HS Orchestra

Mike Certalik (?) led the Bozeman HS Orchestra through a warmup in which the orchestra played through some tricky rhythms and accidentals. After that, he had them play through again, only faster this time. He played along, clearly having the piece memorized, as he was playing WHILE talking to another student. After that, they played it again, even faster, and then once more, as fast as they could. Some students got lost and dropped out, but most were able to keep the pace and finish, and the warmup continued to sound good, even with a couple small timing issues and a little sketchy intonation at times. I don't recall the name of the piece they played next, but I did notice that as they played, the posture of the class seemed to be one of "Sit however you like". There were students slouched in their seats, there were others sitting attentive, and there always seemed to be a student getting up to go to the bathroom, I assume, as they would leave the class for approximately 5 minutes. Mike kept the class pretty well managed, even though he seemed to have a really lax way of running things. He never raised his voice, or even really spoke that much, and never showed much excitement either, although that could have just been the mood that day. It seemed to be the norm though, as no one acted like it was different.

Festival

Friday, April 20th, saw me at the Willson school to attend the District festival. I watched the West Yellowstone school band, which was a mix of middle school and high school students, in about equal numbers. The band was under the conduction of miss Nancy McPherson, and for the 30 or so people in the band, they sounded pretty good. They played a piece I did not catch the name of, an arrangement of The 1812 Overture, and then sightread a piece I also did not catch the name of. The two rehearsed pieces sounded great, and there was a fantastic trumpet solo in the first piece. The sightreading went well, but as with most sightreading, it was sketchy in parts. They did have a couple moments where intonation was not the best, and a few tricky rhythm problems, but Ms. McPherson got everything back on track in an efficient manner.

Irving Elementary Band

8:30 in the morning is never a good time to listen to band, but especially a fifth grade beginning band. I'm keeding, I'm keeding!! They were surprisingly good, especially with two oboes and a new student who had never studied music before. The teacher didn't really warm them up, but rather launched into the rep right away. I applaude that, and even though I believe a warm up is a very important part of ensemble playing, with the limited time she had, and the questionable intonation already, perhaps focusing on the notes and rhythms was more important at this point. They didn't have an actual music classroom, but instead they were in a regular classroom with the desks moved aside and the band set up at one end. She seemed to focus a bit on the drum section, leaving the rest of the band to kind of goof off, but as soon as the "sectional" was over they were all right back attention-wise and ready to play.

HS Band WarrmUp

Adam, Shannalee, and myself engaged the band in a set of three rousing warmups, in that order. Adams warmup was very involved and had a lot of moving parts that he obviously spent a lot of time planning out. It seemed very effective though to achieve good intonation with the group, and they also seemed to enjoy it. After being made an example due to her chewing gum, Shannalee took to the podium and performed her warmups with the group. Considering the fact that she was never a band person, I thought they went well. Then, it was my turn. I did a one octave B flat major scale, in eighth notes, up and down the scale thrice, like you do, Dr. Stark. I varied the tempo to make sure the group was paying attention to my conducting, and after doing that a couple times, I was able to get the group focused on changing speed and watching me. I then did the LightHouse technique, in which I hold my arms out in front of me and sweep across the room, having people enter on a B flat when they are in the "Beam". This is good for working on entrances and also for dropping out, and to also work on blending. It also works well because there are fewer students in the beam, which allows the ones who are playing to really be able to hear themselves and their neighbors.

HS Band Observation

Kelly Berdahl started the rehearsal off with a rousing warmup, including a major scale, and a thing he called "Pops", which had students play beat one of a measure of five beats, and then silently count the rest of the beats, and come in one beat one a note higher in the scale. After warming them up, he sightread a couple of songs with the group, which they performed quite well, and then they turned in the set of those pieces. Kelly ran the rehearsal very effectively and in a timely manner, and kept the group busy the whole time. The ensemble themselves were quiet during rehearsal and there weren't many distractions or disruptions, but this might have been due to the fact that the baton he recently threw/stuck in the wall was STILL stuck in the wall. :)

Blog 6: Trombone (minus the romb)

Tone, while important in EVERY aspect of musicianship, is especially significant in the following three areas: -Tone is the building block for other aspects of good playing, including tuning, timing, and being "in touch". If a band lacks good tone, their intonation will never be together. The lack of good tone will make it impossible to tune the band, and will also make entrances together a difficult thing, in addition to other timing issues. -An ensemble with good tone will project and sound more full than a band with poor tone. A band with poor tone will sound quiet and unsure of itself, which will also have bad intonation, due to the first aspect of tone in this blog, whereas a band with good tone will sound confident and more full, which will result in a more pleasant experience for both the audience AND the ensemble. -Even if an ensemble hits every note and rhythm correctly, if they lack good tone, the piece will not sound very good. One of the biggest differences between professionals and amateur musicians is the production of a good, solid tone. Finger dexterity is also a big aspect, but some musicians, especially in a jazz setting, can play just one, two, or three notes as a solo, and due to their tone, can make a more pleasing musical experience than someone who plays a lot of notes, but who lacks tone.

Blog 7: Advocacy

The importance of music cannot be stated enough. Students participating in a musical ensemble develop friendships that can last a long time, and also a sense of family as well. It is also a place for students who don't perhaps fit into other groups, such as athletics or cheerleading. Playing an instrument develops great hand-eye coordination, and combined with reading music, activates nearly all parts of the brain, and is one of the few, or perhaps only activity to yield such high levels of brain activity. Also, students participating in a music program tend to show higher grades in other school subjects as well. Playing music is also a great way to relieve stress and is also a great source of joy, and with its aesthetic qualities, can also provide joy to others. Overall, music is an essential program in the schools, and is an invaluable asset to all involved.

High School Pep Band

I observed the high school pep band on February 10th, at Bozeman High. They played a numbner of classic pep band pieces, including Tequila and The Final Countdown, and also some newer repertoire, including a song by Lady Gaga, which I believe was Poker Face. The band was very well organized, and although it looked like everyone was having fun, I believe that definately some rules for behavior and some classroom management going on.

Elements of a Successful Program

I believe that the most important element of a successful Instrumental Music program is the School and Community's desire to have a program. Without any support, a music program would be constantly neglected and dismissed, and one would be constantly fighting an uphill battle to get funding, support, time, and any effort towards it.

Also, instruments and equipment are vital to having a successful program. Without the tools, it would be nearly impossible to give the students the education and experience of instrumental music.

A good repertoire of quality music is another essential. Even with instruments, equipment, and support, a music program is nothing without the music is just an exercise in assembly and care of instruments.

On the part of the students, an effort and desire for excellence is necessary for the success of the program. Without a desire to be the best they can be, and to learn and grow, the students will not put forth the effort it takes to learn an instrument and play it well, resulting in a successful and satisfying sound.

Even with commitment and drive, the students' passion for excellence will be severely hindered if the director does not effectively use rehearsal time. Efficient rehearsals are vital to correcting mistakes and to offer learning opportunities to the students, furthering their education and enjoyment of music.

I feel that to have efficient rehearsals, the director needs to plan well in advance, and to have plans and options available for every situation. Concert planning, repertoire planning, seating, and fund-raising all take a large amount of time, and that is just outside the classroom. The actual instruction of the students is the most important aspect, and deserves all the attention and care of the director, not to be diminished by a full plate of everything else he or she is worrying about.

Dedicated facilities for a music education program are another important aspect of a successful program. The students need a place where they can all meet together to play and make music, and also somewhere to safely store their instruments when the day is done. The room should be fairly soundproof, to avoid distracting and annoying students in other classrooms as well.

A yearly budget is vital to an instrumental music program. Instrument maintainance is not cheap, and on top of getting new music, buying supplies, and even hopefully getting new instruments, there isn't much money left over, so a good budget is of the utmost importance.

No matter how good the budget is, however there will never be enough money to cover everything, so the booster clubs and fund-raising organizations made up of parents and friends is key to getting more money to get the essentials.

And finally, students practicing outside of the classroom is an important element of a successful program. Most often, the best learning comes from the student's self-discovery, and maay not always happen in the classroom. If a student takes the initiative and practices at home, they not only increase their chances of making big musical discoveries, but also further their proficiency on their chosen instrument.

F.E. C. J. TE Day 2

On February 15th, Shannalee and I returned to Chief Joseph middle school to work with Sallee Nelson's 7th grade clarinet section again. This time it was my turn to teach them, so after we got them settled again, I began by showing them a simple set of rhythms, and then breaking them down further and further, until I had two rhythms that were played the same, but notated differently, and the students recognized that they were the same rhythms, just written in a different way. After that, I took them through the new section of "Her Majesty's Brigade" again, working on longer sections at a time, and emphasizing working on the rhythms that I had introduced at the beginning of class. The students had a lot of trouble the first time that rhythm came up, so we spent a majority of the lesson working on that, and then when a similar but different rhythm showed up later, they played it the same as the first rhythm, so we worked on that too, until they could confidently and competently play through the entire section with correct notes and rhythms. Then Shannalee correctly remembered each students' name, and we sent them back to Mrs. Nelson. I feel that the entire lesson went well, and that the students can play that section better than when they originally started. I found out a few things to work on myself though, including keeping my students rehearsing as much as possible, and taking as little time between rehearsals as possible.

F.E. C.J. TE Day 1

On February 9th, Shannalee and myself performed our first Teaching Episode with the clarinet section. After we got them all settled, I handed out index cards and had the students write their names on them to help me with memorizing them. Then Shannalee took over, first teaching them a rhythm that they were having trouble with in class, and then rehearsing a new section in "Her Majesty's Brigade". The rhythm sequence was a little rough, but the students eventually learned it pretty good, and then the new section was rehearsed. Shannalee took it slowly, making sure the students were fairly competent in one section before moving on to the next. There were a couple rough patches, but they could have been easily addressed with more time. I then correctly remembered the names of the students, and gave them all mustache tattoos. In retrospect, they mustaches could have been used as a reward for being quiet and well-behaved, but I missed that opportunity.

F.E. C.J. Primary Observation

On February 3rd, I observed Sallee Nelson's seventh grade band program at Chief Joseph elementary school. They worked on just a couple of pieces while we were there, those being "Her Majesty's Brigade" and "Slavonic Legend". Mrs. Nelson uses a microphone hooked around her neck to project her voice throughout the whole class, which enables the class to constantly be playing but also being able to hear her. She would be conducting, then telling one group to fix a problem with notation or rhythms, and then jump to the other side of the ensemble to fix other problems, all while the band kept rehearsing. She never missed a beat, as they say.. ;D Classroom Management seemed to be in the vane of keeping the band so busy they didn't have time to misbehave. They were almost constantly playing, and when there were small breaks, to work with individual sections, the rest of the sections were allowed to talk quietly amongst themselves, as long as they weren't a distraction, and also knew where they were starting when it was their turn to play again.

Recruiting for Beginners

For their first year in an instrumental music program, there are a number of things a child should experience, whether they will be returning the next year or not. First of all, the child should obviously get the chance to play the instrument of his or her choice, as long as it is within reason. A beginning 5th grader should probably not be playing a Baritone Sax, but Alto or Tenor definitely, for instance. The child should also get to experience the joy of performing in an ensemble, and the sense of teamwork and accomplishment that comes along with that. When every member of an ensemble plays their part and music is made, it is a feeling not really found anywhere else. And along with that, students should also get the chance to successfully play in front of an audience. The sense of accomplishment is expanded exponentially when one plays a piece successfully, and then is rewarded with a heartfelt round of applause.
It may be hard to recruit new students into an instrumental music program for a number of reasons, however. They may be intimidated by the instruments or band may have a "nerdy" impression in the school. However, giving every student a chance to see and experience instrumental music is a huge step towards ensuring their future interests and successes in music. An instrument petting zoo is a good chance for students to get some hands on time with different instruments and experiment with which ones they like best, before committing to playing that instrument. A school assembly with live performers on various instruments might also be a good way to spark students' interest in a band or orchestra program. And having the class not scheduled during other "fun" activities, like recess, would help draw students into the program, without making them have to choose between music and something else that is an easy sell.

The Resource Notebook

The resource notebook is a tool that can be referenced during the first one or two years as a new teacher, to help get one's feet in a tidal wave that is the first year of teaching. It can be quickly referenced for vital information on a number of important things that might escape a new teacher.
It basically has three functions, which are:
-Portfolio
-Summative Assessment
-Collection of useable resources for me as a teacher
The portfolio aspect is a way of keeping together all the important documents obtained through the music education process, to be able to easily showcase the achievements and results of an education in music.
One's understanding of the information presented in the Instrumental Methods class can be easily judged through the resource notebook, and further instruction can be determined through that.
And back to the opening statement, the RN is a tool for a new teacher to be able to quickly browse over something that may have been forgotten or overlooked in the hayday that is the first year as a new teacher.

My Core Values

Hey future self! Lookin' good, old chum! ;D So, I was thinking, in case you get overwhelmed and things start looking glum, remember your core values. Remember that they are what make you as a person, and define every action you take and every conversation you have. And also remember that your students can see the evidence of these, whether you want them to or not. You become identified by your core values, and what you believe in and stand for becomes who you are. So keep strong to those core values we mentioned in the last blog, and also, remember these.
Music teaches life skills.
Classrooms are communities and should teach community skills and values.
Music is a curricular subject in its own right, and exists for its own sake.
The classroom is a place of caring and respect.
Every child can learn.
Be proud and celebrate your accomplishments as both teacher and ensemble.

Hello Future Me

Congratulations, Jeph! You've made it! Now, I know you're throwing a party, and celebrating like there's no tomorrow, but you only have a couple weeks to get ready for your new job. Time to get cracking!
First things first, you need to remember where you came from! Remember Mr. Paisley, from high school? Remember how, even though he only had a band of like, 30 people, he took them to Festival every year and brought home ones with every single group? Remember how, in elementary school, he taught you ebverything you needed to know to get a start in music? And remember that feeling of playing the spring concert, rocking it, and seeing the crowd loving every minute of it? That's why you're here! He is the reason you went through the last four years to get this degree and this job. Remember that when you get out there, and how much his influence inspired you.
Remember also your core values, the things you hold true to every day of your life. Remember that integrity is important, and that it doesn't matter whether anyone is watching or not, you should always do the right thing, and hopefully your students will follow suit. Honesty is just as important. And you need to feel good about the work you do every day. It may not always be much, but if you can happily hang your name on each day, and be proud of the things you have done, no one can fault you for that.
Instrumental music is a very valuable asset to the public schools and to the curriculum, but most importantly to the students. One of the most important aspects of instrumental music in the schools is that it builds a sense of teamwork within the ensemble, in that each individual member of the ensemble must work together to play a piece of music, to match rhythm and pitch, and dynamics, and mood. Music is also a language, one that is spoken by every culture and group of people all over the world. The sooner that we as educators can get a new universal language to the students, the better. In addition, playing an instrument is a great way to build hand-eye coordination and also is a refreshing way for students to learn a new skill, in a way that is drastically different from the normal classes they take.
In case you only have a couple days to prepare before your first class, remember that the students will get excited about just about anything you present, as long as you are excited about it. The passion you feel for something isn't something you can hide, and the students will sense that, and it can make all the difference in the world. Be passionate, and the rest will fall into place.