difficult. Students should play the exercises with a tuner and metronome whenever possible. Here are some hints to remember:

• Check intonation frequently with a tuner or drone. Compare intonation from stopped to open positions.
• Insist on a brassy, compact, and nasal stopped sound. Producing this sound quality, especially in the lower register, will require huge amounts of air.
• Check hand position frequently for air leaks.
• Rely solely on the ear for accurate intonation until muscle memory is developed.
• Take frequent breaks until en-durance is developed.

Exercise 1. Hand position and middle register articulation and intonation.

Exercise 2. More rapid articulations.

Exercise 3. Stopped/open horn coordination and upper register practice.

Exercise 4. Low register practice.

Terms and Symbols
for Stopped Horn

+
stopped
gestopf
bouche
chiuso

Mutes
     Mutes present less of a problem than hand stopping. The most important things for younger players to do are  acquire a good mute and learn a few basic concepts of muted horn technique. Players have to learn not to seat the mute too tightly in the bell of the horn. The mute should only be snug; shoving the mute too far into the bell can cause all sorts of articulation and intonation difficulties. All of the stopped horn exercises can be used to practice muted horn. Makers of horn mutes include Denis Wick, Trumcor, Lewis, Engemman, Ion Balu, and Humes and Berg.
     For quick mute changes a wrist strap is extremely helpful. If students are using a mute that does not come with a wrist strap, one can easily be made using an eye hook and some sturdy string.
     When students start to get the hang of playing stopped and muted, have them practice well-known tunes on open horn first, then stopped or muted. As long as students understand the correct technique without forgetting correct phrasing and musical nuances, stopped or muted horn can be beautiful.          

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    Many directors learn percussion basics in their college methods classes but lack the knowledge to get beginning players off to a fast start on keyboard instruments. These teachers may know how to hold the mallets and tell the difference between marimba and xylophone but often have not learned the best ways to teach percussionists the best methods for learning to read music.
    The problem percussionists face is that it is difficult to look at notes on a page and bars on the keyboard at the same time. Players may be able to locate the notes on the keyboard or identify the names of the notes but have difficulty doing both at the same time. Wind players are able to play all of the notes on their instruments through touch and muscle memory. They can look at the music confident that their fingers will press the right keys.
    For percussionists all of the notes feel the same: playing a C feels the same as a D. Percussionists need to be able to see the keys so they can aim and strike, while still looking at the music to know what notes to play. Some keyboard players will either give up or begin to memorize all of their music. This results in players who do not sightread well and are not prepared for written music.
    To allow students to read the music and see the keyboard the solution is to lower to music stand so that the music sits level with the accidentals on the keyboard. This is contrary to where the stand should be for most other instruments, including the snare
and other non-pitched percussion. Normally the music stand is placed high so the line of sight includes the music and conductor. Keyboard players can use peripheral vision to look at the music and hands simultaneously.
    Demonstrate peripheral vision to students by having them look at one point after another on the music stand while waving their hands above the keys. Usually students discover that they need to look quite far up before their hands are out of their peripheral vision. Then draw the students’ eyes back down to the music. After the exercise it should seem easy for students to see the hands while reading notes on the page.
    It will not seem natural to use peripheral vision at first. Beginner will need reminding not to look directly at their hands while playing. Keyboard players usually will cheat and sneak a look at the keyboard from time to time. This is exactly what they should be doing to verify accurate playing. Such brief glances are best taken during beats of rest, not while playing a moving line of pitches.
    As percussionists become more proficient at reading music, they will learn to read groups of several notes at a time just as wind players do. For now allow students to look down at the hands a bit but not to the point that they becomes lost in the music. Through much practice students will eventually learn to move their eyes between the music, conductor, and keyboard without getting lost.
    This approach to reading should be taught from the earliest lessons on keyboard percussion. Examine the layout of the keyboard with the student and point out the organization of accidentals into groups of two or three. Locate a landmark note, preferably C or F since these lie just at the edge of the groups of two or three. Have the student find the other Cs or Fs on the keyboard using landmarks. The other notes will be learned in relation to this note. As students gain experience they should gradually memorize the location of more notes.
    Once students understand the layout of the keyboard, explain how notes are named using the alphabet. If you have a board to write on, list the pitches on it and discuss what happens after G and how the cycle continues. Then point out the letter names on the keyboard, not for memorization but just to show how the system works. When the layout of the keyboard, the naming of pitches, and the staff have been taught, it is time to introduce the reading of one to three notes. The first notes taught will differ depending on the setting. In a private lesson or group percussion lesson it is probably easiest to begin with Middle C, D, and E. However, if the student is in a mixed instrument class or beginning band, their pitches should match the other students’ concert pitch.
    Regardless of the starting note, it is best to introduce them one at a time. Allow enough time for students to practice each note and memorize its position on the staff and location on the keyboard. Students can get overwhelmed by learning too many notes and may compensate by writing in note names. Students should say the note name out loud as they play, which helps keep their mind on the page. I tell students that I do not care if they play the wrong note as long as they are moving in the right direction and say the right note name. This alleviates the fear of playing wrong notes that can cause staring at the keyboard. The muscle memory developed from moving from one note to another without looking, comes in time. If students really get off track, have them look down and quickly reorient during rests.
    If you take the time to work with beginning percussionists on lowering the stand, using peripheral vision, and saying the note-names out loud, players will have a much better chance at success. The early stages of note reading at the keyboard can be time-consuming, but if students and their teacher persevere, the reward will be players who can sightread keyboard music quickly and with confidence. 

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    For years the band and orchestra staff at Kenmore East High School followed some simple guidelines whenever any of the ensembles traveled. We would decide on a date, location, and festival to attend, then locate a school en route willing to share a concert with us. The ensemble members would raise the funds to cover travel, food, and hotel expenses; and then we would pack and go.
    In the fall of 2006 that reliable format quickly changed after I attended a concert by the Preservation Hall Jazz Band and learned that all the musicians in the group were victims of Hurricane Katrina and had performed with borrowed instruments, mouthpieces, and clothes. For the first time I grasped the gravity of the devastation to the musicians of New Orleans. I felt it was time to help other musicians and talked to the other music staff members at Kenmore East about involving our ensembles in the relief effort. Gail Bauser, the orchestra director, willingly agreed to include the orchestra in my plans.
    The trip for 2007 would be to New Orleans and the members of the band and orchestra would help in the relief effort to clean up the mess by Hurricane Katrina. With the help of Kaleidoscope Adventures, a travel company, we developed a packed itinerary that was reasonably priced.
    During the summer Gail and I decided to program music throughout the year that related to New Orleans, so we devoted hours to researching ensemble music about the city. We called music publishers and talked with editors, composers, and local musicians. I even visited Lincoln Center in an effort to meet musicians with New Orleans musical roots or experience. 
    The 2007-08 school year began with a special meeting to present the trip proposal to band and orchestra parents and students. To set the mood the meeting included a performance by a Dixieland band, a meal of Cajun cuisine, and a PowerPoint presentation that laid the groundwork for the trip. Students would study the history of New Orleans, the city’s importance to American music, and learn why it was important to help fellow musicians in need.
    We explained that Kenmore East High School music students would raise money and instruments for an adopted school in New Orleans, and as part of the trip students would work with an organization to help rebuild some homes. Our goal was to fund raise $5,000 to $10,000 worth of instruments and cash for a school that would benefit from the assistance. The scope of the project was greater than anything the music department had attempted in the past.
    Little did we know that finding a school would be the most difficult part of the venture. Many schools had shut down, some never returned our calls, and others didn’t even have a music teacher. Several schools had changed to charter schools or were taken over by the state. After the storm the City of New Orleans Public Schools fired its entire staff and started over with an organization one tenth its original size.
    Through telephone calls and many conversations, we finally located Marta Jurje-vich, the music de-partment chairwoman and orchestra director at the Lusher Charter School for the Arts; she was delighted to learn about our interest in assisting a music program in New Orleans. After describing our trip proposal to Marta, Kenmore East officially adopted the Lusher Charter School for its project.
    Deposits for the trip were due in October 2007, but only 41 students out of 150 brought them in. It seemed that a year’s worth of preparation was wasted. Disappointed, we explained the gravity of not participating to students who had previously committed to the program. When I asked why the change of heart, some of them said, “Why should I spend my money to help someone else?” “Trips are supposed to be fun, not work,” or “My family just can’t afford it.” Gail and I promised that everyone would have a good time and that we would help finance anyone who wanted to go. The next day 100 students brought in deposits, and I created a waiting list for any openings.
    In December the band and orchestra councils started the fundraising drive for the Lusher School. After drafting a letter, we dropped it in mailboxes, mailed copies to businesses, and e-mailed it to anyone on the school’s mailing lists. The local press picked up the story and gave it full-page coverage in all the community papers, and the local television news stations helped to publicize our efforts. Meanwhile the students were busy with fundraising projects to cover the cost of travel by selling magazines, candy, talent show tickets, bowl-a-thon sponsorships, discount books, cookie dough, and more. 
    As a part of the experience, students started a Dixieland combo with four trumpets, one trombone, two saxes, and rhythm section. One of the trumpet players had enough guitar experience to play banjo, and the addition of a washboard made the group sound as though it had just hit town from New Orleans. After learning the “Peach-ering Rag,” students burned the tune to a C.D. and submitted it to the Music Is Art Battle-Of-The-Bands Competition. The ensemble was awarded first prize, and the students received a clinic with the Dirty Dozen Brass Band of New Orleans in addition to being asked to open the Mardi Gras Jam in Buffalo.
    Gail and I wanted the students to have a broad exposure with the different New Orleans genres, so a local musician who specializes in Zydeco, Creole, and Roots music came in to teach a tune in each of these genres. Everyone picked out the melodies by ear (the opposite of what we typically do in school music programs) and loved it.
    Several teachers proposed having a Mardi Gras curriculum in subjects other than music for the students, which captured the interest of our principal. We met several times with experts on Mardi Gras and discussed how to include such a theme into daily academic classes. The foreign language teachers discussed Acadian influences and how this group celebrates Mardi Gras in different countries, and teachers of Home and Careers classes made king cake and café au lait as a special project. Art classes studied Mardi Gras Indians and made masks, while the band and orchestra ensembles provided music representing each of the New Orleans genres. The classes culminated in a Mardi Gras parade and assembly in the auditorium.
    By the beginning of April 2008 the travel company had received all of the payments for the trip, and we collected over $17,000 in instruments and cash for the Lusher Charter School for the Arts. The school council printed a five-foot wide check with the amount of our gift to present to the school as well as a plaque that said, “Music washes away from the soul the dust of everyday life,” and listed the date of our visit.   Everyone was buzzing with excitement.
    A week before the trip, a parent asked if we had the necessary safety equipment for our home rebuilding project. It was a shock to discover that safety equipment would not be provided, so the parents went to work and Dival Safety and Sevenson Environ-mental Services donated nearly $3,000 worth of hard hats, gloves, safety glasses, respirators, and painter’s hats to use in New Orleans.
    The 27-hour bus ride to Louisiana included a stop at the Desoto Caverns in Childersburg, Alabama to break up the long trip. It also turned out to be a special treat. One of the students recommended taking a tour of the cavern, and we were so glad he did because it was terrific. 
    On our first day in New Orleans the band and orchestra students worked with members of the St. John’s Baptist Church. Groups helped to paint an entire ranch house, gut several homes, and clean out the construction and storm debris from houses and yards.
It was humbling yet uplifting to hear the many stories of how people survived the storm and the hardships that followed. Many were still living in FEMA trailers, and others had not yet settled insurance claims. Several had lost homes and family members.
After the relief project and a stop at the hotel to clean up, we took a bus tour of the city that was beautiful but sobering. So many people were living in tent villages under highways, and it was easy to see abandoned homes everywhere. The streets of the French Quarter bustled with folks enjoying the bands and entertainers performing as a part of the French Quarter Festival that was taking place. Later that evening we had dinner at the Bayou Barn in a rural area outside the city. It included a Zydeco band, dance floor, and a huge meal of Louisiana cuisine that included tons of boiled crawfish that everyone loved.
    The next day as we arrived at the Lusher Charter School the sounds of a Dixieland band played its greeting as dozens of young students danced on the school steps. It was surreal. The band continued to play as we walked into the building, up the stairs, and into the library where a big breakfast awaited everyone.
    During a tour of the building led by Lusher students, we learned that the teachers cleaned the school before it was ready for students to return after the storm. Next on the agenda was a musical exchange with ensembles from both schools taking turns to play for each other. The music making took place in a large rehearsal room because the school did not have an auditorium.
    With the performance over, it was time to present the gifts we had brought. As our students unfolded the oversized $17,000 check, the Lusher students, parents, and music teachers became very emotional. There were cheers, tears, and hugs galore, but when one Kenmore East student crossed out the $17,000 figure and wrote in $21,000 (we had taken in another $4,000 after the check was printed) the room nearly erupted.
    The students from Lusher presented us with beautiful tee shirts with the motto, “From Buffalo to New Orleans  . . . rebuilding one instrument at a time.” I know that this experience has changed the lives and perspectives of everyone who participated in the trip. Students and adults made friendships that will last a lifetime.     

Comments from Students
Amanda – “The trip made me re-examine my life. It made me realize we take so much for granted every day. We have so much and continue to complain while the people in New Orleans lost everything. They still have so little, but they find joy in the simplest things of everyday life.”
Patrick  – “It really hit me when I saw people living under bridges.”
Danielle – “The part that affected me most was seeing the numbers on the homes telling you how many bodies were found. It was so incredibly sad and really hit me.”
Nick  – “The thing that surprised me the most was seeing how gleeful and welcoming the people were. After all of the devastation the people faced, it was amazing to see how people can still attempt to preserve their lives.”
Stephanie  – “I learned that life isn’t about how big your house is or how expensive your car is, because all of that can be wasted away in a day. Life is about the friends you have and the love in your heart, because that lasts a lifetime.”
Sarah – “One highlight was the jazz performance combined with the Lusher students. We were all taking solos and having fun, and you could feel the excitement in the room. It’s something I’ll never forget.”
James  – “I just want to thank Mr. A. for everything he has done for us. He is one of the most generous, thoughtful, and inspiring people I have ever met.”
Matt  – “What made this special was that I could connect to the students at the Lusher Charter School just because of our common interest in music.”
Matt  – “It was a bit upsetting to see the living conditions of those who suffered from Katrina. The water marks on the homes were unbelievably high and the number of people living under highways in tents is ridiculous.”
Kristen  – “The humanitarian project was special to me; I worked with 20-25 girls on one lady’s house that was damaged in the storm. It would have taken her a year to clean her yard. It only took us a couple of hours.”

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    The letter, e-mail, or voice mail usually follows this form: “Thank you for teaching my daughter how to play the clarinet, but she doesn’t want to be in band anymore.” The reasons students quit band or orchestra are numerous, but teachers would rather see students stick with it and be successful.
    In the past I’ve recruited new students by having a small group of high school boys and girls demonstrate instruments at beginning-of-the-year assemblies. I have also used the Instrument Timbre Preference Test (Gordon, 1984) as well as many instrument recruiting videos. These are excellent means to generate interest in instrumental music. However, when I had four students quit in one week, I began asking around for suggestions. The owner of the local music store suggested that many students quit before taking enough time to make a reasonable decision about whether the instrument is a good choice. He also suggested that there was no substitute for playing the actual instruments.
    I gave each student in the district the opportunity to play flute, clarinet, alto saxophone, trumpet, horn, trombone, and baritone horn. I do not demonstrate percussion instruments because the supply for percussionists is generally greater than the demand. I also do not demonstrate oboe or bassoon because the cost of reeds would be prohibitive, even if the reeds could be sterilized and reused several times.
    Students begin playing instruments in fourth grade in my district, and although I do this with third graders at the end of the year, it can just as easily be done at the beginning of the year students start band. I drafted a letter to parents describing the program. I was careful to explain that students were not obligated to join band, but this program was designed to help students decide which instruments might be good choices. I also explained that each instrument would be cleaned and sterilized between playings and invited parents to call or e-mail with any questions.
    It is important to have good-quality instruments available, so students will not all flock to shiny alto saxophones, avoiding the beat-up baritone horn. Local music stores will probably be willing to loan instruments during the trial period, as this would likely generate revenue from students renting or purchasing instruments from the store.
    If time were not a constraint, students would be given as much time as needed to play each instrument, ask questions, and try instruments a second time. However, this is unrealistic in most cases. I taught small groups of two or three students and let them play as many instruments as they wanted – most chose to play each instrument. I got one student started and let him experiment, then taught a second how to play something different. This approach was extremely loud but efficient.
The best salesmen make people want a product, and directors should follow this approach in helping students make decisions. It is important that students believe they chose their instruments, and they will take more ownership of the program this way. I had to make careful word choices rather than simply telling students why they should not play an instrument.
    When students made decisions, they helped me complete a form with green and red colored pens.
    We circled favorite instruments in green and ones they did not like in red. Instruments about which a student had no strong feelings were left blank. Having students help fill out the form cements the idea that they are the ones making the choice.
     In the first year of having students try instruments, only four students out of 91 quit. In addition, 11% more of the class joined band. During the past year I also had to make fewer awkward telephone calls to parents about poor instrument choices, such as flute players still unable to produce a sound late in the year and high brass players with overbites. I still have students who are unsure whether their current instruments are correct, but because they play a central role in deciding what to play they talked to me about it instead of just dropping out.
    Over time I have developed a good sense of how to pace these classes, including how much time to spend on each instrument. This has been especially difficult with the flute. It can be very difficult for a beginner to produce a sound on the headjoint, and students can quickly dismiss the flute as a potential choice. The problem is magnified when students can produce a sound rather easily on other instruments. I preface demonstrating the flute with a warning that it can be difficult to get a sound at first, but there comes a point of diminishing returns for students who struggle to produce a sound; this is true for all the instruments.
    I have pondered inviting music education majors to help with instrument experimentations. It has proven beneficial to isolate bad habits that might form unless corrected immediately. I can teach every instrument, but as a flutist I know the most about that instrument. A trombonist might spot both great potential and bad habits more quickly than I could. The additional perspective would benefit both me and the students.
    Although this program is still in its infancy in my district, the results have been amazing. Having students touch, hold, and play instruments is superior to having students watch, talk, or hear about them, and the work it takes to match students with the best instrument will benefit not only the elementary band, but also the middle and high school programs.

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