Teaching Music

Music Teacher Unreasonable (?) Expectations

In a recent Professional Development event discussion involving middle and high school music teachers and an administrator, one of the question prompts had to do with what we expect from our students. The admin was mildly surprised when the nearly immediate response from multiple music teachers was – 100%. I saw him write that response in his notes.

But it is true. I’ve shared this video before, but it is a good demonstration of our level of expectation from our students. In a math or english class, for example, if you miss one out of one hundred, that is still a high ‘A’. When this director gives everyone in the band the opportunity to miss one (only one) note, you can hear the tragedy. Then he goes for the second note, which would still be a high ‘A’ in any other class.

https://youtu.be/KpyzGO2aQzE

 

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I know exactly when and where I decided I wanted to be a band director

I know exactly when and where I decided I wanted to be a band director Read More »

When you hear that students today are behind

By John Gardner

I’m not going to defend some of today’s diluted, politically correct, expanded curricula when compared to what students learned decades (or centuries) ago. The Huffington Post published this 8th grade exam from 100 years ago and ask if you could pass it today.

I don’t ever recall, as a student, having to spend school time on bullying or suicide prevention, tolerance, drugs, sex, active-shooter and lock-down drills. I’ve participated in mandatory teacher training on bullying. We provide “digital citizenship” training worth several class periods for using those free iPads we gave them. Schools test to test that teachers’ tests are testing appropriate levels, that teachers are teaching and students are learning.
 
WHAT students must learn today is so much more complex than what students needed to know back in a previous century. Below is a good visual. It would have been much easier to learn to identify and differentiate the crayon colors available in the 1903 vs today, wouldn’t you agree?

Just sayin’.

Crayon Colors

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Loud music in church

This is one of my favorite pieces I’ve heard at Duke Chapel, played as a postlude as and after the auditorium has emptied at the end of a service.

Click on a pic to enlarge

Organ Symphony No. 5 in F Minor, Op. 42 No. 1: V. Toccata

Best if you listen with your volume turned up. There is a section in the middle that gets so soft you can barely hear it, and then it comes roaring back again. There is a several second reverb after the release of the last chord. Enjoy.

Here is an Easter Service in the Chapel. It begins using the rear organ. You’ll see the keyboard for the front organ during the processional. Be sure to skip to the Postlude if you don’t want to listen to everything in between. Here are some recommended stops to make:

9:46 Introit (Rear Organ)

13:40 Processional Hymn (Both Organs, ending with front organ)

24:00 Antiphon (Choir, organ, ensemble)

1:06:46 Choir (Offertory)

1:22:07 Postlude

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Be a Gold digger.

Solo/Ensemble season is here. Vocal is local and starts tomorrow. Instrumental for local musicians starts next Saturday. If you get District GOLD, you qualify for STATE.

Every participant is a winner. What other activity (maybe shooting free throws in a ball game) requires someone to stand in front of a person with the job of (usually) finding their every mistake?

Be GOLD diggers.

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Solo Judges Sheet from 53 years ago – The Story

Allow me to share the story behind the performance and the rating from this 53-yr old piece of falling-apart paper.




Throughout high school, Robert Roden was my clarinet teacher. I was the first chair clarinet at Holmes HS in Covington, KY. He also taught the first chair clarinet student from Simon Kenton (where he was Band Director) and at Campbell County HS. We were all in the same grade and had been competing with each other throughout high school when it came to District and All State ensembles.

For Solo Contest senior year HE GAVE ALL THREE OF US THE SAME SOLO!

It was a crazy difficult Theme and Variations on “Au Clair de la Lune”.

It created quite a stir as it became a bragging rights contest between the three bands.

When the schedule came out, I was third to go.

Pressure.

The first girl went – got a “I” (Superior) Rating. The room was fairly full with mostly students from her school.

More pressure.

The second girl went – got a “I” (Superior) Rating. Again, the room was fairly full.

Pressure cooker.

When I went, there were students from all three schools who couldn’t even all get into the room.

The piece is structured with a theme, piano interlude, variation, interlude, variation, etc.

The judge was Earl Thomas, clarinet professor at Eastern Kentucky University. He knew me well as I had studied with him four summers at the Stephen Collins Foster Music Camp at EKU.

As I am ready to begin, Thomas says,

Mr. Gardner, I don’t think I have ever heard this piece performed at the high school level and this is the third time I am hearing it today.

(I explain we three had the same teacher).

Well sir, since I have already heard this piece twice, can we just cut out the piano interludes? Just play each section, pause, and go on to the next.

For those who know me, I hope you would agree that my biggest strength is technique while my biggest challenges are endurance (and nerves). I could play fast, but I really needed those breaks. GONE.

I got so worried about losing the interlude breaks that I forgot to get nervous about performing….. I always wondered if, knowing me, he did that on purpose just to see how I’d respond.


At the end of my performance, HE STOOD UP FOR ME …. and then gave me the highest rating of the three. Yay!

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Personal Philosophy / Rationale Statement for Teaching

My decision to become a band director came during the Morehead State University Band Clinic during my 7th grade year. I purchased my first baton at the clinic. I was primarily influenced by three of my teachers.

James Copenhaver (Dr. Copenhaver, 34-yr Director of Bands at the University of South Carolina) was my beginning teacher during my first year (and his first year of teaching) and high school band director for two years. I wanted to be just like him. He pulled me aside Freshman year and said something like….

If you want to be a band director, you’re going to have to go to college. Your family may not be able to afford that…so I suggest you use your four years in high school to make yourself good enough that by the time you graduate, colleges will want to pay you to come.

They did.

Robert Roden taught me how to play clarinet during my high school years. I never heard him play (heart condition), but he had a good way of describing what I should do to play well. At my band director’s urging, he allowed me to “audition” for a spot in his studio. After hearing me, he made me a deal…

“You play well. I can help you get better. But you can’t afford me. As it turns out, I have a bad heart and can’t do yard work or heavy lifting. So, if you would be willing to cut my grass or shovel my snow, or do any other jobs around my house as needed, then I will provide you clarinet lessons until the day you show up here unprepared. Do we have a deal?”

Yes. And he kept his word. Senior year I received a “I+” (not a legal ranking) at solo festival, was 1st chair in All-State, 1st chair in an Honor Band (top spot in the top band out of six at the clinic), 1st chair at two summer music camps, and 1st chair in the United States Collegiate Wind Band that toured Europe and the U.S.S.R.

Tragically, he died in a fire at a dinner club where he was playing. He got out of the building, but went back in to get his music. My father was an off-duty Fire Chief on the scene.

The third person was my college clarinet professor. He was a terrible human, hated teaching girls, hated teaching clarinet (wanted to be orchestra director)…..but set his standards high and used fear, intimidation, and humiliation to force improvement. At least he taught me how to prepare.

My musical career from 5th grade through college was about performance and competition. My first teaching assignment was a small rural school (I had gone to a large inner-city high school) was a shocking experience for me. When I would encourage a parent to provide for private instruction, I was told that I was the teacher. When recommending a step-up instrument, I was asked what was wrong with the one they bought. Since there were limited resources, I refocused on the concept of teaching students how to achieve success. In 2005, when I had an opportunity to meet with a group of former students, not a single one had gone into music as a vocation, but all had children in band because of the positive experience they had. I felt reinforced. Because of the way the bar had been set for me, I set the bar high there, expected them to reach it – and most did. As a group, they achieved much success, reaching 4th in state in two of my four years with over 20% of the high school in the ensemble.  

Now, back in education after two decades away (which means I’ve missed all the current training over that time), I describe myself as the old guy with youthful enthusiasm. I would have to label myself a social efficiency-ist, which I realize sets me in confrontation with a lot of current teaching and training. I’ll try to keep an open mind.

Here are some statements I put in a brochure I send to parents of potential private instruction students. I call them my Gardner-isms:

Good Grades Do Pay – and I can prove it.

Colleges Pay for those who Play – well!

It doesn’t matter whether you win or lose — until you lose.

If the notes are on the paper, it is your job to play ALL of them.

If you’re going to play it, you might as well play it right.

The view from 1st chair is much better.

Private Lessons can be like paying for college — one week at a time.

Be prepared: Make sure your parents are getting their money’s worth.

Santa isn’t the only one who knows whether you’ve been bad (no practice) or good.

You can’t sight read in your lesson and get away with it. I’m better than that.

Like the ice skater who misses the quad, missing notes in public can hurt.

Anybody can be mediocre.  Not you. Not with me. Don’t even think about it.

You can practice hard now and have fun at performance, or you can have fun now…

Do you really want to pay me to tell you it was good — if it wasn’t?

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Earning and receiving a great reference letter

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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10+ Gump-ism-style Advice Lines for Bands, Students and Parents

forrestgumpIn the spirit of Forrest Gump who put out Gump-isms like, “Life is like a box of chocolates…..You never know what you’re gonna get”, I offer the following sayings that sometime happen in band rehearsals and private studio lessons.

“Good Grades Do Pay.”

We all hear about college paying for good athletes, but they will also pay for good intellectuals. Pick up a brochure from just about any college and you’ll find a place in there where they list things like 1) Average SAT/ACT score or 2) National Merit Scholars.

If your SAT/ACT score is higher than the college’s average, then they WANT YOU because you will raise their average. To many schools, both the average SAT/ACT scores and the number of National Merit Scholars they have represent “bragging rights”. But instead of accidentally stumbling into success, strategically plan for it, and then systematically execute your plan.

The first major test is one often ignored, the PSAT (Preliminary Scholastic Aptitude Test). Sophomores and Juniors can take the PSAT, which gives colleges some early information they can use to recruit. The PSAT is also the NMSQT (National Merit Scholar Qualifying test). Colleges will pay for National Merit Scholars. They brag about how may NM Scholars they have in their community. This is a test worth practicing and preparing for. Treat your preparation as a part-time job.

How much money can you make at minimum wage?

The other test(s) worth studying and preparing for are the SAT, the ACT and the SAT II’s (specific subject tests required by some schools).

“Colleges Pay for those who Play – WELL!”

Don’t ignore the ARTS corner of the Triangle-A (Athletics, Academics, Arts). I remember a conversation I had with son #1 as we sat in the driveway of his trumpet teacher’s house and I was writing that check for an hour-long lesson:

“I am paying for your college education one week at a time.
By the time you get to college,
you need to be good enough
that colleges will pay for you.”

I did not pay for MY college education. As one of five children raised in a single parent household by a polio survivor mother, I knew there was no way my family could send me to college. I knew that the only way I would get to college was for a college to pay for me to come. I wasn’t going to qualify academically and was completely non-Athletic. But by 8th grade, I realized I could play the clarinet pretty well – and set off on a track to make that my way in to college. Some of the things I did related to that:

* When my friends were out cruising, I was practicing.
(Not much choice as I didn’t have a car.)

* When my friends were going to the movies, I was practicing.
(Not much choice as I didn’t have spending money.)

* I took clarinet lessons all through high school.

* I participated in Summer Music Camps. I spent three 4-week sessions at the Stephen Foster Music Camp at Eastern Kentucky University and two summers at the 2-week Summer Camp at Morehead State University. Colleges offer camps and clinics to recruit: to get to know prospects and to give them an opportunity to fall in love with the college. In those cases, I got to study for short times with the clarinet professors at both universities. When it came time to select a college, both of those were recruiting me because they already knew me. And, of course, having intense rehearsals and master classes all day for the summer makes one a much better musician.

* I auditioned for specialty and clinic bands. Northern Kentucky had a “Select Band” which rehearsed for 1-2 days and gave a concert. I also participated all 4 years in the Kentucky All-State Band. There was the Morehead State University Band Clinic.
* I participated in several ensembles and played a solo every year at Solo/Ensemble Festival. I received 1-II, 14-I’s and 1-I+. Both my sons surpassed that, with Son #2 achieving over 42 Gold Medal ratings in District and State in instrumental and vocal.

Son #1 did not pay for his college education. Do you notice anything similar about our paths and strategies?

Trumpet Lessons starting in 7th grade.
Honor Band
* Solo/Ensemble Festival
 – three trips to State
* Music Camp – (KY) twice
Music Camp – (IN)
Jazz Camp – (TN)
* Youth Symphony
* All-State Band
Summer Substitute with the Philharmonic Orchestra
* Everything Band
 in high school, including Marching (2yrs), Concert, Jazz, Varsity Brass (Show Choir Backup), Musicals.

In fact, there were some semesters when he would register for classes that the school would give HIM a check. That was because each year:

– $2500 each year from the Presidential Scholarship (National Merit Finalist)
– $2000 each year from the University to completely cover in-state-tuition
– $5000 from the Honors Program (ACT score, National Honor Society) to completely cover out of state tuition
– $3500 from the Music Department to completely cover housing
– $1000 from the Trumpet Studio
======
$14,000 … at a time when the total cost at TTU (Tennessee Tech) was about $10,500/yr.

He also received local scholarships. I recall that for one of those scholarships he called the person in charge because he missed the “postmark date” and wanted to see if he could drive it to her home (local). Her response was, “Please do, honey ….. your application will be the only one we have.” See scholarship -ism below.

Son #2 went to a Top Tier school for a state school price. That university’s current tuition is over $61,000/yr. He had the grades but not the money. An Admissions counselor made me a promise (which they kept),

“If we decide we want him,
we will get him here.”

It is sad to see high school students who are pretty good in their local band go off to top-ranked music schools to face rejection because they settled for mediocrity in high school – because they could. Some of the students I teach at the university come in as music majors never having studied privately. It is really hard to make it at the college level without specialty instruction in high school. There is only so much that can be done in the large ensemble for which there is a “free” teacher. Assuming there is some talent/ability involved, you can almost look at the concept as a “Pay Now vs Pay Later”.

You can INVEST in your training and experiences throughout high school and go for the music scholarships in college, or PAY the sticker price.

“It doesn’t matter whether you win or lose — until you lose.”

I used to have a poster in front of my band room showing a rifle girl, her head down as she was dragging her rifle behind her…..featuring that quote.

“If the notes are on the paper, it is your job to play ALL of them.”

This was my response to a student who asked,  “How much of it do we have to play?” I often tell students that it is my job as a director to help mold and blend the sound, and to correct errors…… not to teach notes. Learning the notes is the student’s job.

“If you’re going to play it, you might as well play it right.”

Why hurt the ensemble and waste valuable rehearsal time when it doesn’t take that much more effort to do it right the first time?

“The view from 1st chair is much better.”

“Private Lessons can be like paying for college — one week at a time.”

“Be prepared: Make sure your parents are getting their money’s worth.”

I have had students come to clarinet/sax lessons without their music, ….. and one, without his instrument. One college music major lesson started (and ended) like this:

Student: I don’t know how to tell you this, but I just didn’t have time to practice this week.

Me: This is your 3rd week in a row with excuses. This is your major instrument. This is your major. This is just as important as that English, Math or Psychology assignment. This affects your grade too. I heard you sight-read this music last week when it was supposed to be practiced to performance-grade. I don’t need to hear you sight-read it again. You take this time and practice. I’ll see you next week.

When I was paying for lessons, I wanted my money’s worth. And I tell my students to give their parents their money’s worth, i.e. don’t waste my time or their money.

“Santa isn’t the only one who knows whether you’ve been bad (no practice) or good.”

If you engage in systematic study, your teacher/coach will get to know you well enough to know when you’ve practiced for your lesson.  Make sure your parents are getting their money’s worth.

“You can’t sight read in your lesson and get away with it. I’m better than that.”

“Like the ice skater who misses the quad, missing notes in public can hurt.”

Mistakes are going to happen. They just are. When you watch ice skating on TV, even at the world championship or Olympic level, there are mistakes. What I often explain in private lessons is that they probably hit that jump a high percentage of times in practice. Performance rarely goes better than practice. If you aren’t doing it in practice, what do you think will happen in performance?

“Anybody can be mediocre.  Not you. Not with me. Don’t even think about it.”

Mediocre means average. Anybody can be average. When talking about the lukewarm (mediocre) church, Jesus said he would prefer that it had been hot or cold, but because it was lukewarm, he would spit it out of His mouth. The Star Wars Jedi Knight Yoda says, “Do, or do not, there is no TRY”. 

“You can practice hard now and have fun at performance, or you can have fun now…”

High school life is so much about social life and relationships. The tendency is to bring that into the rehearsal. You can take it easy now, but then be disappointed with the results — or you can work hard, pay the price and enjoy the rewards and satisfaction of demonstrated excellence.

“Do you really want me to tell you it was good — if it wasn’t?”

Students usually know if it was good or bad. There is that balance between encouragement and improvement. When that balance is achieved, improvement happens. After a tough run of a marching band show, as we were ending the rehearsal, which we usually tried to do on a ‘high note’, after another staff member gave a critique, I asked the students; “Do you want the sugar-coated version, or do you want it straight?” They wanted it straight – which enabled us to end on a ‘good note’.

“Fix it — or I will find you!”

I’m decent with those “hearing eyes” and “seeing ears”, i.e. knowing whether what you’re hearing from the ensemble is what you are looking at in the score. There would be times I would hear something, stop the ensemble, look at the score — and then in the general direction the mistake came from. They know I could find them, and sometimes, by the time I would look up, there would already be a student with his/her hand up confessing, “It was me.”

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Respect, Preparation and Appreciation for your Pianist

by John Gardner

January is a month that often includes preparation for solo festival. Many will have an opportunity to practice with an accompanist, perhaps a new experience.

Solo and Ensemble no frameAs instrumentalists, you should realize how long it takes to learn to play piano with the level of proficiency required to accompany your solo. Some pianists have invested thousands in private instruction and college educations. They are proficient at their craft just like an electrician, plumber, mechanic….or a teacher, professor, attorney or doctor. We are fortunate to have pianists willing to work with you. They deserve your respect, your preparation and your appreciation. This note should serve as a guide in working with your pianist.

Your accompanist will 1)spend time practicing your music, 2) spend time and expense coming to school to practice with you, 3) sacrifice part of an evening to help you in our practice recital, and 4) spend over half a day traveling to the contest site and performing with you at District. Group 1 Music is significantly more difficult AND… if you get GOLD at District, your accompanist is then committed to additional practice time and a whole day of time and expense travelling to Indianapolis.

RespectMost pianists will coach you with their expert advice. Unless they suggest something that conflicts with your private instructor’s instructions, accept their advice as authoritative.

PrepareDo NOT dis-respect your pianist’s time by not being prepared. You can’t be perfect, but you can be prepared.

Appreciate. Pianists don’t accompany for the big bucks, but some some rely on this as part of his/her income. Unless you have a different arrangement with your particular accompanist, consider an appropriate amount [locally we suggest @$25 min] to cover preparation, about two practices and performance (including recital) through District, and then a respectable amount to cover the additional time, and expense for state finals. Agree in advance with your pianist, including payment terms. And a thank you card is a nice touch…..

Thank you card dark

 

 

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