College Prep

Avoid mistakes choosing a contest solo

Leave a Comment / College Prep, Consulting, High Schools, Music Department, Teaching, Teaching Music /

By John Gardner

Classic musicSometimes I sit in the clarinet room during the upper level solos at Solo and Ensemble festival. There is a painful pattern of poor choices in music selection and interpretation, including the selection and performances of Sonata and Concerto pieces.

Choosing a Sonata vs Concerto for the wrong reason(s)

A brief music theory overview.

A Concerto is generally written for a Concert Hall …. for a Concert …. featuring a soloist with an orchestral accompaniment. It is normally 3 movements long; a bombastic first movement, a beautiful and contrastingly slow second movement and a flourishing climatic final movement.

Ensemble parts are usually boring, because the soloist is the feature. Only during the brief “Tutti” sections does the ensemble get to play much more than light, soft accompaniment. The Concerto is designed to “show off” the masterful soloist and it normally takes the instrument to the limits in tempo, technique and range. Mozart wrote his Clarinet Concerto for a friend considered to be a prodigy.

For a concerto performance with just a piano accompanist, as what is always the case for solo festival, the pianist is playing a simplified transcription of the orchestra score. In most cases, other than the potential of some 16th note runs in the piano part during the “tutti” sections (which can be edited or left out without drastically changing the piece), the piano parts are relatively simple, or can usually be simplified without changing the intent of the piece.

Historically, a Sonata was written as a chamber hall piece, written for a solo instrument and solo accompanist, often to be performed in a smaller setting than a large concert hall. I won’t get into the form of each of the normally 4 movements, but a sonata is more a “duet” where both instruments are of equal importance. The Sonata is usually less of a flashy piece, rather demonstrating what the two instruments can do together, often involving subjective interpretations of tempo and dynamics.

The Problems

….in picking the Concerto, the most common disappointment is when the student performs the piece at a ridiculously slow tempo. I’ve heard a Rondo (generally a 3rd movement 6/8 time performed in a 2 beats per measure pulse) played IN SIX. Or… the flashy first movement at half the intended tempo. I’m all about telling students they can be slightly under the published tempo to help with accuracy, but drastically changing the tempo also completely changes the piece, in my opinion. If you can’t play it the way it was written or intended, choose something else. Of course, the other option is to commit the practice to get it to performance grade, because the only sound worse than the super slow tempo is the sloppy technique of an ill prepared piece, evidencing a problem to be addressed in a separate post perhaps…..HOW to practice.

When it comes to the Sonata, I can almost envision the selection. The student is pointed to the band library solo/ensemble music drawer and begins looking through the solo options. Scared of the heavier use of black ink on the concerto, the student pulls out a sonata because it looks easier.

Yeah, eighths instead of sixteenths, hardly any ‘runs’. This piece is for ME.

The pianist, who often only gets 1-2 times to practice with the student, and who is probably also accompanying 10 other soloists, has had neither the time to adequately prepare the tougher piano part, nor the understanding of how the two go together……hence the painful disaster at contest as a result of poor interpretation.

Solutions / Recommendations

Pick a piece to highlight the soloist’s strength.

If your strength is technical proficiency (you can play fast, i.e. runs and arpeggios), the 1st or 3rd movement of a concerto can be a good choice. If a beautiful tone and vibrato are what you do well, then perhaps the 2nd movement of a concerto or some other solo form; such as an ‘air’ or a sound portrait type piece, might be a better choice. If you are good at playing with a wide range of emotion AND have access and rehearsal time to a good accompanist AND time to spend with a music coach who understands the particular piece selected, THEN….a sonata can be a strong choice.

Some of the lowest scores at contest are sometimes given to a decent musician who butchered a sonata, not due to poor musicianship, but to poor interpretation and understanding.

Get some expert coaching and/or listen to professional examples of that piece performed.

If you are studying privately, you should have the expert coaching you need. Your band director can often be a good source. As a director, however, I made an error a few years ago when I interpreted an Adagio tempo for a soloist. Mine was a good metronome interpretation, but not knowing that particular piece, I didn’t realize that the traditional method of performing that solo was to interpret the Adagio at the eighth note pulse and not the quarter note. The first time I heard a judge critique, I blamed the judge. The next time, when it was a different judge saying the same thing, I concluded I was mechanically, but not musically correct.

Sometimes it is difficult to find expert coaching in a geographic area for some specific instruments. Band Directors are usually expert in at least one instrument and may be proficient on multiple, but are not expert at all. The director can help with basics of notes, rhythms, dynamics, articulations, performance pedagogy, etc. But for interpretation, in the absence of a local coach, consider additional options:

1. Internet research. You should be able to find critique or comments on a variety of solo pieces, often as part of either a contribution from a college professor expert or from research data published in intellectual papers.

2. YouTube and other video presentations. CAUTION: Anybody can post videos and some are hideous. Better sources might include college senior music major recitals. Or look for multiple presentations of a particular piece and give extra consideration to the one with the higher number of views…..or to those that represent the pattern rather than the exception from your list of options.

3. Forums or discussion groups. Search to see if others are asking similar questions or having discussions about a particular piece. Often there will be at least one “expert” contributor.

4. Find a Skype coach. Colleges are using Skype to interview applicants. So are employers. When distance is an issue, it is an acceptable alternative. Music lessons or coaching via Skype are not common but are becoming more acceptable and available.

Thanks for reading,
John

VMO Business Card

 

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Solo and Ensemble Contest Prep: Scoresheet Categories

2 Comments / College Prep, Personal experience, Repost, Solo Prep, Teaching, Teaching Music /

By John Gardner

Solo and Ensemble no frameMusic students from the local schoola participate in ISSMA (Indiana State School Music Association) sanctioned solo and ensemble district and state level competitions. ISSMA copyrights their judging forms so I can’t show those.

Many categories for solo contests are fairly universal, and as a template for the categories I will use here, I have selected categories posted on a high school site outside Indiana. For each category; the title and considerations are copied, the comments are mine.

INTONATION: 

Accuracy to printed pitches.

In Solo performance, are you in tune with the piano (or the recorded accompaniment)? You should tune carefully before you begin, both to check intonation and to ensure the instrument is ready to go, especially if you have been waiting for a while. No instrument is completely “in tune”, i.e. tuning one note is not enough. You need to know what notes or octaves have what tendencies on your instrument and adjust accordingly. Flutes can roll in/out to help, trumpets have a 3rd valve slide and all brass instruments have alternate fingerings to compensate for typically out of tune notes (especially 1 & 3 valve combinations). Trombones are almost without excuse, right? Otherwise, you can bend your pitch up or down by adjusting your embouchure — or by using alternate key combinations. Practice with a tuner to determine which notes are in/out of tune. If you study privately, hopefully your teacher is helping you with the lesser-known key combinations and techniques as you strive for a higher level performance.

In Ensemble performance, try to tune before going into the performance room, but take the necessary time to get it right before you start. If the last sound the judge hears before you start is noticeably out of tune, you are in trouble in this category.

TONE: 

Resonance, control, clarity, focus, consistency, warmth.

Tone is influenced and affected by many factors; instrument, mouthpiece, reed, and performer. If you have a step-up instrument and/or a better mouthpiece than the one that came with your 6th grade year instrument, then you should have some equipment help in tone production. But a good musician can make even lesser quality equipment sound good, while a poor musician can fail to produce what the equipment will allow. In other words, it is more than just the equipment — the judge is judging YOU!

Vibrato will likely be considered here for those instruments that are, at least at the higher levels, expected to play longer tones and melodic sections with a warm, controlled vibrato, typically oboes, bassoons, flutes, saxes, trumpets, trombones and baritones. French horns and clarinets generally are not expected to use vibrato.

Resonance, control, clarity, focus, consistency, warmth….all go to the currently accepted tone for your instrument. The best way, even if you are studying privately but especially if you are not, is to LISTEN to professional recordings. Online videos can be helpful, but some of those are posted by people not better trained or farther advanced than you. Resonance implies a deep, full, reverberating sound vs one that is weak and tentative. Is yours controlled or does it change drastically per octave or when you have skips of large intervals? When I think of clarity, I want to hear the instrument and not the reed, tone without fuzziness or buzziness. Consistency requires control. When someone talks of warmth, I think of a full flavored soft-drink or coffee vs something watered down. Warmth implies some emotional involvement (more below) in your sound.

RHYTHM:

Accuracy of Note Values, Rest Values, Duration, Pulse, Steadiness, Correctness of Meter.

Note values covers a lot. When a quarter note is followed by a rest, do you go all the way to the rest? When you have a dotted eighth-sixteenth pattern, do you sub-divide to ensure the dotted 8th gets 3/4 of the beat….and not 2/3? A common rest mistake is similar; not giving it enough value or rushing to the next note, which gets into Pulse. If it were possible to hook up a heart monitor to the way you play, you don’t want the screen to look spastic, or as if you are having a heart attack. You should have a clear, easy to read (hear) ‘beat’.

Is your tempo Steady, i.e., you don’t slow down during the faster parts and increase tempo in the easy sections?

Your heart rate increases when you run, but your tempo should not change when you play runs.

Practice with a metronome. If it feels like the metronome is pushing you, you’re dragging. If it seems like it is slowing you down, you’re rushing. If possible for 8th note meters (5/8, 6/8, etc), set the metronome so the 8th note gets the click. Obviously that becomes more difficult the faster the tempo.

TECHNIQUE (facility/accuracy): 

Artistry, attacks, releases, control of ranges, musical/mechanical skill.

A question I’m often asked in a playing test setting where the student is going to be graded on how he/she plays something is; “How fast should I play it?” My answer is always,

As fast as you can play it accurately.

Facility speaks to how quickly or effortlessly you can play something, to your mechanical skill. Are you up to tempo on a technical passage or are you slowing it down so you can get all the notes. Balanced with facility is accuracy. If you slow it down and get it right, the judge might ding you a little on facility but should credit you on accuracy. The opposite is not true, however. If you play at tempo and miss lots of notes, you have demonstrated a lower level of both facility and accuracy. For the highest credit, practice it slowly, get it right, the gradually speed it up (with a metronome) to tempo. Accurately at tempo is the goal.

Is it better to play it slower and accurately, or at tempo and miss some notes?

Judge response: If you want MY highest rating, play it correctly at tempo.

Two terms above go together; artistry and musical skill. Have you interacted with Siri on the iPhone? That is a mechanical voice. Failure to demonstrate artistry or musicianship (musical skill) would be like listening to someone who speaks in a monotone, or someone who writes without any capitalization or punctuation. Similarly to the impact of a well-delivered preacher’s sermon, politician’s speech or orator’s dramatic reading, your artistry will affect your audience…and the judge.

When it comes to attacks and releases, most attack better than they release. Work at both. In a slower, melodic passage, can you start the note on pure air minus the tongue, or at least get the sound started without the sound of the articulation? Sometimes thinking of a football can work with a picture of how sound (or phrases) begin and end. Don’t start with a thud and don’t end with a chop off. Sometimes you need the tongue to stop the sound, but ending with the air is preferred.

Do you struggle with low notes on a saxophone or high notes on a trumpet or clarinet? Or any instrument? That is about consistency and control. It is more than just blowing and wiggling fingers. Can you maintain a dynamic level as you change octaves? A clarinet descending from high to low actually needs more air at the lower levels to maintain the same volume. Do you have some notes that pop out? That demonstrates a lack of control.

Record yourself using a computer device (such as iPad free app “Recorder Plus HD”) that shows your recording level. When you review, look for sudden peaks or valleys in volume… Sometimes you can get a visual of control issue.

And notice that, with this judging sheet category, “note accuracy” is assumed rather than mentioned. Playing right notes is the minimum of any performance and if that is all you do, you should expect a mediocre rating or result. In a previous article, I likened this minimal notes-only approach to driving a car and staying on the road while avoiding the other signs along the way.

Interpretation: Musicianship

Style, Phrasing, Tempo, Dynamics, Emotional Involvement

There is a lot of overlap in these categories. Interpretation involves HOW you play WHAT you play. Are you in the style of the piece. Trills and grace notes in a Mozart piece are different from those from more recent composers. The style of a rondo is different from that of an intermezzo. When it comes to phrasing, are you adding fluctuation to the sound? Is it going somewhere? Is there a beginning, a peak and an end to a phrase? Do you play the way you speak? Phrasing can also include articulation (next category) and dynamics. Just as tempo was a part of fluency and accuracy described earlier, it is also part of interpretation. If you play a technical concerto by Mozart or Weber and you take the allegro section at half tempo to get the notes right, you have mis-interpreted the tempo.

Articulation

Few things are more obvious to a trained musician than to hear the errors of sloppy articulation; slurring everything, constant tonguing or a random combination.

Music performance can include articulation interpretations, but if you are changing what is marked on the paper, you need to mark your changes on the judge’s copy. Make sure the judge knows that what you played was what you intended.

If you have an extended 16th note run that is market all staccato, and you struggle with playing that, and you don’t want to reduce the tempo, then you might want to slur two, tongue two in a grouping of 4 sixteenth notes, for example. Mark the judge’s copy. He/she could still ding you a little for your articulation interpretation, but less than if you made the change without marking the original.

articulationThe other main weakness in articulation is the technique, i.e. HOW you articulate. Have you ever heard someone with a speech impediment? The challenge in fixing those is that most of what is happening is going on inside the mouth. Speech therapists are trained to do that. Do you need a specialist?

For a reed player, are you touching the reed, the roof of the mouth, or are you making some sort of ‘k’ or other throat sound to stop the air?  Not all articulations are created equal. If you make the judge spend time trying to figure out what is going on inside your mouth (articulation technique), you are hindering your success.

 

Performance Factors

Choice of literature, appropriate appearance, poise, posture, general conduct, manerisms, facial expression. 

I wrote an article about selecting literature. Read it….

Choice of literature: Demonstrate your strengths, hide your weaknesses. If you struggle some with rhythms, have trouble with fast passages, perhaps you should choose a slower piece. If you struggle with vibrato, don’t select the slow, melodic romantic-style ballad.

Appropriate appearance has nothing to do with your beauty or your weight. If you go to a job interview that would require you working in a business office and you arrive in jeans with holes and a t-shirt advertising an alcoholic beverage, you start with the wrong impression. Most solo/ensemble festivals will accept clean casual. Understand that most of the judges are college professors, where their performers are often required to wear tuxes and formals. Don’t shock them. If you come to the performance room looking like you have dressed for success, that you are showing respect for the judge, the audience and the event, you will earn credit in this area.

Poise and posture. Look like a performer. If standing, consider having both feet flat on the floor. If sitting, move forward on the chair with both feet on the floor. Poise includes the idea of selling both yourself and what you are doing. A college professor was advising a modest, yet talented musician and explained it this way:

Humility is a virtue. It is okay to be meek and mild….UNTIL you put that [instrument] in your hands and walk out onto that stage. THEN I want you to be an arrogant, confident, mean son-of-a-[band parent]. Take the stage. Command and control the audience.

My college professor told me to…

…make them stand up.

General conduct / manerisms, facial expression. Avoid toe tapping. Don’t grimace when you make a mistake. You’re in the spotlight and everything is important.

This is generally a catch all category and judges can use it to give you a higher rating here than maybe they were able to on other areas. This should be the category in which everyone can do well.

———————

Related:

Respecting, Preparing For and Appreciating your Pianist

 

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GT (Gifted and Talented): The System worked for us, but we had to work the system

Leave a Comment / College Prep, Family, High Schools, News and Happenings, Parenting, Personal experience, Public Schools, Repost, Teaching, Types of education /

gifted and talented

For two years during elementary school, our sons were part of a GT (Gifted and Talented) program called “Project Challenge”, which allowed students to advance in several areas. When they got to middle school, the program stopped and that was a problem (for us). The two in this clip, David and Casey, were allowed to take an 8th-grade Algebra class during 7th-grade year — and were the top two students in the class.

When we approached the school to question their plans for math for the 8th-grade year, the teacher explained that repetition was good, i.e. they were going to allow them to RE-TAKE the class. 

Unacceptable….

“You don’t hold back students like these two. They are the top two students in your class. They do not need to repeat it.”

Joan and I met with the principal, who, at one point, angrily pounded his fist (literally) on the desk and barked,

“I am so sick of parents pushing their kids.”

“We’re not pushing him. We just want to make sure there are not walls blocking his path.”

We objected long and loud enough (plus Casey’s parents were a teacher and a principal) that they agreed to bus these two to the high school every day, where they took two math courses that year. (That is the case started a year ago, as mentioned in the clip.)

During Freshman year, David was coming home complaining about a Spanish class he was taking. He didn’t like the “stupid” techniques they were using to learn vocabulary. At a parent-teacher conference, the teacher said he was causing disturbances in class with his lack of participation. We asked the teacher if he was bored in class.

“Absolutely he is bored.”

The teacher worked with us and school administrators to transfer David from Spanish I to Spanish IV. It took him a short while to catch up, but he loved it and soared.

By Sophomore year they were taking calculus and were invited to come to senior awards night to receive the high school’s top math recognitions. 

Out of high school math options, and before it was more readily available, David was allowed to go to the local university for an advanced math class junior year. When the professor objected, the high school teachers said,

“Just let him take the class. He’ll be fine”.

When the college students, thinking he looked too young to be there, asked him what year he was in, David’s response was “Junior year”. 

A few weeks into the college class, the professor accused David of cheating. He wasn’t doing the work to show the answers he was coming up with. 

When confronted, David asked,

“Is the goal to do the work or to solve the problem?” 

Unconvinced that he could get the answers the way he was, he watched David solve some problems, concluding that …

“I don’t know how he is doing it, but he is doing it.”

By the end of the semester, the professor was inviting David to take an even higher-level college class. 

The week prior to a big performance, the show choir toured the middle schools. Students were expected to make up their work. There was a grading period ending and one of David’s teachers asked him to make sure he got a particular assignment completed, recognizing that,

“You and I both know that if there is a negative impact to your grade that your parents will be in here.”

The only teacher or administrator that we confronted angrily was that fist-banging middle school principal. We were persistent, however, especially when we felt one of our sons was being held back or prevented from excelling because of convenience or policy.

Something I’ve said multiple times over the years, usually when encouraging parents to advocate louder,

“The system worked for us — but we had to work the system.”

PS After graduating high school with a perfect, pre-weighted-grades GPA, and in the top 1% at Duke, David went to Ivy-League Penn where he paid $0 for his Ph.D. and is currently a teacher, coach and dean at one of, if not the highest-rated boarding school in the country. His brother is the Worship Pastor at a large church in Washington State. 

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Earning and receiving a great reference letter

1 Comment / College Prep, High Schools, Job Search, Teaching Music /

referencesBy John Gardner (retired July 2020)

As a teacher, I was often asked to be a reference on a job application or to write a recommendation letter for students applying for scholarships, jobs, and/or colleges. I received a nice thank you from a former exchange student who had just re-used the letter I wrote for her as she was applying for graduate studies toward her doctorate at a university in Germany. Because I find myself answering the same questions or asking for the same information whenever students need this help, I’m going to organize them here and then refer students to this post when they want my letter-writing help.

How do you EARN a good letter and when do you START?

When sophomores and juniors interested in auditioning for Drum Major asked, “When are auditions?” My response was normally, “Your audition started freshman year.”

Similarly, a good reference doesn’t happen just because you ask or need one…. it happens because you have earned it during your years of association with, in this case, a teacher.

Few teachers or coaches get to know a student as well as a band director because it is often a 4+ year participation class — and especially marching band involves much more interaction than in a typical academic class. Students should realize and appreciate the value of such a letter — and work all four years to develop a stellar reputation the teacher will be happy to brag on.

Hire MeWhat makes a good letter?

I usually structure my letter to focus on multiple areas:

  1. Band experience. Which ensembles, what years, any additional responsibilities – i.e. section leader, drum major, etc.
  2. Qualification. Especially for scholarship letters, I like to emphasize genuine need and why I think meeting that need is a good investment for the scholarship provider.
  3. School experience. Grades, other extracurricular activities, honor rolls, awards, achievements.
  4. Community experience, especially volunteerism. Camps, counseling experiences, etc. Jobs.
  5. College/Career goal. What will you major in or what do you plan to do after graduation?
  6. Reputation. I like to reference the quality of friend choices, the wisdom of decision-making, and generally, the types of comments peers and teachers might make.

What YOU should provide the letter-writer.

  • Resume. Resumes typically contain much of the information needed for a good letter. If you don’t have a resume, use the above list and organize information. If not an official resume, at least a list of activities, honors, awards, jobs, volunteer work, and after-graduation plans.
  • Stamped, Addressed Envelope with sufficient postage. Although I often do provide a copy to the student, the customary approach is to provide everything to the letter writer who then can put the letter in the envelope, seal it and drop it in the mail. OR… links to the online application and an email to which to send a copy to the student. Don’t use your school email, which may expire after you graduate.
  • Additional Paperwork completed. Often there is an accompanying application or information sheet to go with the letter and it is both inconvenient and inconsiderate of you to expect ME to take that additional time. Fill in your addresses, names, and numbers. If I see that it will take extra time, I tend to procrastinate on the project.
  • TIME! The worst was a student approaching me after school about writing a letter requiring a same day postmark! C’mon…. If you want a comprehensive letter, give me time to do it. I will typically write a letter within a couple of days — but give me a week, please.

I love writing letters to help achievers because when I was where they are — there were people who went to bat for me and this is my way of returning that favor by passing it on….. Teachers don’t expect a lot in return, but a smile and a thank you can go a long way.

SUGGESTIONS for getting ADDITIONAL letters and help!  If a teacher has taken the time to organize and write a professional letter on YOUR behalf, consider a short, hand-written THANK YOU to the teacher. Guess who gets the better letters cranked out faster the next time?

Thanks for reading.

 

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What crushes their dreams?

Leave a Comment / College Prep, Consulting /

Below is one of the more depressingly negative parts of a page I have ever written. It comes from a 3-page section of an eBook I wrote, College Prep: A Strategic and Systematic Strategy that was the basis of a college presentation I made recently. I am convinced that many teens treat college prep the same way they treat any homework assignment. On the three-page excerpt below, I answer the question, “what crushes their dreams”?

They take what comes and go with the flow. Given their life history, why are we surprised? Teens coming into high school have had almost no control in their life story. They didn’t choose their parents, or where they live, or what economic condition they would endure. They have moved away from their friends as the parents get jobs or flee bill collectors. They are the unintended wounded in divorces and then have to “learn” to get along with parental “friends” or to have to go back and forth between parents. They have to learn to become brothers and sisters to someone else’s children. They have two and three bedrooms in different homes. Some jump from home to home weekly while others make a long summer move every year. The reality of single-parent households often includes a poverty component, or an absent parent working multiple jobs to try to make it. And what choice does the teen have?

By the time they get to high school, they are numb to relationship building. When they apply some of the standards and practices they’ve witnessed in their homes to their first boy/girlfriends, they experience similar traumatic results. Hearts are broken, and many erect shields of protection as a defense to both students and adults – including teachers.

So when the realities of their short-sighted focus, crushed dreams and dashed hopes come to bear as they approach time for college decisions, they default into the same mode they already know so well. They just take it. They go with the flow.

Download these 3 pages: =====> Harsh Reality of Getting To and Paying for College.

Hopefully, I am NOT describing anything close to YOUR reality. If I am, I’m open to a conversation.

The good news is that with a systematic strategy, many students can get into higher-priced schools paying less than they might have to go to a lower-priced option. Depending on response/reaction, I may periodically post more as we move closer to the October PSAT test, for which I hope to convince you to “practice and prepare”.

-G

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10 Ways To Earn Student Respect and Trust

6 Comments / College Prep, Communication, Marching Band, Parenting, Social Media, Teaching, Teaching Music /
This is my garage the day before it was being re-sided. I called it the "GGG" (Gardner, Garage Graffiti) event. They came to my house on a Saturday morning. Do you think they will remember this day? What if they had not come?
This is my garage the day before it was being re-sided. I called it the “GGG” (Gardner, Garage Graffiti) event. They came to my house on a Saturday morning. Do you think they will remember this day? What if they had not come?

Students know which teacher(s)….

  • are more interested in being popular than in providing and expecting academic excellence . Students will “like” this teacher, but will not “respect” him/her.
  • are there only for the paycheck. These are the people who deserve the quote, “those who can – do, those who can’t – teach”.
  • stopped working hard when they got tenure and are now just putting in time.
  • are incompetent. Students recognize those who read only the questions in the teacher’s edition, use publisher-provided Powerpoint presentations and read them word for word, who have artificial conversations or Q&A sessions.
  • are invested in the totality of the student, beyond what is required by the contract and mandated by administration.
  • are the go to adults for help, support and understanding with life’s struggles

“When students feel that teachers and school administrators genuinely care about them and help them to feel welcome, they are more motivated to cooperate and to succeed.” -Robert Brooks, PhD

A former student remembering her band experience wrote that,

“It is more than just about music.”

She attributed the life-skills she learned in band (time management, team building, respect for authority, commitment, self-discipline….) to have been major factors in her success in college, medical school and life.

In a Facebook message from a Music Education major;

“I just wanted to take a moment to thank you again and again for steering me in the right path, …! There is no way I will ever be able to give you the thanks that you really deserve, for the potential you saw in me, for the care you gave me, for the trust you put in me, and for the time and energy you invested in me! You changed a life…MINE.”

Responding to a blog post called, “I Want To Trust You”, another former student wrote;

I’m remembering a little white lie that Tina and I told you just to get out of class for a minute or two……..Unfortunately, you found out about it. I’ve never felt so guilty as when I was caught tricking YOU! You were the TEACHER to go to when things weren’t going ok. And a trusted teacher…….I was SO sorry!”

Four days before Christmas, I received a text message from a senior,

“G, I just got kicked out of my house. Please help me!”

How can teachers get past the compliance expectation and earn respect….and TRUST?

  • Be real. You can’t fake it with teens, they will see right through you. If you can’t be real, you should not be there. Please leave education.
  • Be available. How easy is it for a teen to say to YOU, “Can I talk to you?”? What if it is not during class or immediately after school? In how many different ways are you available and do students know and understand that? Do they know if it is ok to email, call, text or instant message you? When a teen says they need to talk, somebody needs to be available. Be that person. Consider your use of texting and social media.
  • Be there. Yes, you’re “on duty” at school. What about when a student is in the hospital, at the funeral home, pitching in the softball/baseball game, getting baptized, being awarded Eagle Scout status, or when their garage-type band is playing at the coffee shop? Take your spouse or your kids and just be where you can when you can. They will notice.
  • Trust them. If you want trust, you need to give some. I have a periodic discussion about trust, abusing it, losing it and the difficulty in earning it a second time. Read: “I WANT To Trust You“. Teens make mistakes and the trust area is one of those places where they can mess up. But help them learn. Take a reasonable chance. Yes, you’ll get burned some….but you will also empower leaders to rise up.
  • Respect them. There is a good chance they will recognize and return it.
  • Advocate for them. Of course you have students who are financially challenged and could benefit from music lessons, a better instrument, participation in a select ensemble or some other training. You won’t always succeed, but try to find funding to help. Call the employer to help him get that job. Write a letter to help her get that scholarship. Help them with college applications their parents can’t (or won’t).
  • Listen, really listen. Teens typically think that people don’t listen. They think adults are quick to lecture, criticize and correct, but are slow to listen. You don’t always have to have the answer. Sometimes there isn’t an obvious answer. Sometimes listening is the answer, because in allowing them to share, you enable them to find their own answer. Unless they are sharing something illegal, dangerous, hear them out. Don’t argue. Don’t interrupt. Don’t pre-judge. And when you can, share your wisdom, experience, expertise and advice.
  • Expect and Encourage Excellence. Students will complain when the load is heavy and the challenge is significant, but they know, even when they won’t admit, that achieving excellence requires work. They want to achieve and succeed. Being there for them doesn’t mean lowering your standards. Make them stretch. They’ll appreciate you eventually, even if not today.
  • Don’t assume. A question I ask often is, “You okay?” Simple question….and sometimes they shrug it off, but there have been many times for me that this gives them the opening to ask for help.
  • Don’t give up. It can be difficult, disappointing and even deflating when teens mess up. Don’t give up on them. That’s what the rest of society wants to do sometimes…. They will be disappointed that they disappointed you, but your unconditional support (not approving what they do) is vitally important to them.

——————————–

Sometimes I complain about my job; about the part-time-ness, the pay, the union, my bosses, the financial realities, and more…. but I will ALWAYS love the teens I get to work with. They can be challenging; sometimes immature, making decisions without thinking through to the consequences of those decisions, they can love you today, hate you tomorrow and love you again the day after……, but if you’re in it for them, you’re positively impacting lives and as the commercial implies, you cannot put a price on that.

UPDATE: I retired from teaching in July of 2020. I still love teens.

Thanks for reading,

John

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10 Ways To Earn Student Respect and Trust Read More »

The PSAT is more than just a practice test

Leave a Comment / College Prep, Personal experience /

In many high schools, the PSAT is administered to Sophomores in October. Teen Life Blog writes that the PSAT is more than just a practice test. 

Here is how the typical Sophomore takes the test.

The day before the PSAT, Sophomores are instructed to get a good night’s sleep and eat a good breakfast in the morning.

On test day, they report to their assigned room, spend several hours taking the PSAT and then exiting the room saying variations of…..

“That was terrible.”
“I blew it.”

And then a few weeks later, the scores come out and they find out they were right.

Don’t do it that way!

The PSAT does two important (and valuable) things

First, the PSAT (Preliminary Scholastic Aptitude Test) is also the NMSQT (National Merit Scholarship Qualifying Test). Here’s a good blog article, “How To Become A National Merit Semifinalist“.

“Doing poorly on the exam, taken most often by sophomores and juniors, won’t hurt your college admissions chances”, points out Mandee Heller Adler, founder of International College Counselors in Hollywood, Fla. “But doing well on it could mean more money for college—in some cases, a lot more.”

That’s because the PSAT also serves as the National Merit Scholarship Qualifying Test for juniors hoping to be National Merit finalists.
-Money / Family Finance

I have some personal experience with the PSAT with my two high school sons.

The older acquired National Merit Scholar Status and received a $2500 annual award at his college, specifically because of that status. So in his case, the PSAT was worth $10,000. Is that worth “practicing and preparing”? I vote YES!

I didn’t keep track of the collegiate response to the older son’s PSAT, but I did for the younger. A few examples from the mail he received following his PSAT in 2000 and prior to graduation in 2001.

If you treat the PSAT like it doesn’t really matter, like the average high school student treats most homework and tests, then it will not do much for you. To be in the top 1% (what it takes to earn National Merit status), a strategy of “practice and prepare”, can help you get significant money for college.

Toward that end, here is the best place to practice. I say that because the PSAT is the College Board’s test.

Hope this helps.

The PSAT is more than just a practice test Read More »

Make yourself valuable

College Prep, Communication, Family, Personal experience, Respect, Teaching Music /

College prepI was in 9th grade when my band director, who had heard I wanted to be a band director, pulled me aside to tell me that 1) being a band director would require going to college, 2) my family couldn’t afford it, and 3) he had a way, “make yourself valuable”.

My parents divorced my 7th grade year. Dad was a firefighter and Mom, a polio survivor, was left raising five kids….I was the oldest.

Mr. Copenhaver emphasized that my grades weren’t good enough for academic scholarships and pointed out that I wasn’t athletic, so he told me the only way I would get there was to be good enough at something that a school would pay for me to come. He said I was decent on clarinet and suggested I focus on that. I had 4yrs to prepare. He helped me get 1-1 instruction with the best teacher in the region, to attend summer camps at two universities, to partipcate in band clinics, solo/ensemble festivals and honor bands — for both the experience and the exposure. It worked. I made myself valuable.

I did have a loan (don’t remember the amt). Of course, the number was lower, but my first teaching job only paid about $10k, so all the numbers were lower. I had on and off-campus jobs, including (for a while) a 3rd shift cleaning job at a restaurant and a job I went to over breaks and around summer schedules. I rode my bike about 3-4 miles to an area high school 2-3 times a week to work with about 15 students until I got my first car in time for student teaching.

I do remember learning how to pay my bills, including deciding which ones I could pay after each teaching paycheck. I get that.

Are there problems with the system today? Absolutely. College prices are outrageous. When our younger son was in school, their prices increased $1000/yr — and are now double what they were when we were dealing with them. Schools can raise their fees because loan-makers make it easy to get higher loans to pay the higher fees. Many universities (including state schools) have billions (with a B) endowments. They could go tuitionless for at least several years. Meanwhile, the cycle keeps going.

The contractor we hope will soon get us on his schedule is driving a truck I could never afford. He told me he dropped out of college when he figured out that, instead of debt, he could quickly be making more than he would make with the degree he was working on. A military recruiter told our band class that going his route could enable someone to have 6-figures in the bank instead of 6-figures in debt.

I would hope we can find a way to help the needy without just transferring that obligation to those who couldn’t go to college or who went to trade school (and borrowed money for buildings, vehicles, tools, etc) or into the military instead.

Blanket cancellations (which I know this is not): the SCHOOL wins because they got their money and can now raise prices again, the LOAN-MAKERS win because they can make bigger loans.

Somebody a lot smarter than me is going to have to figure it out. I do not believe it is an easy solution.

If you want to respectfully respond, even to disagree, feel free. If you’re going to call me a non-Christian, selfish or some of the other names I’ve been called (like these twitter responses):

Selfish shell fish
Special snowflake
Ignorant to the rest of the world
Sweetie
Conversation of which I know nothing
You ASSume things
smarmy asshats
I looked at your profile pic (old, fat, bald)

…then please don’t bother.

Make yourself valuable Read More »

Teens I Admire

1 Comment / College Prep, High Schools, Parenting, Personal experience, Respect, Social Media, Teaching, Teaching Music /

By John Gardner

NOTE: I was teaching when I wrote this. I have since retired, so rather than go through and edit what I am doing with what I did do, I’ll just put this disclaimer out there so you know.

Large group of smiling friends staying together and looking at camera isolated on blue backgroundAdults who are afraid of teenagers or who feel like teens of today are nothing like those from their day (adults have been saying that forever, right?) ….. or who think the quality of teens is crumbling….. should come hang out with the teens I get to spend time with.

As a teacher, I can’t use the “love” word, must avoid the “creepy” label (they DO use that word too much), have to be careful how I compliment the way someone looks, and often settle for handshakes and high fives when a good pat on the back or a hug seems so much more appropriate for the circumstance …. but I thoroughly enjoy my time on the school clock. I LOVE the youthful enthusiasm. I ADMIRE their dreams, goals, and aspirations. And I RESPECT those who make the best of their circumstances as they strive for excellence. I am all about encouraging achievers because they allow me into their lives. I “love” this job AND these teens.

My response to the parent who asked recently, “How do you put up with a room FULL of teenagers?” is “I feel sorry for those who DON’T get to experience a room FULL of teenagers.”

Some of the “types” of teens I admire….

I admire teens who thrive because of their parents…

Band students have complicated schedules that can challenge parental patience. There is the expense of instruments and extras (reeds, valve oil, drum sticks) — not to mention private lessons, summer camps, etc. Vacations get adjusted and, especially until the teen can drive, there are countless trips to drop off and pick up.

Some parents sacrifice soooo much in time, energy and money so that their teen can focus on being a better student, athlete, musician, academic or whatever. But all of that is for naught if the teen doesn’t take advantage of it. I admire teens who appreciate what they have and commit themselves to “getting their parents’ money’s worth”.

I admire teens who thrive in spite of their parents.

I was outside Door 34 prior to a rehearsal when she jumped out of the car and ran up to me, crying and wiping tears from her eyes, “G… I’m sorry…..I’m so sorry.” As she ran off into the building I got the impact of her emotion when I saw the approaching papa angrily waving a copy of our schedule.

“How much of this is mandatory?”, he asked angrily

“All of it.”, I responded quietly.

He huffed and puffed and returned to his car. When I walked into the band office, the daughter was waiting for me, tears streaming….wanting to know that I was okay after an encounter with her father. She needed a hug, and I gave her one.

Additional random examples….

“We’re going to pull our son out of band…..his room is a mess.”

“I can’t come to band today. I’m grounded and part of my punishment is whatever consequence I get from you for not being here.”

” He really loves band…..which is why this has to be part of his punishment.”

“She can’t major in color guard in college….so there is no point in the expense for her to be in this activity.”

“My parents took my band card money and my paycheck money. What do I do?”

“Here’s my paycheck to pay you back for letting me go to Disney. I will be able to pay you back from my job over the next three months.” (And did.)

“I have to stop taking private lessons because my dad says if I have money to waste on music lessons that I can pay rent.”

“G, I just got kicked out of my house.”

“Why are you telling my kid (s)he needs extra money for music lessons? Aren’t you the teacher? Why don’t you do what you’re getting paid for?”

“Why should I buy another [instrument]? I bought the one they told me to buy when (s)he started.”

Some of the most determined to succeed band students have parents I never meet. I understand busy and I understand the struggles of single parenthood (there were five kids in my single parent home) and it can be hard….yes, it can be hard. But it is sad sometimes to watch students try not to show disappointment when the parent is not there…. just sayin’.

I admire students who, despite the potential negatives of their circumstances…..are determined to succeed…..

Teens I Admire Read More »

I wanted to be a band director

College Prep, Family, Personal experience, Respect, Teaching, Teaching Music /

In 7th grade, attending a band clinic at Morehead State University, I made the definite decision that I wanted to be a band director. No one on either side of my family had been to college, so I was clueless in many aspects of what it would take.

My band director, James Copenhaver, pulled me aside one day to explain:

You want to be a band director. That means you’re going to need to go to college, but your family can’t pay for you to go (My parents were divorced and my polio-surviving mother was raising five children.)

Your grades are okay, but not good enough for academic scholarships. You’re not athletic, so that is out.

The best chance for you to get to college is to become good enough on that clarinet that by the time you graduate, a college will pay for you to come. You’ve got four years.

It worked.

I wanted to be a band director Read More »