Yamaha Music

First Look: TAG3 C TransAcoustic

Written by Robbie Calvo on October 9, 2024. Posted in Acoustic Guitars.

Yamaha TransAcoustic guitars are acoustic guitars that come with onboard reverb and chorus effects that are added to the natural tone of the instrument without the need of an amplifier. (Want to know how the magic is achieved? Click here.) The immersive sound these guitars produce is so astonishing that when most people try one for the first time, they can’t believe what they’re hearing!

The first TransAcoustic guitar was the LL-TA, a dreadnought model introduced back in 2016. Since then, Yamaha has released a full range of TransAcoustic guitars, including several steel-string models and a nylon-string classical, in a variety of body sizes. I’ve played every one of them, and they never cease to impress me (and my audiences!). What’s more, I have found these instruments to be inspirational to my songwriting, live performances and recording.

Now Yamaha has taken TransAcoustic technology to a whole new level with the debut of the TAG3 C cutaway dreadnought guitar. The TAG3 C offers two onboard chorus effects, three reverbs, two delay types and a chromatic tuner, plus a built-in looper … and it sounds absolutely incredible.

To give you even more customization options, there’s a dedicated (and free) TAG Remote app that wirelessly connects your mobile device to the guitar via Bluetooth^®. The app also provides extra loop storage and allows you to play the songs, backing tracks and playlists in your smartphone through the TAG3 C’s sound hole, enabling you to jam along literally anywhere, even at the beach or outdoor barbecue … again, without the need for an external amplifier.

In this posting, we’ll take a first look at this extraordinary instrument and all these incredible features … and yes, there’s a video of me performing a nine-layer loop all in one take so you can see and hear how it all works.

Physical Attributes

An acoustic guitar with a sunburst finish.

The TAG3 C has a dreadnought body with a solid mahogany back and sides; a solid Sitka spruce top with a beautiful sunburst finish and a clear pick guard; an ebony fingerboard and bridge, with a cutaway for easy access to the upper region of the fretboard; and a satin-finished mahogany neck. The neck profile is super comfortable, and the satin finish really makes a big difference to fast articulations.

The sound hole rosette, in particular, is quite stunning, with lovely tonewood inlays and blue accents. The circular inlay surrounding the sound hole serves as the looper sensor for initiating and ending loop sequences. (See below.)

Inside the sound hole resides a micro rotary dial for the output volume of the built-in piezo pickup and preamp when connecting the TAG3 C to an amplifier — a nice touch for live performance.

As a bonus, the guitar comes with a hard bag for protection and transportation. From my own personal experience, these gig bags hold up well for extensive travel.

An acoustic guitar sound hole surrounded by a multi-color wood inlay.

Sound Quality

Not only is this a great-sounding guitar, Yamaha has also done an amazing job with the audio quality of the effects, as well as the clarity of the loop playback. If you orchestrate your parts with care, the separation is exceptional — maybe even better than I’ve heard from any looper pedal.

Careful blending of the effects will also reward you with incredible-sounding guitar parts for singer-songwriter performances with vocals. Again, no pedals needed!

Looper

The onboard TAG3 C looper works much the same as many pedal-based loopers, except you’re using your hands to activate it instead of your feet. To arm it, simply tap the circular inlay below the sound hole (this serves as the looper sensor) and start playing. When you’ve completed your idea, just tap the sensor again to put the looper into playback mode. You can also arm and complete a loop by pressing the reverb knob in the control panel. (See below.)

To add further overdubs, just tap the sensor again (or you can press the reverb button). The TAG3 C will save your loop even after powering down the guitar. You can also save and recall up to ten of your favorite loops with the use of the app. Brilliant!

Control Panel

A series of small knobs on the top of an acoustic guitar.

To activate the main control panel located along the top of the guitar (facing the player), simply press and hold the center power button for three seconds, causing the unit to light up for action.

Each of the four rotary knobs in the control panel have multiple functions, as follows:

Chorus Knob

This sets the mix output of the chorus you’ve selected in the app. When this knob is pressed, the last loop part is erased. (Think of this as your undo function on the looper.)

Loop Knob

Pressing this starts the looper recording; a white LED will illuminate when the looper is active. This dial also controls the output volume of the loop. I suggest experimenting with this for a while to perfect your looping playback volumes between parts. Pressing and holding the loop button also allows the TAG3 C to connect to the app via Bluetooth.

Reverb Knob

This sets the output mix of the reverb you’ve selected in the app. Pressing the knob activates the looper “ready” mode, causing the lights around the power button to flash red. You can also press it to end recording instead of touching the looper sensor.

Delay Knob

This sets the mix level of the delay you’ve selected in the app (or the default setting if not connected).

Chromatic Tuner

Pressing and holding the delay knob for three seconds activates the onboard chromatic tuner. All you have to do is watch the LEDs around the center power button: Red indicates that the note is out of pitch (either sharp or flat); when the green center LED is lit, the string being played is at the correct pitch.

Onboard Effects

There are seven onboard effects in three different categories, as follows:

Chorus

The TAG3 C offers two chorus types: Double Detune and 4-Voice. Double Detune allows you to create mild to wide fluctuations of pitch above and below the original notes or chords. 4-Voice provides an extremely musical and smooth modulation effect.

You can freely select and audition each, dialing-in to taste using the depth, speed, tone and number of voices parameters in the app. The chorus knob in the control panel can then be used to blend the effect into the acoustic guitar sound.

Reverb

There are three reverb types available: room, hall and plate. Reverbs replicate the size of an ambient space and the reflection of sound created in those spaces. Room reverb creates the ambient sound created in a small space like a room, while hall reverb replicates the ambient sound in a large space like a concert hall. Plate reverbs replicate the sound created when audio vibrates a large steel plate. Think of room and hall reverbs as an emulation of natural spaces, while plate reverbs are contrived with mechanical components.

The TAG Remote app allows you to modify the selected reverb’s decay, tone and pre-delay. As described above, the master mix output for the reverb is in the guitar’s control panel.

Delay

There are two onboard delay types: simple and analog. Delay times can be dialed in using the time control or via Tap Tempo. To use Tap Tempo, all you have to do is depress the delay knob a few times in time with your loop (or at the tempo you’ll be playing your parts), and the TAG3 C delay will sync quarter notes to the tempo of the tap.

The simple delay provides a standard mono digital delay with tonal shaping via high and low frequency damping controls, while analog delay provides a nice replication of a tape echo delay. This kind of delay tends to have a warm tone with a characteristic (and sonically pleasing) degradation of audio quality as the repeats fade away.

In the app, feedback controls the amount of repeats, and the high damping/low damping and treble and bass controls fine-tune the brightness or warmth of the delay tones. As mentioned above, the delay knob in the guitar’s control panel determines the delay mix level.

TAG Remote App

The ultimate way to use the TAG3 C is to harness the full power of editing and loop storage (up to ten loops) provided by the free downloadable TAG Remote app. If that isn’t enough, you can also play your backing tracks, favorite songs and playlists through the guitar sound hole using your mobile device. This means that you can take your TAG3 C literally anywhere — even to the park or a bonfire jam — and when the playing is over, you can amplify your playlist through the guitar for background ambience.

Charging

A magnetic charger on the top of an acoustic guitar.

Yamaha has chosen not to use batteries to power the TAG3 C effects, looper and preamp. (You can, of course, always simply opt to play the TAG3 C as a purely acoustic guitar too.) I’d imagine this amount of horsepower in one guitar would drain regular batteries pretty quickly and thus become very expensive.

Instead, there’s a built-in rechargeable lithium-ion battery, with a magnetic power connector on the upper shoulder of the guitar. This should give the player five plus hours of play time without recharging — long enough for a gig or gathering.

The Video

This video provides a one-take looping performance with multiple layers to demonstrate the TAG3 C audio quality and ease of use, as well as the way in which the onboard effects seamlessly blend together.

I’m using a basic microphone to capture the acoustic sound coming from the sound hole, and blending that with the output of the pickup system direct to my DAW. You’ll notice that I’m leaving space between parts and thinking about the frequency range of each.

Timing is everything, so make sure your initial part and loop is perfectly in time before building the layers!

The Wrap-Up

Especially considering all the advanced features, the TAG3 C may well be the best guitar I’ve played in a long time. The acoustic tones are superb, the playability, build quality and finishes are excellent, and the effects, looper and tuner add a delicious frosting on an already masterful cake.

This guitar basically replaces multiple pedals, along with being an inspirational instrument for writing in the hotel or playing to an audience. The TAG3 C is simply exceptional in every way!

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Concert Chairs to Marching Squares

Written by Don Stinson on October 6, 2024. Posted in Teaching Tips.

Have you ever gone to a musical or play, and read in the playbill that “tonight, the role of Mr. Brooks will be performed by another actor”? An understudy or another performer comes in to save the day when the star is unable to make the performance. They are just as professional, just as talented, and the show goes off without a hitch.

What about our situations with bands? We can do the same thing in band, just with a little more planning.

Why Switch?

“And tonight, the role of marching mellophone will be performed by flute one.”

We may promote a switch in instruments for students for many reasons. For example, some students may be stronger on another instrument, we may not have enough instruments in one area, etc.

I’m always about practicality, so if we think about switching instruments to help outdoor ensembles out, our reasons become pretty simple: compositions and volume.

Compositions: We should switch some students to different instruments to perform musical arrangements for an outside venue (football field, stadium, town square, etc.)
Volume: We want to think about projection. In other words, we want the band to be heard outside

In short, we want to be able to perform the written compositions as close to the intentions of the composer, and we want the kids to be heard outside.

How To Switch

I won’t go into a whole lot of methodology of how to select students to switch instruments or the proper methods, etc. There is a lot of information out there about this. Search the Yamaha Education blog for more or attend sessions at your state’s MEA.

However, here are eight tips to help you.

marching band trumpets — Photo by Adobe Stock/5Kfoto

Tip 1: Consider Your Ensembles and Program Structure

For our purposes, let’s say that your band program consists of the following:

Concert ensemble (also called symphonic band, wind ensemble, wind symphony, etc.)
Marching band
Jazz band
Pep band

If I have an extracurricular marching band, I would consider my concert ensemble instrument first, and then I would focus on making my marching band instrumentation focused on projection (sorry, flutes, this is why we see a lot of flute players switch to different instruments or color guard).

However, if my marching band is curricular and is the focus of my program during most of the first semester, then I would have to be practical and think of the marching instrumentation first.

You know your program best!

Tip 2: Consider Your Music/Arrangements

Your music selections can really help you determine where your instrument need is. If you are performing some marching arrangements for a show band or collegiate style band, you’ll find that most of the melody is written for trumpets, clarinets and flutes. If I’m lacking in trumpets, I may ask some flute players to consider taking up trumpet for marching band as it will help project the sound a little more.

We also want to consider the difficulty of the music. If you have a lot of students who are playing different instruments for an ensemble, consider programming music a grade or half-grade below what you normally program. You can also adapt some parts if necessary, provided you aren’t changing the overall piece.

Tip 3: Have a Set of Beginner Books

Find a set of beginning books and videos and stick with these. We typically use the books the students are already familiar with, such as Essential Elements. Also look at The Yamaha Advantage and the Hal Leonard Methods series. The students and I read the embouchure and instrument carriage information together as we go through one of these beginning books.

Videos: I am a fan of the Bravo Wind Training Series. There is a DVD for every instrument, and these DVDs/videos have been great resources for students on how to create a professional tone.

Tip 4: Have Some Instruments Available

“Hey, Bobby, can you switch to trombone?”

“Yes, I’d love to!”

“Great, that will be fifty bucks a month for the rental!”

If you are asking (or voluntelling) some kids to switch instruments, try to have an instrument for them to play. If there is a rental fee, consider waiving this fee. It can be difficult to say, “I really need this from you, and now you have to pay more!”

Tip 5: Give Student an Initial Lesson

The student switching to a new instrument should have an initial lesson with either the band director or a trusted teacher in your area. This can help get the student started with the right habits and routines, and it allow you to address any concerns.

You may not have the time or resources to continue providing individual lessons, but there is another way…

Tip 6: Use Your Teaching Assistants

I am the only director in my program. Yet, I have over 100 teaching assistants.

Don’t be afraid to have some of your stronger players work with someone who is switching an instrument. I often find that students enjoy this work, do a good job and even end up forming some new friendships and bonds.

I mention above that the student switching instruments should have an initial lesson with the band director or lesson teacher. Consider having any student helpers sit in on this lesson as well so everyone can be on the same page.

Tip 7: Be Careful of Too Much Too Soon

Often students learning a new instrument can fly through a beginning book. However, it is on the teachers to ensure that they are developing good habits. We do constant reinforcement of instrument position, embouchure development and making a quality tone. Some students want to rush to perform similar music that they perform on their primary instrument. There is no rush, and a quality tone will trump technical facility.

Tip 8: Work On Including Students in the Large Ensemble

When a student begins a new instrument in the fall during marching season, it can be difficult for them to feel like they can catch up to play with the ensemble. We work with these students as much as we can to make them feel comfortable. If the student can only play a portion of the marching show but is showing signs of progress, we do what we can to get them on the field as soon as possible.

We often find, not only with new performers, but even younger students, that proximity helps. A lesser-musically-skilled student between two strong musicians will often progress very quickly.

Close up of man playing saxophone in a band — Photo by Adobe Stock/Naomichi

Plan Ahead: Use Jazz Band and Chamber Ensembles

My best personal method to switch instruments for outdoor ensembles? The jazz band.

If you have a jazz program or chamber group that meets in the spring, this can be a perfect example of how all musical groups can work in tandem. Besides being a great educational opportunity for the music, the jazz band can be an incredible tool to help students learn a new instrument.

Many of our flute and clarinet players perform on saxophone, trumpet and trombone in the jazz band. We perform music that is challenging enough for the ensemble but also meets the students where they are. By the end of the school year, these students can then naturally transition into performing this instrument for marching band, and the added plus is that we often need more trumpets, saxes and trombones in our outdoor performance.

Another option is to create some lab-based group. For example, you may run a jazz band that is auditioned, but then you would have a second group called jazz lab. This group would be open to anyone, but students who are in the auditioned jazz group must play a secondary instrument to be in jazz lab. This may fit in line better with a program that has a fairly competitive or high-tier jazz program.

Debunking Myths

I hear a lot of myths ¬about switching instruments. Below are the four I hear the most — and they are simply not true!

Myth 1: This will screw up their embouchure! I often hear this, but I’ve never met a kid who got worse when they started to play another instrument. Sure, there’s a transition period if they are going back and forth between clarinet and trombone (which can be a difficult switch to pull off due to the embouchure change), but I don’t recall seeing any permanent or even short-term damage.
Myth 2: You need to stick to one instrument to actually get good at something! This depends. Is the student looking at a career in music teaching or performance? Then I may say to stick to one instrument and get really good on that. This helps the student focus more on their audition, helps them build resiliency, and makes sure they are in it for the long haul. But most students? I think this depends on their goals. We typically have a handful of kids who just want to learn every instrument imaginable and several who really focus on their primary instrument and maybe one additional instrument in pep, jazz or marching.
Myth 3: Now they’ll just want to switch instruments all the time. Maybe, maybe not. But it’s important that the director has a system in place, and that they are comfortable with saying yes or no. We always have an abundance of percussionists, so students who want to switch to this do get a pretty clear “no.” But we, of course, have other options!
Myth 4: If the kids play jazz or mariachi, it’s going to screw up their tone or embouchure! Again, there is a transition period sometimes, but we have many students involved in mariachi and jazz, and they have become much stronger members of our concert and marching bands. Plus, they really enjoy being a part of these ensembles, and that’s not a bad thing at all for music teachers to consider. If you notice any difference of tone or style, this is yet another opportunity to teach! Plus, wouldn’t it be great if our kids could perform in a variety of styles?

Top photo by Shutterstock/Ex-Artist

Teaching Mallet Percussion with the YX-1030PR Tabletop Xylophone

Written by Michael Huestis on October 3, 2024. Posted in Percussion.

In the realm of percussion, the goal for every music educator is to create a percussionist who is also a well-rounded musician. As teachers, we dream of a highly disciplined group of students in the back of the band hall who are every bit as accomplished as their brass, woodwind or string counterparts.

Yet all too often we are roused from this wonderful dream by the eardrum-shattering sounds of the dreaded bell kit. Many of us experience the sound of a dozen or more first year percussionists playing on these tiny hearing-loss creating devices and say, “There has to be a better way.”

Now there is. The tabletop xylophone has taken the place of the bell kit and has become a useful tool to help create young percussionist-musicians. Here’s why:

Sound Quality

A wood xylophone on a stand. — *Yamaha XY-1030PR with optional stand.*

Because bell kits have such a high-pitched and displeasing sound, some students (and their parents!) have been so turned off that they have been discouraged from practicing altogether. And even if they do persevere, students often strike the bars in a very timid fashion — a stroke that doesn’t create the correct technique or muscle memory. Designed specifically for easy playability and handling, the Yamaha YX-1030 tabletop xylophone offers full-size bars made of real Pao rosa wood for a true characteristic tone. As a result, students using the proper stroke with this instrument will create the desired sound from day one. Proper strokes are analogous to tone production in wind instruments. If students are practicing on a beginning instrument that does not promote this, they will be creating poor performance habits. The YX-1030PR can be played with a full stroke since it produces a superior sound to other alternatives.

A Boon to Technique

Mallet percussion reading and technique is vital to the development of every young percussionist-musician. For beginning players, the ability to keep their eyes on the music and be able to hit the bars accurately is enhanced by full-sized bars. Bell kits, with their tiny bars and mounting screws, are very difficult to hit with any consistency or exactness. The larger bars of a tabletop xylophone such as the Yamaha YX-1030PR more closely imitate the peripheral vision playing situation of a full-sized instrument and create the proper muscle memory, vital for accuracy. Students who practice playing scale patterns on a tabletop xylophone will have little or no trouble transferring to a performance instrument. This cannot be said of a student who practices on a bell kit.

Because most tabletop xylophones (including the Yamaha YX-1030PR) are three-octave instruments, students in their second or third year of instruction can perform virtually all of the études found in band method books, concert band literature and District Honor Band audition music. Students can practice all of their major scales in two-octave patterns, as is often required of auditions. Even beginning four mallet technique can be started on a tabletop xylophone.

Home Use

The ability to give students an instrument that enables them to do focused, deliberate and accurate practice at home is an immeasurable advantage to any alternative currently available.

Any beginning student with a tabletop xylophone under his or her bed or stored in the closet has a fully functioning tool for high-quality practice in just seconds. The YX-1030PR has a frame with rubber feet that can be stored upright in a limited space and set up just about anywhere. (There’s even an included drop cover.) The advantage of this favorable at-home scenario over the bell kit option — or attempting to find practice time on a school owned instrument before or after school — is profound. Students will become self-reliant with their practice habits and excuses for not practicing will be eliminated.

Use in the Classroom and Practice Room

In addition to being a useful tool for beginning students, the tabletop xylophone is also a huge asset in the classroom. A few additional sets of instruments such as the YX-1030PR in the classroom can allow entire classes of percussionists to perform at the same time — a cost-effective way to have enough mallet resources for every student. In addition, small practice rooms that may not be able to fit a full-sized instrument can certainly fit a three-octave xylophone. A school outfitted with these instruments creates even more opportunities for their young percussionists to hone their skills.

Click here for more information about the Yamaha YX-1030PR tabletop xylophone.

Click here to read about and download the Yamaha Mallet Resource Guide, which provides information about music fundamentals, along with exercises, scales and études for students.

Spooky Sound Mysteries

Written by Kathryn Drury Wagner on October 2, 2024. Posted in Teaching Tips.

The light starts to change in the fall — the sun’s rays become more slanted as they peek through the changing leaves, the sunsets creep up earlier and earlier. It signals the start of spooky season, and for those of us who place Halloween at the pinnacle of our holiday traditions, we delight in the longer shadows.

Make the most of this liminal season with your music students, by creating lessons that delve into some of the world’s greatest sound mysteries. Mystery sounds can be used to teach pitch, tone, frequency, perception of sound, how acoustical waves move, and other interesting topics. Plus, it gives music educators an opportunity to play with humor and history, weaving them into music curriculum. Here are a few ideas to get you inspired.

The Groaning Mummy

The staggering, bandage-draped mummy that lurches at kids has been a familiar trope for generations. Learning about real-life mummies can be memorable too, although most mummies are, well, quiet.

Not so with the mummy of Nesyamun, an Egyptian priest who lived 3,000 years ago and first unwrapped in England in 1824. Also called the Leeds Mummy for the museum that houses the mummified remains, Nesyamun has contributed to science in a rather unusual way.

Using CT scans of the mummy’s mouth and throat, scientists created a 3D printed larynx, then used computer software and a loudspeaker to recreate what Nesyamun’s voice sounded like during his lifetime.

The results were a less-than-enthused sound: “Ehhh.” Who knew the ancient world was populated with Larry David types?

The sound bite is so small because “this acoustic output is for the single sound for the extant vocal tract shape; it does not provide a basis for synthesizing running speech,” explain the researchers. Still, this is an excellent opportunity to discuss the human vocal tract and how air and movements cause the sounds that we call speech and singing.

Here’s a video from LiveScience that has Nesyamun’s sound repeated, as well as slowed down, making it easier to hear it clearly.

The Death Whistle

Another archaeological dig, this one in 1999 in Mexico, brought to surface an unusual ceramic, palm-sized instrument, clutched in the hand of a male skeleton.

It was dubbed an “Aztec Death Whistle” because it is shaped like a skull. Was this ancient Mexican sound generator used in warfare to terrify opponents with its shrill noise? Maybe. Or was it used for other purposes, such as religious ceremonies, since it was discovered at a temple associated with Ehecatl, the wind god?

Research continues, but many replica “Aztec Death Whistles” have made the rounds on Amazon and social media, with 3D printed or ceramic models popular, so your students may be aware of them. Here are some materials for creating a music lesson about this intriguing pre-Hispanic instrument:

Watch this good explainer video by Gizmodo on the Aztec Death Whistle.
Learn more about the frequencies produced by the whistle and how researchers created experimental models to study the sound.
Work with students on a DIY project to make their own “screaming” whistles.
Read about how a contemporary musician reinterpreted the whistle into the composition “Death Whistle,” for the piccolo.

Ghostly Seneca Drums

If mummies and death whistles are a little too intense, here’s an idea for younger students.

For hundreds of years, residents and visitors of Seneca Lake, one of the Finger Lakes in western New York, have been reporting strange sounds. Sometimes called the Seneca Drums, or the Lake Drum, the Lake Gun or the Seneca Guns, this auditory phenomenon is a “deep, hollow, distant, and imposing sound” like a cannon going off in the distance, reported the famous author James Fenimore Cooper in 1850.

The indigenous population of the area chalked it up to the voice of Manitou, or Great Spirit, and incorporated the sound into some of their mythology. Modern scientists have proposed that the sound may be a bursting of natural gas bubbles that were previously trapped in the glacial lake’s bottom.

Ask students, what ghostly drums would sound like? Have them create their own patterns and tempos.

Seneca Drums can also be a jumping off point to talk about the drums, flutes and rattles used by native Americans from that region, including the Iroquois nations of the Seneca and Cayuga. PBS has a learning module featuring renowned Iroquois flute maker and musician Tsa ne Do ‘se that includes a nine-minute video, background reading suggestions and support materials for students.

Spooky Animal Sounds

Another fun sound exploration for younger students is to delve into the bizarre sounds found in the animal kingdom.

The wedge-tailed shearwater bird, for example, has a nocturnal call that has been likened to that of a baby crying. Humpback whales moan like they’re auditioning for an episode of Scooby-Doo. Barn owls and red foxes scream. And who knew that giraffes hum at night?

Weird animal sounds offer up ways to talk about topics like pitch, volume and timing. Can your students mimic the sound? Can they create a movement that accompanies the sound? Can they draw a picture of an imaginary monster that could be associated with the sound?

Hopefully these ideas have inspired you to make the most of spooky season and conjure up some fall sound mysteries for your students.

female teacher looking over musical score

Score Study Comes First!

Written by Don Stinson on October 1, 2024. Posted in Teaching Tips.

Music directors often lament that they wish they had more time for score study. This usually means that they wish they could get away from administrative tasks and the non-musical items of their job. At a recent clinic, a student asked a college band director what the hardest part of being a music educator was. The professor said, hands down, taking time away from teaching and getting into the music because of administrative tasks. Many people feel like these administrative tasks are never-ending.

I am here to tell you that they are correct. These tasks are never-ending, and you’ll never completely finish that to-do list. This is good news! If these tasks are never-ending, then you know that they’ll always be there when you need to get back to them.

Yes, of course, I know that these items are necessary to our job, but so is preparing our lessons by score studying. My advice on these items is simple and direct: Put the needs of you and your ensemble before the other tasks get attention.

So, let’s put score study first and make sure that we are more prepared for our students than ever before!

Step 1: Prepare Your Space for Score Study

Set the stage for the next day: Unless you have considerable time today, prepare your materials for tomorrow. Ensure a clean workspace.
Gather your materials: Set out your scores, pencils, highlighters and small Post-Its. Have access to fingering charts or diction guides, a metronome and a physical musical dictionary.
Duplicate scores: Purchase two original copies of scores. Keep one at school and one in your bag or use one as a mark-up copy. This benefits you if you have guest clinicians.
Optional equipment: If you have a small keyboard, have it available. If not, consider using a Yamaha Harmony Director.

Step 2: Initial Score Preparation

Number measures: If the score is not numbered, write in measure numbers for the complete score. You can pay students a dollar a score to number them if you’re short on time (district policies permitting).
Identify keys: Identify and write the keys below the score.
Check for errata: Search for any errors in the score and parts using the search term “NAME OF PIECE errata.” Mark in these changes if applicable.

music educator writing notes on musical score

Step 3: Define Musical Terms

Translate terms: Go through your score and pencil in every translation that you don’t immediately remember.
Teaching considerations: Think about how you would define and teach these terms to your students. Consider how to manipulate instruments or voice to ensure proper tone and intonation, and how articulation or diction may need to be altered.

Step 4: Plan for the Next Day

Set up your workspace: Close your score and set it in the middle of your desk, on top of your keyboard or mouse. Congratulations, you’ve just done a little bit of score study today.

two educators looking at score on computer — Photo credit: Adobe Stock/Anthony Brown

The Next Day: Score Study Session

1. Enter Your Workspace:

Time allocation: Enter with enough time to study, starting with just five to seven minutes.
Minimize distractions: Do not turn on your computer, put your phone on do not disturb, and potentially put your phone away in a drawer.

2. Tasks for Day One:

Read program notes: Read through the program notes in the score and underline or highlight important items. Summarize the piece in two sentences or less.
Play or sing one line: Using your keyboard or humming along, play, hum or sing the entire first line of the score. Place a small checkmark next to this line at the beginning.

3. Continued Study:

Daily practice: If you have more time, continue to the next line of music. Keep going through the piece, plunking out or singing/humming the notes.
Sectional study: For long pieces, break them up into sections and study them progressively.

Step 5: Observe and Mark

Identify similar lines: Note similar lines across different instruments or voices.
Highlight melodies: Use highlighters or pencils to mark melodies, countermelodies and other significant parts. Be consistent with your system.

male teacher looking at score while working on laptop

Step 6: Harmonic Analysis

I thought harmonic analysis went away after college. Turns out, it can bring an ensemble to the next level!

Start simple: Identify tonic (I) and dominant (V) chords. Mark them either underneath the score or in the middle if it’s a larger score.
Accidental sections: Pay extra attention to sections with accidentals as they may indicate modulations or unique chords.

Step 7: Rinse and Repeat!

For tougher pieces, I go back and do this process again. The nice part about starting it again is that it usually becomes quicker the second and third time. This also allows you to check your work and make sure those chords are analyzed correctly.

I often find new musical ideas I missed the first time!

________________________________________

Summary Checklist

Prepare your space: Clear your desk and have all your materials available. A good score study session begins the day before.
Protect your time: Schedule score study sessions, and do not allow interruptions. If necessary, find a quiet place away from your usual workspace.
Number measures and check errata: Ensure your score is numbered and any errata are marked.
Play or sing through lines: Go through each line of the score multiple times.
Harmonic analysis: Identify tonic and dominant chords on the first pass.

Score studying is important for being a good music educator. I don’t know of anything else that helps you really understand the music you’re teaching. By following these steps, you can make sure you’re using your time well and balancing the admin stuff with the crucial practice of score study. Remember, small and consistent efforts lead to big improvements in your teaching and your ensemble’s performance. Embrace these strategies, and you’ll find yourself more prepared and less stressed, which is a win-win for both you and your students.

Abington School District student working on sound equipment

The Power of Problem-Solving

Written by Savy Leiser on September 30, 2024. Posted in Case Studies.

Above all else, the music students in the Abington School District in Pennsylvania, love to perform, wherever and whenever they can. When COVID lockdowns threatened their performance opportunities, music industry teacher Kevin Longwill found a solution that grew into even bigger and better performance opportunities than anyone could have imagined.

Longwill, who teaches music classes for Abington’s middle and high schools, originally taught students digital recording as a way to keep them engaged in music while school was virtual in 2020. During the years since, digital music instruction has grown into a program called Modern Music Makers, also known as M3. This co-curricular music program for middle and high school students has four total divisions: management, media, marketing and mentorship. Through M3, students develop a variety of skills in performance, songwriting, technical production, show development and other facets of the professional music industry.

Abington School District's M3 students perform

A Process of Adaptation

When COVID lockdowns began in the spring of 2020, Longwill noticed the impact virtual schooling had on his music students. “A lot of our kids were losing one of the things that makes music fun — playing music with their friends,” he says.

After watching videos of virtual music ensemble performances, Longwill was inspired “to bring back the ensemble experience, whether or not you’re in the same room.”

Longwill then approached the Abington administrators, explained he had a background working in technology, and asked if he could start teaching his students how to record. “Not only did this provide the opportunity for kids to make music together again, but it also would teach them a new form of digital literacy,” Longwill explains.

After receiving administrative approval, Longwill began a project where each student recorded a part of a song, then passed the file onto another student, who would then add their own recording to the mix, and then continue down the chain. During that first year, 25 students participated in the collaborative recording. The following year, that number grew to 60.

Longwill used this opportunity to teach students how to work with a digital audio workstation, or DAW, and give them the basics of editing individual tracks.

A second round of adaptation was necessary when school came back to being in person full-time. Some students started to lose interest in the recording project because they no longer needed to record their parts in order to perform together. Longwill, who was recognized as a 2024 Yamaha “40 Under 40” music educator, still saw the benefit to music technology, so he decided to pivot the program’s focus: The program evolved to incorporate live performance and the production skills which align to its development, while also retaining the original focus of create music in digital platforms.

Abington School District student playing the guitar

There’s More to Music

During the past four years, these digital music classes became the M3 program, which has expanded to include different areas of music industry experience — from a show’s lighting, video, and sound design, to the logistics behind booking your own gigs as a musician. Additionally, the program continues to help students develop their individual and small group projects through recording, mixing and editing, and ultimately distribution through their record label, M3 Records.

Longwill describes M3 as a co-curricular program, meaning that certain pieces are offered as elective classes students can take for a grade, while the program also offers pieces outside of school. Many students participate in both.

Curricular pieces of the program include four music technology classes: Music Tech 1, Music Tech 2, Honors Music Technology 3 and a class called AMPD, which stands for Advanced Music Production and Design.

Longwill describes the AMPD class as intense, with students producing work equivalent to a thesis. “It’s like a capstone class,” he says. “We really dig deep into music technology and literacy plus songwriting, the music business and preparing students for the real world.”

Even students who aren’t interested in music performance can participate in M3, which includes instruction on the multimedia parts behind a concert. Longwill cites big stadium concerts as his inspiration; one of his goals is to teach students how to put on an entire show, operating every element from the lights to on-stage visual and audio effects.

School music programs have the potential to be as varied as athletic departments. Longwill compares the kids in his M3 program to student athletes: “You can be on the basketball team, the soccer team, the tennis team. There are so many options,” he says. “But with school music programs, there’s band, chorus or orchestra — it’s very much one big group.”

He explains that with M3, “There’s a huge portion of kids who like playing guitar or making beats. There are even kids who don’t want to do any of these things but are interested in being a part of the show or the studio.”

Longwill’s goal is to make sure all these students are equally involved with the music department. “Everyone can be part of our school music community,” he says. “Everyone is welcome to have a seat at the table.”

Learning Leadership

To prepare students for life after high school, the M3 program fosters skills that help ease students into more adult leadership positions. For example, some students have begun booking their own shows, both for ensembles they’ve formed with other M3 kids, and for their own solo performances. “We supervise them in doing that and provide them with whatever they need to be successful,” Longwill says.

Students also work at M3 fundraisers to help pay their own expenses, such as the cost of renting a performance facility. Longwill recalls that one of his student groups scheduled a performance at a local pizza spot. “Aside from just confirming the venue, they ran the whole thing themselves,” he says. “Once you start to develop these skills, you can further expand on them.”

Another student booked a performance at a local music hall with 150 seats, which she sold out. Longwill supervised the process, but the student took the lead in reserving the venue and finding other students to collaborate with as supplemental acts in her show.

Having different M3 teams — like marketing, media and mentorship — allows Longwill to play to each student’s strengths. “We have some kids who are super invested in social media,” he says. “Working on the marketing team gives them a chance to do something constructive with it, instead of doom-scrolling.”

M3’s mentorship program connects high school and middle school musicians in a mutually beneficial partnership. “If you’re a 6th-grade guitarist, and you have a senior coming down to work with you, you have someone to look up to,” Longwill says. “The high schooler can see that this is where they were four or five years ago, and then they can bring that focus back when they’re working with their peers.”

Giving high school students extra leadership roles has helped them improve focus during their own rehearsals. “If you’re the one running a rehearsal for someone else, and you see someone goofing off, you take things a little more seriously,” Longwill says.

One Big Happy Concert

Whenever Longwill asks his students what kind of high school music experiences they want, the answer is always simple: They want as many opportunities to perform as possible.

Longwill has considered taking students on a Disney trip to perform, but he’s found that M3 students prefer more of a “touring lifestyle” — they want to attend events where they can perform every night.

Longwill noticed that a lack of performance opportunities was a widespread problem for teen musicians. “You can play in your school auditorium. You can play in front of your parents and friends,” he says. “But you’re not really going to get a chance to expand your audience.”

Similar to his approach during COVID, Longwill had to get innovative once again to solve this problem. His solution was the Modern Music Invitational, an event that brings multiple high schools together so students can perform for one another.

The Modern Music Invitational combines the nightly performances of a tour with daytime clinics and speaker sessions of an educational conference. Both Friday and Saturday nights give students opportunities to perform. On Friday night, students in solo and small groups can sign up to perform, while Saturday features masterclasses from professional musicians, studio engineers, and others actively engaged and working in the industry, while Saturday night features a massive band concert where all participating schools get to perform for one another.

The MMI, which takes place on the Abington High School campus, is in its second year. During the first year, eight schools participated, with a total of about 350 students. So far, the 2024 invitational has 15 schools registered, totaling more than 500 students. “At the conclusion of every show, I sit back awestruck at what the kids just did,” Longwill says.

Longwill hopes the M3 Invitational will continue expanding, even if it means looking for larger venues to host it in future years. “The invitational is a thousand percent the highlight of my career so far,” Longwill says. “Just to see that many kids playing for and with each other … that is as authentic as it can get with what they want to do.”

A Bassist’s Guide to Playing Jazz, Part 2

Written by E.E. Bradman on September 26, 2024. Posted in Bass.

As we saw in Part 1 of this two-part posting, knowing how to play jazz on bass involves many of the same steps as mastering a new language: Knowing the basics, learning to express yourself, consistent practice, improvisation, conversation and putting yourself out there.

Here in Part 2, we’ll discuss what it takes to achieve true proficiency in the practice room, rehearsal hall, studio and onstage.

LEARN THE STANDARDS

As you play with other musicians, you’ll develop a repertoire in much the same way a frequent traveler gathers knowledge about the cities and countries they visit. Great musicians know a wide range of standards and many ways to approach them; listening closely to the way other bass players have handled these tunes is an illuminating (and often humbling) experience. Although there are hundreds of standards in the jazz canon, being familiar with jazz harmony, common chord progressions like ii-V-I, and common turnarounds will help you see how many tunes are related to other tunes.

DEVELOP TECHNIQUE

The goal of learning any new language is to be able to express yourself as fluently as you do in your native tongue. Becoming a serious jazz bassist requires holding up a magnifying glass to your fingering, picking hand and fretting hand, as well as your control of dynamics so you can use various playing techniques appropriately. Paying close attention to the economy and ergonomics of your hands will help you play what you hear in your head.

PRACTICE, PRACTICE, PRACTICE

Taking a language class can add structure and regularity to your learning experience, but you have to do the homework too. In a previous posting, we discussed how to get the most out of your bass practice sessions, but if you’re planning to learn how to play jazz (which is one of the more challenging genres), the slow and steady climb has just begun. Trying an ironclad “twenty focused minutes a day, seven days a week” practice routine might seem daunting at first, but doing it for six months can be incredibly rewarding.

SOLO

Collective improvisation is the heart of jazz, and taking a solo is your chance to comment on the main melody of the song. In jazz, soloing is the rule, not the exception. It’s not unusual, in fact, for bass players to solo on every tune. “Trading fours,” in which you dialogue with the other musicians in a four-bar back-and-forth, is both conversational and fun. Depending on the situation, it could be a show-stopping spotlight where everything else fades away, or as casual as an off-hand comment over dinner with friends. Get inspired by planning your solo and analyzing great jazz bass solos to hear how technique, improvisation and expression come together.

SIT IN AND JAM

Testing your language skills by talking to native speakers is one of the best ways to get better, and sitting in at a jazz jam session gives you the feeling of playing in a band without actually being in one. One caveat, though: If you get up the nerve to join a band onstage, make sure to observe the proper etiquette. If all goes well, you might meet future bandmates too.

JOIN A BAND

If you’ve done your language-studies homework, you’ll be improvising as soon as you land at your foreign destination, greeting strangers, checking into your hotel, hailing cabs and finding restaurants. In the same way, playing with a band shows you how far you’ve come … and what to work on next. Ideas that might have seemed abstract in the practice room — such as navigating charts, transposing songs to a new key and following song structure — will come into sharp focus. You’ll also get practice in communicating your ideas, supporting the rest of the ensemble, effectively using dynamics, rehearsing with purpose, choosing the right instrument, and eventually gigging.

GIG

For many jazz musicians, playing live is what it’s all about. Although knowing the setlist and having good group communication are crucial, there’s nothing like the full-body experience of playing for jazz fans, many of whom harbor a deep love and encyclopedic knowledge of the genre.

RECORD

If you’ve already been recording yourself during practice sessions, you’ll have a head start on this one. Going to a recording session is its own kind of gig, but without the audience reaction (unless it’s a live recording), and with a microscope on your fills, your technique, your relationship to time and your tone.

PLAY OTHER INSTRUMENTS

A Yamaha Silent Bass. — *The Yamaha SLB300 SILENT Bass* *boasts excellent upright tone.*

The acoustic bass, also known as an upright, is central to the sound of classic jazz. Many players play both acoustic and electric, but even if you only play electric, you may be asked to emulate the sound and feel of an upright bass. If you can, take an upright for a spin — the sheer physical effort of playing acoustic may inspire you to play just the essential notes, which is a useful perspective to bring to electric.

In addition, we bassists are constantly interacting with the drummer, so spending even a little bit of time behind a drum set can secure that bond, and it can also help you get rhythms, “odd” times and syncopation in your body and in your ear.

If you only have time to spend on one instrument, make it keyboard or piano. Jazz harmony (music theory that applies specifically to jazz) and concepts like the circle of fifths, voice-leading and chord substitution make a lot more sense on keyboard. You don’t have to be a virtuoso, but being able to spell out chords and play basic progressions on piano or other kinds of keyboards expands your ears and dramatically increases your chances of playing harmonically interesting bass lines.

If you can get around on bass, drums and keyboards, you’ll be in great company: Drummer Jack DeJohnette also plays piano; pianist Chick Corea knew his way around drums; and besides being one of the all-time great jazz bassists, Jaco Pastorius also wrote and arranged at the piano (that’s him playing both bass and drums on Weather Report’s recording of his tune “Teen Town”).

STAY OPEN

Like mastering a new language, truly understanding jazz is a lifelong pursuit. Taking these steps on your own and with other musicians will give you the tools to be able to play jazz on bass, but keeping your ears open to your own unique pathway is crucial to becoming expert. Welcome to the journey!

Essential Guitar Maintenance

Written by Robbie Calvo on September 23, 2024. Posted in Guitars How-to.

Although guitars are inanimate, silent objects, without our physical touch, their appearance and playability may shift over time due to changes in heat, humidity, and general wear and tear. These changes may be so subtle that you don’t notice them in the short term, but you will almost certainly hear and feel them over a long period of time.

In this posting, we’ll explore some of the maintenance protocols that can be employed to keep your beloved guitar(s) sounding, looking and playing just the way you like. As a bonus, when you keep a close eye on your six-stringed counterparts, you connect with them on a higher level, but if they are not firing on all four cylinders, your playing may suffer too.

General Maintenance Tips

Keep guitars out of direct sunlight and away from heat sources. Sunlight can fade and bleach your guitar’s finish. The direct heat may cause glue between components to soften and can also dry out the moisture content of your guitar, which may result in cracks in the wood.
Try to maintain a constant temperature between 66 – 77° F (19 – 25° C) and ideal humidity levels between 40-50 percent. I know we can’t all have humidity-controlled rooms, but just be aware that extreme temperatures and geographical climates will affect wood instruments. (Check out this blog posting for more information.)
Place your guitars on stands or hanging wall brackets that have a neck support and rubber retainer, as shown below. Leaning a guitar against a sofa, amp or wall can be disastrous! Keeping your instrument in eye-view will also inspire you to pick it up more often.

A guitar in a guitar stand with a rubber retainer holding it in place.

Keep guitars in tune and at a concert pitch of A440Hz to maintain the correct string tension. If they are tuned too low or high, it can put unnecessary strain on the neck, bridge, and top of your guitar.
Replace broken or rusty strings immediately and trim excess string lengths at the tuning peg with wire clippers.
Use string cleaner, pre- and post-practice sessions or rehearsals. Cleaning strings will remove oil, sweat and acidity placed on them by your fingers. This will also prolong string life and facilitate smooth articulation.
Regularly apply a small amount of guitar polish with a soft lint-free cloth to the back of the neck, body, top and headstock and rub gently. I always feel more inclined, and inspired, to play a nice, clean guitar.
Re-string your guitars with a full set of new coated strings (these last a lot longer than uncoated strings) on a regular basis. Stretch the strings and tune to concert (A440Hz) pitch. How often you re-string your guitar will depend on how much you play, the type of strings you use, hand strength, pick dynamic and the makeup of your bodily secretions. (Some people destroy strings daily!)

Several sets of guitar strings on top of an acoustic guitar.

Quarterly Maintenance

Place guitars in their cases with a Humidipak sachet for a few days to reduce, increase or maintain correct humidity levels. D’Addario manufactures three Humidipak products (Restore, Absorb and Maintain) that you can place in your guitar case or the sound hole of an acoustic guitar. Gauge your need for this based on how dry or humid your playing environment is.

Several guitar Humidipaks. — *D’Addario Humidipaks.*

A Humidipak hanging over an acoustic guitar sound hole. — *Placing a Humidipak in the sound hole.*

Inspect your guitars for any cracks or disfiguration in the form of swelling on the top, back and/or sides. Guitars that are too dry may crack, split along the seams and permanently disfigure due to failing glue joints. Guitars that contain too much humidity may start to sound dull and lifeless. In addition, tonewoods may swell up due to excess moisture, causing problems between the instrument’s main components.
Sight down the neck from the headstock and ascertain if the neck relief is within your preferred parameters. These changes can happen so gradually you don’t notice it for a while. If you work with a luthier, have them take specific measurements of your perfect setup. That way you can have them dialed back in if the playing action changes.
Tune any guitars that you haven’t been playing regularly and check their intonation using open chord voicings, and by fretting each of the six strings at the twelfth fret (one octave higher). Neck relief will definitely affect the intonation of your strings, as can worn frets, especially in the areas of the fretboard you play in most. Using different string gauges or a worn nut and saddle can also have an adverse effect on tuning stability and overall intonation. If you are hearing tuning discrepancies, even with new strings that are in tune, have a luthier check the open string intonation and fretted notes.

Semi-Annual / Annual Maintenance

Apply a fretboard conditioner or lemon oil to the fretboard, and let it soak in. Remove the excess conditioner or oil with a soft, lint-free cloth. Unless you have an electric guitar with a maple fingerboard, it’s highly likely your fretboard will be unfinished rosewood, ebony or other hardwood species. These close-grained hardwoods are extremely resilient to atmospherics and other contaminants like finger sweat, grease and oils, which is why they are used so often. However, a semi-annual, or annual application of a fretboard conditioner and/or string lubricant will keep your fingerboard in tip-top shape … and feel good under your fingers too.

A can of string lubricant and cleaner on top of an acoustic guitar.

Restring the guitar and make sure all the strings are holding their pitch. If any of the strings are getting caught in the nut or bridge, have a luthier recut the nut slots. Strings will wear down the bridge and nut slots over time, so it’s worth keeping an eye on those coupling points to maintain smooth, resistance-free movement for all six strings.
Check the neck relief for minimal neck bow, and, if necessary carefully (and slowly!) adjust the truss rod using the Allen wrench that came supplied with your guitar. (You’ll usually find the truss rod adjuster underneath the headstock plate cover, as shown below.) Turning it clockwise reduces a concave bow; counterclockwise reduces a convex bowed neck. Go just a quarter turn at a time, and re-check until set. If you are unsure on how to adjust the neck relief, have a qualified repair shop or luthier do this for you. It’s well worth having your guitar checked once a year anyway.

A guitar headstock showing the truss rod cover plate.

The Video

This video features the Yamaha FSX3 Red Label acoustic guitar, played through the company’s innovative THR30IIA desktop amplifier, designed especially for acoustic guitars. Maintaining your guitar as described above will allow you to articulate the arpeggios, chord spreads and the nice clean slide guitar parts I play in the video. Note that the complex finger moves further up the fretboard could also run the risk of intonation problems if the strings are old or rusty. In addition, all the parts become harder to play if the action is set too high at the nut or bridge, or if the guitar has an exaggerated neck relief.

The Guitar

The Yamaha FSX3 is a concert body-sized acoustic guitar that sports a mahogany back and sides, along with a solid spruce top. When I initially received this guitar, I had it set up to my exacting specifications, substituting a slightly lighter set of strings than those that come standard with the instrument.

My FSX3’s playability has remained constant since that setup, which I think is partly due to the solid tonewoods used in the instrument, along with regular string changes and humidity maintenance.

The Wrap-Up

Modern instruments have usually undergone rigorous quality-control checks before they leave the manufacturer, and may undergo even further adjustments at the guitar store before you purchase it. But regardless of those initial setups, personal alterations may still need to be made to get your guitar playing just the way you like.

It’s definitely worth taking the time to assess and do some routine maintenance of each of your guitars on a regular basis. A well-maintained instrument will last a lifetime, or at the very least will protect your investment for years of playing pleasure.

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Download this Yamaha Guitar Care Checklist for Students now!

Music educator Julie Anne Russell and her son

Make Concerts Memorable and Fun

Written by Kellie B. Gormly on September 23, 2024. Posted in Case Studies.

Julie Anne Russell is known for her off-the-wall concert ideas and her playful methods of teaching music, which she says, result from dreaming really big.

“I make it fun,” Russell says, describing her teaching philosophy. “If it is fun, I can teach the nitty-gritty.”

Russell, who has been the orchestra director at Blythewood High School in South Carolina for about six years, says, “The music is real. It’s just done in a more lighthearted way.”

Skip Ad Concert

Russell’s zaniest idea was the “Skip Ad” concert, which she put on two years ago. The idea came to her when she was sitting in her office and listening to music on YouTube, which was interrupted by a forced ad break. Viewers must watch these ads for a few seconds before they can click on “skip” and return to their video.

Russell had an epiphany: Why not create a concert that feels like watching YouTube for the audience? She and some students learned to play songs that the kids’ parents loved when they were young like “Ghostbusters” and “The Final Countdown.” Students painted a tall, skinny poster and decorated it like the recommended video stills on YouTube.

During the concert, audience members could choose what happened next. In order to the next piece, they had to watch an ad or donate money to the school’s music program and skip the ad. Students studied ads like those for Liberty Mutual insurance and medications, and made up their own funny ads. They even created an ad for a make-believe musical medicine called “Orchestrina,” which could help if you were feeling blue, needed a tune-up or were feeling out of sync with friends. The side effects of Orchestrina? Better posture, better test scores and friends that will last forever.

“We tried to make it as weirdly accurate as possible,” Russell says with a chuckle at the memory. “The kids just loved it!”

Family members did, too, including little brothers and sisters who usually have a hard time sitting through 90 minutes of classical music; they welcomed the novelty breaks.

Choose Your Own Adventure

Another unique concert was based on the classic book series where readers create different stories by choosing plot options. This suited Russell because she likes to give students and even audiences choices.

“I’m a big ideas person,” Russell says. “I love having a very small idea and having students in my office, saying ‘Why don’t we do this?’ Students will throw out ideas, and we end up with this interesting idea.”

In December, Russell, who was recognized as a 2024 Yamaha “40 Under 40” music educator, invited Blythewood alumni to perform at a concert. She had her students hold up signs after each piece; one said “Circus” and the other sign said “High Seas.” An audience member would choose a sign, and the orchestra would comply and play the type of music the sign represented. Then, the alumni would talk to current students about the adventures they had chosen for their lives after high school. This inspired Russell’s students, she says.

“We have a great time in orchestra; we have a really phenomenal program,” Russell says. “However, my main goal is to shape musicians who are appreciators of music. These kids are not necessarily going to conservatory, but they can hear about how music played such an important role in the lives of alumni. The concert was really fun, and at the end, we had all 91 students plus graduates circle around the auditorium.”

Childrens’ Book Literacy

Russell’s dedication became even more evident during the pandemic, when daily life was upended in 2020. Teaching a subject that doesn’t do remote learning as well as some other subjects, Russell realized how hard she would have to work to retain students in the orchestra. “How do I convince parents to have their kids stay the course?” Russell asked herself.

She wanted parents to tell their children who wanted to quit orchestra to say, “No, this is a good thing for you.”

“I have never met an adult in my life who says, ‘I am so glad my mom let me quit playing the cello,’” says Russell. She repeats this comment at every concert.

Russell wanted to get all of her students into the same place at the same time playing the same piece of music, and for them to work with a professional. How would she accomplish this? Russell and a teacher friend wrote a grant and brought in Netta Hadari, a renowned violinist and conductor from Connecticut, who worked with the kids as they each composed their own short pieces based on a children’s book. Each student wrote out the music by hand.

“We were able to tie in literacy — not just musical literacy, but how well were they able to understand the book and the literature side of it,” Russell says. “It was a huge undertaking.”

Through this project, Russell showed parents the progression their children will experience if they keep playing an instrument.

“Students were able to schmooze with some professionals,” she says. “All around, it was probably one of the most exciting things I’ve done in my life.”

plywood fiddles painted for the Painted Fiddle Project

Giving Back

Russell carries on the school’s Painted Fiddle Project, which began in 2009 when one of the orchestra parents, who is an artist, made wooden fiddles and sold them at concerts. In 2018, one of her students asked if she could revive the program as a senior project, and Russell enthusiastically agreed.

Russell and her father, Jim Wilson, cut out fiddles from maple plywood and members of the school’s National Honor Society painted the fiddles and auctioned them off at each concert. The proceeds support the orchestra program, and at the end of the year, the school donates money to the University of South Carolina’s string projects as a way to give back to the community.

Thanks to grant money, Russell’s students also had the privilege of participating in a workshop and enjoying a concert by Violins of Hope, a group that collected violins, violas, and cellos after World War II. Many of the instruments belonged to Jewish people before and during the war, and families of Holocaust survivors donated many of the instruments. Learning about this period of history was moving for Russell’s students.

Beyond These Walls

Russell’s motto is “beyond these walls,” because of the ubiquitous nature of music. “Music is not just something we do during my 40-minute class; music is all around us,” she says. “Past the walls of our building, there is so much more.”

Her passion for music goes back to her teen years, when a teacher play a record by the band They Might Be Giants. “It just stuck with me my entire life,” Russell says. “He said, ‘Everything in music theory is happening here.’”

Now, Russell gets to teach the next generation, with kids who are consuming so much music ranging from Taylor Swift to Kanye West. The variety is wonderful, as many people think of music education as limited to Bach, Beethoven and other classical composers.

“They have their AirPods in all day long,” Russell says. “They really want to show that that there is so much more than Top 40 and dead white guys.”

Guitar Maintenance

Written by Robbie Calvo on September 10, 2024. Posted in Guitars.

Anyone who owns a guitar knows how much joy this beautiful and functional work of art can bring to us through music. Learning to play the guitar is not only a serious investment in your development as a musician, but it is also a commitment to take proper care of the instrument itself.

Think of yourself as an artisan whose tools — your instruments — are an extension of the hands that use them. A well-maintained instrument will provide the potential for flawless performances and a lifetime of service, as long as you employ a few regular maintenance checks and guidelines.

If you’re a guitar educator, you are responsible for the health and safety of multiple instruments in your classroom. I’d suggest taking stock of each instrument in the breaks between each school quarter, so that any repairs, string changes and adjustments can be made before classes resume.

Most of the maintenance tips below can be implemented by the instructor, parent or student, however, it’s a good idea to find a local luthier or guitar store for help with detailed repairs or adjustments.

General Care

I always recommend keeping your guitar on a guitar stand that supports the neck of your guitar. A stand with a rubber neck retainer is also useful to prevent the guitar from falling from the cradle. I advocate a guitar being out of its case for a couple of reasons.

You’re more likely to practice if the guitar is visible, and easy to pick up and play, plus the guitar will gradually adjust to the room temperature, and naturally acclimate to its environment. A well-acclimated guitar will generally afford better long-term tuning stability.

Never leave instruments in direct sunlight or near heating sources like radiators. Extreme heat can weaken the glues used in construction, dry out the tone woods, and cause premature color fading of the finishes.

It’s important to note that an extremely dry guitar may start to show signs of cracking along the top, back and sides.

Conversely, a guitar with high levels of moisture content may start to sound less resonant, swell and disfigure, causing glue joints to fail, and protective finishes to lift away from the tone woods. This can leave the guitar permanently damaged, even after repair.

a guitar with humiidipak in the sound hole

Humidification

Generally speaking, the perfect environment for a guitar is 66-77 °F (19-25 °C) and the ideal humidity levels between 40-50%.

Unless you have a dedicated studio, these ranges are harder to achieve, especially in classroom located in states with extreme weather patterns and seasonal challenges.

The good news is that guitar humidification is available for individual guitars by way of D’Addario Humidipaks. These small humidification bags can be placed in your guitar case or hung inside the guitar sound-hole of an acoustic guitar when it’s not in use.

Humidipaks are two-way humidity-control packs that automatically maintain the ideal humidity level for your guitar.
There are three types of Humidipak.

Use Humidipak Restore if your instrument is dry and needs additional moisture,
Use Humidipak Absorb if you are in a high-humidity environment and need to reduce the relative humidity of your instrument.
Use Humidipak Maintain if you are looking to sustain the proper levels of relative humidity within your instruments.

I recommend putting your guitars in their cases with the appropriate Humidipaks for a couple of days to correct any imbalances. Do this on a regular basis, and you should achieve stable humidity levels within all your instruments.

various string packages on top of guitar

Strings

String maintenance is critical. I recommend coated strings because they last longer, provide resistance to oil and acidity from the player’s sweat, and prevent premature rusting of the unwound strings.

As strings age, three very important aspects to playability — intonation, tuning stability and clarity — diminish.

Elixir and D’Addario both provide excellent coated strings for acoustic and electric guitars. They may cost a little more than regular strings, but they’ll last five times longer and sound consistently better during that time.

String lubricant and cleaners like the D’Addario XLR8 are excellent for wiping down guitar strings before and after a practice session. They also provide smooth, squeak-free glissandi during position changes along the fretboard.

Keep some on hand at all times.

Classical guitars equipped with nylon strings require regular cleaning, and string changes. Nylon strings won’t rust, but the wound strings (E, A, D) may start to deteriorate after the windings become worn.

Fretboard Care

Fretboard tone-woods, such as rosewood and ebony, can be found on most acoustic, electric and nylon-stringed guitars. These close-grained hardwoods are usually left unfinished and will require moistening with a hydrating oil on a semi-annual basis to prevent them from drying out.

Many guitar manufacturers recommend lemon oil for this purpose. You can also use D’Addario Hydrate fretboard conditioner.

I recommend applying a small amount of this fretboard conditioner every other time you change strings. Simply apply the conditioning oil with a soft cloth, let it sit for a few minutes and remove any residue. Buff to finish.

Electric guitars with maple fretboards are usually finished with polyurethane or nitrocellulose lacquer. These fretboards can be cleaned with a good quality furniture polish during every string change.

If you use lemon oil to condition your fretboards, avoid making contact with the other finishes, as this may damage them.

Intonation

Ensemble guitar teachers always stress the importance of stable tuning within a classroom environment. There are many factors that contribute to stable tuning, such as perfectly tuned, clean strings; well-installed strings that don’t slip or get caught in the nut; and the intonation of the instrument itself.

New strings can be lightly stretched before use to reduce detuning while being played. Nylon strings will take longer than steel strings to settle in. If a particular string or multiple strings consistently go out of tune, check for a few things.

close up of guitar headstock to show proper winding of strings around the tuning posts

Check that the string is seated properly on the saddle and in the correct nut slots. Strings may also get stuck in a poorly cut nut slot, and then release, which detunes the guitar while it’s being played. Have a luthier cut the nut slots cleanly, allowing the strings to pass through them without sticking.
Make sure the strings have been installed with a suitable winding around the tuning post. I recommend winding the string around the tuning post three times.
If the nut slots are cut too high, it may cause students to push down too hard on the strings to obtain clean, buzz-free chords. This will make the strings go sharp, especially the B string. Have a luthier re-cut the nut slots so that they are closer to the top of the first fret. Also, check that the overall string action (height of the strings from the fretboard) from the nut to the saddle is playable. Reducing the playing action can dramatically improve a student’s progress and the overall intonation of the instrument.
Check that the neck relief on each guitar only provides enough “relief” (a tiny concave bow away from the strings) to allow for the strings to resonate without buzzing. You can check this relief by sighting down the fretboard from the nut to the bridge. Hold down the low E string at the first fret and last fret. Sight down to the middle of the string and make sure there’s a small gap between the bottom of the string and the top of the fret wire. The truss rod on your guitar will allow you to reduce or increase the neck relief using a small Allen, or hex, wrench. If you aren’t used to making these adjustments, have the guitar serviced by a professional.

Cleaning the Finish

I clean my guitar finishes every couple of weeks to remove the daily dust, finger grease and sweat that may build up on the surfaces during regular practice sessions. There are many proprietary guitar polishes on the market, but you can also use a good quality wood and furniture polish. Cleaning your guitar will bring you closer to loving it and keep you aware of any other issues or maintenance concerns that may arise.

The Wrap-Up

Modern instruments have usually undergone rigorous checks before they leave the manufacturer, and they may receive more adjustments at the guitar store.

Personal alterations on a per student basis may still need to be made. Keep a keen eye and ear out for student struggles, ensemble tonality, tuning stability, and the overall playing environment in which your guitars reside.

Take the time to assess each guitar on a regular basis, and pair that with some simple routine maintenance checks within the school holidays.

A well-maintained instrument will last a lifetime, and so will the joy and academic benefits of a music education.

Photographs courtesy of Robbie Calvo

Check out Robbie Calvo’s other posts.

Four Tips For Getting Your Child Started On Piano

Written by Jerry Kovarsky on September 5, 2024. Posted in Piano How-to. 1 Comment on Four Tips For Getting Your Child Started On Piano

As a parent, you want to help your child to grow and develop into a well-rounded person. And when many parents think about preparing their kids to excel in school, they tend to focus on how to advance their reading, math and science aptitude, or on getting them involved in sports and gymnastics to help develop their strength, coordination and team building. Often overlooked are the arts, and specifically playing a musical instrument.

But research shows that playing an instrument has many benefits for your child, from good posture and eye-to-hand coordination to better cognition. Students that take an interest in music also do better at reading, spelling, math and science — they even develop improved language skills. Music also helps the child express their feelings, leading to better and more balanced emotional development. The bottom line is this: Playing an instrument benefits a child in many different ways.

Which instrument to start with is largely a matter of personal taste; certainly, if your child shows an affinity for one particular instrument, it’s good to encourage that interest because it makes it more likely they will accept music lessons with enthusiasm. But if there’s no particular leaning, piano is a great choice for kids, as it is easy to produce a satisfying sound right away: No having to figure out how to blow properly into a wind instrument, or learning to bow a stringed instrument. (While drums are certainly a fun activity, not every family wants to endure the tumult of a kid bashing on a drum set every day!) In addition, piano is a part of many styles of music, so your child will be able to participate in lots of musical activities as they grow and develop.

Here are four things parents can do to help support their child in starting to learn piano.

1. Create a Musical Environment

This one’s easy: listen to piano music in your home, and talk about how much you enjoy it. All the major music streaming services have playlists of piano music. You can search for them by using terms like “classical piano,” “pop piano,” “jazzy piano,” etc., or simply enter the name of your favorite pianist. Making piano music part of your everyday life shows your child that it is a cool and positive activity.

Similarly, make it a point to watch films and TV shows that feature the piano. Baby boomer parents likely remember watching this classic Bugs Bunny piano performance. The inimitable Chico Marx often got a piano feature in Marx Brothers films, and many pianists cherish his visually playful technique. And everyone enjoys this classic scene from the movie Big. Clips like these help to associate piano playing with fun.

2. Introduce Your Child to Musical Games

A great way to bring music into a child’s home life is through the use of musical toys and software games. Who hasn’t had fun as a kid playing Simon^®? Be sure to focus on the notes, not just the colors, so your child will try to listen to and follow them.

There are some excellent software titles that let children get involved in making sounds as they play, and this can nurture their creativity and enjoyment of music-making. A few that I like are:

iOS

– Musical Me!
– Bandimal
– Loopimal
– Musical Paint

iOS, Android, Google

– Music Box

Web-based

Chrome Music Lab has some great “experiments” (small applications) that allow your child to interact with musical elements, such as:

– Melody Maker
– Kandinsky
– Rhythm

3. Get Your Child Piano Lessons

The next logical step is getting your child lessons. For small children (younger than eight), it is very important to find a teacher that specializes in teaching young kids. As every parent knows, youngsters have short attention spans, so a teacher needs to be skilled in dealing with that age group. At this stage of a child’s development, the most important thing is to stimulate their interest and enjoyment of music, not just try to teach them notes and fingerings. Ask at your child’s school for recommendations, visit your local music store and/or ask other parents to find someone proven within your community.

It’s important that you be involved in the lessons as well. You’ll need to know what the teacher is teaching, and what the assignments are so you can act as a surrogate to guide your child through their activities. This is actually a great thing — you are sharing precious time with your child focused on a creative activity! Just bear in mind that most kids — especially the young ones — can’t be depended upon to put in the necessary practice time, so you’ll need to actively encourage them. (20 minutes or so each day is plenty.)

4. Help Design Creative Lesson Activities

Kids need positive reinforcement and fun stimulation during both their lessons and practice time. When they play a piece well, give them lots of praise! Some teachers like to give stickers, stars or small gifts for good work. A young child will only practice a piece a few times before getting bored, so it’s important to find ways to keep things interesting. Have them move to different ranges of the piano to hear how it sounds higher or lower. Ask them to play the phrase very slowly, and then a little faster; as quiet as they can, then loudly. If you have a digital piano, you can also change the sound to that of another instrument to let them hear how different it sounds. (This is usually a surefire way to hold their attention!) And remember: Your child’s practice doesn’t have to involve only playing the piano. Have them stand up and play games like clapping different rhythms, marching in rhythm, or singing to help to vary their activities and keep them from being bored.

When I gave lessons to small children I would make up accompaniments to their pieces so they could hear the song sounding like rock and roll, boogie-woogie or other styles of music. I would ask them what their favorite song was, and I would teach it to them in a simplified fashion so they got direct and relevant involvement with playing music. What is most important in the first year of lessons is to create a positive, fun and rewarding experience for the child so they want to continue playing piano. More technical aspects, such as learning to read music, along with proper hand position and fingering, can come later, after the teacher (and you!) have made playing and lessons a positive experience in your child’s life.

Check out our other Well-Rounded Keyboardist postings.

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General Care for Your Stringed Instrument

Written by Yamaha Staff on September 3, 2024. Posted in Strings.

Each violin, viola, cello and bass is crafted using parts that are able to fail in a particular way that, if caught quickly, can be easily repaired by a qualified luthier (stringed instrument repair person).

Tuning

Most skilled players will begin tuning their instrument by loosening the fine tuners as far as they can, allowing them to utilize the pegs to their fullest advantage and then fine tuning the instrument to true pitch and keeping the player from over-tuning and possibly breaking the strings. (read the blog post, “How to Restring a Violin”).

Tuning also gives the player a great opportunity to assess the instrument!

Check that the pegs are turning smoothly and fit properly.
Are the strings wound on the legs properly (evenly spaced with no overlap)? Are any strings dented or frayed?
Ensure that the fine tuners and the tailpiece are working properly.

Download this Yamaha Strings Care Checklist for Students now!

Cracks and Open Seams

Cracks and open seams are relatively common on stringed instruments. Changes in humidity and temperature effect both the tonewood and the adhesive used to connect the front, back and sides. Catching these issues early is vital to repairing them effectively.

Be sure to check over all glued contact points. This includes all seams, the fingerboard, nut and saddle.
Look for splits and cracks along the wood grain surrounding the soundpost contact points (front and back of the instrument).
Check pegs and neck for warping, twisting or splintering wood.
Using a clean, untreated microfiber cloth to gently remove rosin from your instrument after each use can greatly improve instrument health and allow you to regularly check for any issues that may arise.

Bridge

Orchestral stringed instruments utilize maple bridges that are made to fit each individual instrument. An improper bridge fit can cause serious damage! The inside of the instruments are hollow, with only the soundpost distributing the pressure of the strings pushing on the bridge to keep the violin (or viola, cello or bass) from collapsing in on itself! Check to make sure the bridge is well-maintained and positioned properly on the top of your instrument to ensure pure tone and longevity.

Check to make sure your bridge is positioned properly. The bridge should be set along the arched top in the middle of the fingerboard, with the “feet” centered between the notches of the “f” holes.
Look for any visible decay in the wood of the bridge. Is the coloring nice, bright and flamed? Is the wood holding its shape or is it warping/curving on the top or sides? Is the maple firm and not soft and squishy?
Make sure the feet of the bridge fit flush against the top of the instrument. Any gaps can create a difference in pressure, affecting not only tone but structural integrity.
Look at the height of the bridge. Does it look too high or too low? Are the strings really hard to push down the closer you get to the bridge? Do the strings buzz when you press them against the fingerboard?

Soundpost

The soundpost is a small, carefully crafted maple dowel located on the inside of the instrument close to the bridge. The soundpost has two functions; it works as a support for the top of the instrument and it also controls sound! Having a properly fit and placed soundpost is integral for the stability and tone of your stringed instrument.

Always check that your soundpost is upright and in its proper position just behind the treble foot of the bridge.
In the case of a fallen soundpost, you may hear or see it rolling around the inside of the instrument. Immediately loosen all the strings and remove the bridge from the instrument to prevent cracks and visit a qualified luthier to refit the soundpost.

Bow

Stringed instrument bows are just as important to care for as the instrument itself! Bows should be thought of as an extension of the instrument, not an accessory. Keeping your bow in good working order will ensure easy playing and good technique.

Tighten the hair on the bow to playing tension using the screw at the bottom, making sure the hair tightens and loosens smoothly.
When tightened, look straight down the stick from the screw to the tip. There should be a slight curve upward toward the tip. Any side to side curvature or warping should be checked by a luthier.
The hair on the bow should be full and light colored (unless using black hair on a bass bow). Look for any frayed or missing hair and discoloration (usually rosin build-up) near the frog and tip.
Check the tip plate. Is it cracked or missing?
Check the frog for cracks and dings.
Always loosen the bow hair when not in use. Leaving the hair tightened can cause hair breakage, over-stretching, stick warping, frog and tip damage, or even cracking in wooden bows.

________________________________________________________

Stringed instruments should be evaluated by a luthier twice per year even if no problems are apparent. The general rule is to have this done in June and January as playing habits, temperature and humidity levels can affect these sensitive instruments. Remember, happy instruments make happy players!

music teacher speaking in front of group of students

How to Effectively Partner with School Administration

Written by Dr. Richard Hutton on August 30, 2024. Posted in Teaching Tips.

I routinely witness music educators taking to social media to vent about a lack of support from school administrators. I have been there. Early in my career at an independent college-preparatory school, a newly hired headmaster attended my first choral concert of the semester and slept through a good deal of it. Much to my surprise, he called me into his office the following school day to tell me that the hour-long concert was “too long and too religious.” There was no conversation or space to provide rationale, only directives about what would be different moving forward.

The concert was in fact dominated by secular music and none of the sacred selections were devotional in nature (the only sacred repertoire on the program was a Mozart motet in Latin, a Mendelssohn anthem in German and an African-American spiritual), so I was not anticipating a need to defend my curriculum to a disapproving employer that morning! After stomaching the criticism, which was opposed to every measure of success that I had been taught, I left the meeting feeling frustrated and at an impasse.

Whether the particular frustration is regarding course offerings, scheduling, budget, administrative red tape, district-wide initiatives, program expectations, enforcement of policy and procedures, or teacher evaluations, music educators will undoubtedly experience some of these vexing encounters. The good news is: There is much that can be done to ensure a thriving relationship with your administration and mitigate unsupportive encounters!

Though the tenure of the administrator in my example was short-lived, I learned a valuable lesson. Quality teaching alone is no guarantee of administrative support. This particular interaction could have been averted if I had done some intentional advocacy work on the front end. Now, I’m in higher education, and I encourage my music education students to foster a close-knit relationship with their future administrators in several ways.

performance on stage — Dr. Hutton conducts a performance of Handel’s Israel in Egypt oratorio.

VISIBILITY

Because educators in the performing arts teach content that is specialized with methods that also require a specific set of skills, they are too frequently left alone and trusted to “do their thing” — particularly if they are well-qualified and well-liked. Early on in my career, I perceived this hands-off approach of my administration to be an indicator that things were going well. No news is good news! Also, who wants a micromanager for a boss? However, I learned that this approach can create several hurdles:

Educators in the performing arts can often feel isolated without colleagues in the building who truly understand their needs, their curriculum or their approach.
With distant leadership, successes may go unnoticed while challenges may linger.
When issues arise, a trusting relationship based on direct experience is not established.

As I matured in my career, I realized the importance of keeping my instruction visible to administrators in a proactive, almost pestering, manner. At that independent school, I had never been observed in my music instruction, not a single lesson after my initial interview. As a result, my evaluators knew nothing of what I was doing apart from secondhand accounts or attending performances.

Inviting administrators into the classroom became a cornerstone of my advocacy strategy. Rather than waiting for required observations, I extended personalized invitations on a regular basis, encouraging them to witness firsthand the dynamic interactions and learning experiences taking place within the music program. And I asked that it be documented (which would become wonderful artifacts for future employers). In this way administrators will track growth, not only the final product. This proactive approach not only provided leadership with direct insight into the curriculum and pedagogy, but it also fostered a sense of investment and appreciation for the work being done.

Sharing the achievements and successes of my students became another vital component of my advocacy efforts. From simply announcing every student honor and recognition to highlighting every milestone of our choral program, great and small. I made a concerted effort to keep administrators informed and engaged. Do not be afraid to brag on your accomplishments and celebrate them publicly to demonstrate the tangible impact you are making. Flood your administrators’ email inboxes with the amazing things you and your students are doing and take-over the school announcements with kudos for your music students.

music teacher awarding certificate to student — Outstanding choral student receiving an achievement award.

INVOLVEMENT

In addition to classroom engagement, I seized opportunities to involve administrators in my program’s special events, such as serving as chaperones for a choir tour that included attending a performance of “Hamilton” (my principal jumped at the opportunity). Personally invite them, and provide comp tickets, to the honor choir concert. Take your choir to their office to serenade them with “Happy Birthday!” Ask them to be a “practice audience.” These experiences will not only allow principals, assistant principals and deans to witness the passion and dedication of your students, but they will also foster personal connections and emotional ties to the music program. And if it so happens that on the bus to the choral festival you have an opportunity to highlight a tangible need — so be it! By bridging the gap between the administrative office and the music room, I was able to cultivate a supportive relationship that championed the success and growth of our program.

EDUCATION

Over time, I recognized the importance of taking initiative to educate administrators about the rationale for my curriculum and pedagogical approach. Before the year gets going, request a meeting to talk through any areas that could potentially cause heartburn. Why is it of value to learn and perform a mass movement by Franz Schubert? Why is a retreat for my Advanced Choir worth the investment? How will a subscription to a sight-reading technology impact the musical literacy of the 9th graders? Why might a co-curricular concert take priority over an extra-curricular sports practice? I worked to debunk some of the misconceptions regarding music education and, at the same time, garner their support and understanding. Through intentional dialogue, I was able to convey my expertise as well as the value and impact of music education on student development.

music teacher session at conference — An ACDA reading session geared toward future choral educators.

ALIGNMENT

I initiated annual conversations with administrators to discuss their goals and expectations for the music program, aligning them with my own objectives and aspirations. This collaborative approach not only ensured alignment of priorities but also provided a platform for mutual understanding and accountability. By actively involving administrators in the planning and decision-making, I fostered a sense of ownership and investment in the success of the music program. It is incredibly valuable to sit down, dream and visioncast. I proactively highlighted opportunities for growth and development, drawing attention to initiatives implemented in other schools that weren’t yet an opportunity at my school but could be adapted or adopted to enhance our program. By keeping leadership abreast of emerging trends and best practices in music education, I positioned myself as a proactive and forward-thinking educator, dedicated to continuous improvement and advancement.

In reflecting on my journey as a choral director, I have come to appreciate the transformative power of advocacy in building strong and supportive relationships with school administration. For me, advocacy meant keeping music education visible, involving administrators in every way I could, proactively educating them and aligning their goals with mine. Make the administrator’s office a space you frequent often — 90% of this time should be on your own initiative and 10% on theirs. In this way, I have experienced success cultivating a culture of support and collaboration that has enriched the educational experiences of my students. As music educators, we must recognize the importance of advocating for our students, our programs and our profession. And we must strive to foster meaningful partnerships with school administration that will ultimately strengthen the fabric of our school community.

A Bassist’s Guide to Playing Jazz, Part 1

Written by E.E. Bradman on August 29, 2024. Posted in Bass.

Imagine that you are moving to a new country and want to learn the language. You might watch videos to absorb the country’s history, culture and current events or take a course that connects you with other students. With regular practice and guidance, you’d eventually be reading, writing and having conversations with native speakers, well on your way toward true proficiency.

Jazz is a language, and learning it requires many of the same methods. In this first of a two-part series, we’ll explore several important steps bassists should take if they want to master this challenging musical genre.

LISTEN

There are many branches of the jazz tree, from bebop and big band to free jazz and fusion, so exploring different styles and eras will help you decide what appeals to you. Get to know the history of blues and jazz (blues was the foundation for jazz). Make playlists of the artists and songs you like, and listen closely to your favorite rhythm sections. Even in the same subgenre, bass players can take vastly different approaches to tone, timekeeping and harmony. If you’re already knowledgeable about a particular bassist or school of jazz, begin to articulate what inspires you and what skills you’d like to develop.

EXPERIENCE IT IN PERSON

You can learn a lot by watching videos and reading books, but there’s nothing like experiencing jazz in a live setting. Go to shows and jam sessions so you can hear local players work on their craft, and make it a priority to catch touring jazz musicians who swing through town. Check out the audience at any jazz club, and you’ll most likely see students like yourself learning about improvisation (the cornerstone of jazz) in real time.

FIND A TEACHER

Another benefit of going to see live jazz is that you radically increase your chances of meeting an experienced bass teacher. Not every great musician knows how to teach, but if someone makes a strong impression on you, they probably have knowledge to share.

Teaching yourself to play jazz on bass is possible (especially if you avail yourself of the many online resources out there), but if you’re on the fence about taking lessons, remember that a good teacher can support you when things get tough, keep you accountable, steer you away from bad habits, and introduce you to concepts you might not have otherwise encountered. In addition, a good curriculum will pace your learning with well-planned structure, which is the surest way to progress.

WALK BEFORE YOU RUN

Once you’ve begun studying, it can be tempting to shoot for the stars, but as any experienced teacher will tell you, it’s important to have a solid grasp of the basics like roots, fifths and octaves. Understanding notes, intervals, scales, chords and chord progressions will strengthen your foundation as you learn to read, play walking basslines, solo, and become familiar with the jazz repertoire.

KNOW YOUR ROLE

Being in a rhythm section is an important task. We bass players serve as the bridge between harmony (most clearly defined by chordal instruments like guitar and piano) and rhythm (drums and percussion). Doing our job well means outlining the harmony with chord tones and laying the foundation, usually by playing the root of each chord (in addition to related notes to form an interesting bassline). We’re also intimately connected to the kick drum, where you and the drummer are partners in keeping time.

LEARN TO READ MUSIC

Reading music is a crucial part of being a jazz bassist. You may not always be expected to instantly read and play complex figures at fast tempos, but knowing how to quickly scan a lead sheet, or, more specifically, a jazz chart for essential information — things like the key signature, the “head” (main melody), unison lines, modulations, turnarounds, repeats and the overall form — is a must. Charts are the most basic way jazz musicians communicate the shape of a tune, and if you don’t know how to swiftly get all the info you need, you’re setting yourself up for failure. Sure, if you have “big ears,” or if you closely watch the pianist’s hands, you might be able to fake it (which is another ability entirely), but reading a chart is beyond useful when it comes to playing jazz; in many ways, it’s the price of entry.

In addition, developing your sight-singing, a skill frequently mentioned alongside sight-reading and ear-training, will allow you to look at a chart and hear the melody in your head; knowing common chord progressions (like the ii-V-I), song forms (like AABA, ABAC, and 12-bar blues) and common phrases goes a long way too.

PLAY LICKS

If you were learning a new language, you might start with short phrases like “please,” “thank you” and “where’s the restroom” before working your way up to, “I’m looking for the best inexpensive vegan pizza place near my hotel that’s open after midnight.”

Similarly, learning jazz licks — bite-sized melodies, intros or phrases that connect chord changes — will sharpen your ears while helping you get jazz phrasing under your fingers. A technically challenging lick can inspire you to practice until you get it, which can be quite satisfying; learn to play it in all twelve keys, and you’ll have a new addition to your solo tool bag.

TRANSCRIBE

Just as important as figuring out the notes being played is taking the time to decipher how and why a bass player took a particular approach. In the old days, this process involved repeatedly playing a short section of a record until you could hear all the details, but software has made it easy to slow down and loop a piece of music while amplifying the bass part. Learning to hear all the elements of a performance is perhaps the best way to deeply absorb jazz basslines played by the greats and add those skills to your musical vocabulary.

TRAIN YOUR EARS

Like reading music, ear training is an essential skill for jazz musicians. Learning to identify song structures, intervals (the space between notes), chord qualities and harmony and chord progressions will make all the difference to you as a performer, accompanist and soloist. There are many ways to train your ears, so find a method that works for you and stick with it.

In Part 2, we’ll continue the journey with some more helpful tips for learning to play jazz on bass.

Piano Lessons Can Improve Your Child’s Language Skills

Connecting Music and Peace

Written by Kellie B. Gormly on August 23, 2024. Posted in Case Studies.

Benjamin Bergey’s brand-new degree program — the hybrid major called Music and Peacebuilding, offered at Eastern Mennonite University in Harrisonburg, Virginia, since 2021 — will graduate its first student this year, with four more students nearing completion. Yet as word has spread, more and more students are interested in this unique degree program that combines a traditional music education with elements of diplomacy, facilitating dialogue and conflict transformation.

“The hardest part is getting people to know that it’s here,” says Bergey, an Assistant Professor of Music and Director of Orchestra and Choirs at EMU. “Once people are aware of it, they say, ‘Hey, that’s awesome.’”

A Tool for Intercultural Competence

The program, which Bergey started and built, combines two areas of study to form a powerful tool for intercultural competence. Music and Peacebuilding can prepare students for a variety of careers, as many organizations are using music to help people in high-conflict areas, he says.

“It can be useful in any scenario where there’s people,” Bergey says. “And where there’s people, there’s conflict. That’s not inherently a bad thing, but it’s just a fact.

“I’ve found that this is actually an emerging field,” says Bergey, who was recognized as a Yamaha “40 Under 40” music educator in 2024. “On the peacebuilder side, people who have already done this have long known the benefits of using the arts in their work. But musicians haven’t necessarily had similar training to see how peacebuilding theories and frameworks can benefit our work as well.”

Finding Common Ground in High-Conflict Areas

Seeing a need there, Bergey became interested in incorporating peacebuilding training into music education. While working on his doctoral degree at James Madison University, he researched the subject for his dissertation while spending time in Jerusalem during 2017; he also went to the Middle East to study abroad in 2010 during his undergrad years.

Bergey studied groups in Israel and Palestine that used music to bring together Arabs and Jews by making, learning and sharing music as well as engaging in professionally facilitated dialogue. In particular, Bergey spent time observing the Jerusalem Youth Chorus, which has both Jewish and Arab teenagers from different parts of the city who meet together at the YMCA in downtown.

Choir members first sing together, then have dialogue about a variety of topics and then end their sessions with more music. This provides a bonding experience for these kids, whose cultures have major clashes.

group of students from EMU with Dr. Benjamin Bergey

“They find humanity in each other and realize: We like similar things, and some words in our languages are more similar than we realize,” Bergey says. “It’s a really fascinating experience that they have, and they turn out to be quite formative.”

According to Bergey, music provides a fun common ground for kids, and it helps soften the conflict in heated discussions. “They want to learn about each other and why one might feel a certain way about something,” he says. “Some sessions are not all happy and butterflies.

Making music together can help break perceptions of dissimilarity because of a shared experience, which can build empathy. “With this act of music-making, people at least have a better shot at more fruitful dialogue and creative collaboration,” he says.

two student singing accompanied by music teacher on drums

The Social Aspect of Music-Making

Bergey now practices what he learned in the Middle East by leading retreats and meetings where people combine music with peacebuilding. One common activity is hosting a drum circle, where Bergey and students go into a community park and set up buckets to serve as drums. They invite anyone to come and participate, with or without a music background. People sit in the circle, talk to each other, and play the buckets like drums, which is a cathartic, fulfilling experience, he says. Even just realizing that there are other humans in the circle promotes empathy.

“Seeing a bunch of random people come together like this is pretty awesome,” Bergey says. “It’s musical empathy and preventive peacebuilding, pre-conflict. It’s the ability to build human connections or social capital prior to any conflict.”

Students who get a Music and Peacebuilding degree at EMU can use these relational and music skills in a variety of jobs, Bergey says. Some work for nonprofits, while others work in education. Some might go on to graduate school for music therapy, he says. Whatever Music and Peacebuilding graduates do, they are “able to use these theories and to understand the social aspect about how people work and how to mitigate conflict,” Bergey says.

small choir performing — EMU Chamber Singers at the Basilica of the Shrine of the Immaculate Conception in Washington, D.C.

The Impact of Belonging and Philosophy

For Bergey, his faith has influenced his career significantly. It is important to create a sense of belonging at the school, and Bergey brings that into his classrooms.

“For me, it’s important to have a space where people feel they can bring themselves and have their voices heard — and in choir, it’s literal voices,” he says. “It’s a very vulnerable act to let others hear your voice. Creating that space where people can do that is a very human, moral and kind thing. And I feel it leaves the world better than we found it.”

Bergey echoes this sentiment in his philosophy about music education. “For me, teaching music is about providing opportunities for everyone to contribute and learn and be a part of that expression. To do that, we need to be able to recreate space for each person to bring their authentic self and to realize how we together are creating something that is better than any individual part,” he says. “That’s the beauty.”

Photos courtesy of Eastern Mennonite University

The Benefits of Playing Piano … At Any Age

Written by Rich Tozzoli on August 22, 2024. Posted in Acoustic Pianos. 3 Comments on The Benefits of Playing Piano … At Any Age

Whether you’re looking to have your child start a new learning-enriching activity or you’re a retiree who is up for a new challenge, here are some amazing benefits that come from playing piano.

It Can Make Your Child a Better Student

Young child playing an upright piano in her living room.

Parents take note: When your child learns a musical instrument, they become a better student all around. There are numerous studies that have verified this astonishing fact. For example, a Psychology Today article citing research done at the University of British Columbia in 2019 states that “Students who learned to play a musical instrument in elementary [school] and continued playing in high school not only score significantly higher but were about one academic year ahead of their non-music peers with regard to their English, mathematics and science skills … These exam-based statistics were consistent across the board, regardless of socioeconomic background, gender, ethnicity, or prior learning in science, math, and English.”

This extends to language skills too. “It appears that some of the auditory skills learned from piano playing enhance specific aspects of the perception of spoken language, even beyond that gained from additional experience in reading,” writes renowned cognitive neuroscientist Dr. John Gabrieli in an article here on the Yamaha blog. “The benefits from music (which has no direct relation to language) [are] similar to those from reading (which relates directly to language).”

You Can Start Learning It At Any Age

Unlike some other musical instruments, piano is something you can learn — and learn well — at any age. In his Yamaha blog article “Express Yourself,” musician, bestselling author and cognitive psychologist Daniel Levitin says that, “For older adults, the instrument I recommend is the piano (or any similar keyboard, such as organ or synthesizer). The reason is that getting a good tone out of a keyboard is not at all difficult: anyone can sit down at a piano and play a C-sharp as well as a Rubinstein, an Alicia de Larrocha or an Elton John. Putting the notes together is the challenge, but it’s a challenge you can start addressing right away. The other advantage of the piano is that it’s easy to visualize scales and chords — they’re all there in front of you, laid out linearly.”

In fact, according to the Tonara article “Learning Piano as an Adult: What Are the Benefits,” learning piano as an adult has some distinct advantages. “Kids are usually relieved of all the stress that comes with adulthood,” the article explains, “and they might not notice this particular benefit, even when they grow older. But learning piano as an adult can be beneficial for this particular issue. Even simple piano lessons for beginner adults can help you deal with stress.”

It Can Make You Healthier

Personally, I’ve found playing piano to be the ultimate stress reliever. And when I say “play,” I mean simply playing, with no particular end goal in mind — in other words, just enjoying the process of “noodling around.” I find that by allowing my fingers to glide over the keys without the pressure of having to create something or improve my technique, I can let the instrument take me somewhere for the musical joy of it.

“As humans, we are hard-wired for music,” says Barry Bittman, MD, Chairman and CEO of the Yamaha Music and Wellness Institute, a non-profit organization engaged in education and research, “Music gets through where words do not pass. Recreational music-making reduces the impact of stress on many levels and allows healing to begin. It actually alters gene expression pathways in patients with coronary heart disease.”

The Tonara article cited above confirms Dr. Bittman’s observation, stating that “getting into an instrument as an adult can stimulate your brain in so many ways. Your neuroplasticity can see some significant improvements, meaning that your brain starts making new connections and remapping the old patterns.”

Whenever I sit down at the piano, it feels as if my brain does indeed light up with excitement. I simply feel better after playing, even if I only idle over the keys for a short period of time. That may be because I only started to learn to play piano a few years ago (I’m a lifelong guitarist); my training on the instrument is minimal enough that I don’t know exactly what I’m doing. As Zen Master Shunaryu Suzuik once said, “In the beginner’s mind there are many possibilities. In the expert’s mind there are few.”

So whether you want to learn a single song for your own pleasure or go deep into performance technique, playing the piano has healing benefits for your (or your child’s) mind, body, spirit and soul. Best of all, it’s fun!

Check out these related blog articles:

Express Yourself

Sounds Of Resilience: An Interview With Dr. Barry Bittman

Music Makes You Happier, Smarter … And Healthier Too

Teach Your Children Well

Six Ways Music Can Improve Your Life

Click here for more information about Yamaha pianos.

The Art of Using a Capo

Written by Robbie Calvo on August 21, 2024. Posted in Guitars How-to.

Anyone who’s ever seen me perform live knows that I often use a capo. If you’ve watched any of the acoustic video performances on my YouTube channel, it’s likely you have seen me employ a capo there too.

Why do I favor this simple device so much, and why do I think you should know how to use one? The answer is multi-faceted, and there are some surprising uses that you may not have even thought of!

In this posting, I’ll share some basic applications and best practices for using a capo, and also explore the different types of capos available.

Origin of the Name “Capo”

The Italian phrase “Da Capo” means “from the beginning”; it also can mean “the head.” When used in sheet music, it’s a verbal signpost instructing the player to go back to the beginning of the piece and start all over again.

In physical terms, a capo temporarily replaces the nut of your guitar, allowing you to raise the pitch of your open strings without retuning them.

From low to high, the open strings on your guitar are normally tuned E-A-D-G-B-E. Place a capo at the first fret, and you take all those tones up in pitch one semitone, to E#-A#-D#-G#-B#-E#. It’s like moving the nut of your guitar up one fret.

Now let’s explore the many amazing uses for this powerhouse guitar accessory.

Open Chords

We’ll employ the following simple chord progression to illustrate what a capo does to chords played in open position (that is, those containing open strings):

II: C G/B I Ami7 Fma7 :II

Diagram showing various open guitar chords in the key of C.

Let’s say you’re learning a song that uses these chords, but the original pitch is too low for your voice. Place a capo at the first fret, and the same chord shapes are now one semitone higher in pitch, changing the key from C to C#, which may be a much better fit for your voice:

II: C# G#/B# I A#mi7 F#ma7 :II

Now take the capo away and try to learn and play the new chords without it. As you can see from the illustration below, it’s not impossible, but also not practical, or even attainable for a novice that only knows a handful of basic chords. What’s more, two of those new chords require a barre technique (i.e., laying your index finger across a fret), making them much harder to play … and why would you do that if you can simply use a capo to achieve better results within seconds?

Diagram showing various open guitar chords in the key of C. sharp

In essence, then, a capo allows you to play any series of chords in multiple keys without needing to know how to transpose or learn new chord shapes. Using a capo will often affect the sound of your guitar too, since open strings tend to ring out differently (usually becoming more “jangly”) when raised in pitch.

The Importance of a Capo in Live Performance

Most guitar players who sing will agree that playing and singing is much easier when the chords are all in open position.

When we sing in live performance, we face the audience, and our mouths are faced towards the microphone. This means you can’t always look at your guitar’s fretboard. Try playing an Ami7 as a barre chord at the fifth fret without looking at the fretboard. Not easy, is it?

Here’s another scenario to ponder: You’re at your gig, and a female singer asks if she can sit in and sing a song with you. You have no objection, but the female voice is generally pitched a fourth above where male vocalists sing. No problem: Simply take your capo and place it at the fifth fret, and you’ll now have the same chord shapes pitched a fourth above the original key … without having to transpose in your head to new and possibly unfamiliar shapes.

Open Tunings

As noted earlier in this posting, the open strings on guitar are normally tuned E-A-D-G-B-E (from low to high). Open tunings are those where open strings are tuned to a specific chord, which creates a lovely drone of complementary tones. Popular open tunings for guitar are drop D, open G and open E. These all require detuning several strings to another pitch.

Drop D

Here, you detune the first (lowest) and sixth (highest) strings down a whole tone, from E to D, yielding the following notes:

D-A-D-G-B-D

Open G

This is similar to drop D tuning, but with the fifth (A) string also lowered a whole tone (to G):

D-G-D-G-B-D

Open E

In this tuning, the fifth (A) string is raised a tone (to B), and the third (G) string is raised a semitone (to G#):

E-B-D-G#-B-E

Any of these open tunings can easily be changed to another open tuning by using a capo. For example, if you place a capo at the third fret on a guitar in open G tuning, you’re now in open B♭ tuning, as shown below, but still with all the wonderful open-string drones. Try tuning to open B♭ without a capo!

Open B♭

F-B♭-F-B♭-E♭-F

Playing New Chord Shapes With a Capo

Using a capo is a great way to create alternative, second, or even third guitar parts with a series of new chord shapes. For example, start with this chord progression, played in open position. (I’ve denoted the scale position those chords occupy within the C major scale below the progression using roman numerals, where I = the tonic [root] chord, V = the fifth [in this case played over the seventh degree of the scale], VI = the sixth, and IV = the fourth.)

II: C G/B I Ami7 Fma7 :II

( I V/VII VI IV)

You’ll need to play different chord shapes to maintain the I – V/VII – VI – IV relationship. For example, if you place a capo at the third fret, you’ll need to play these chord shapes to attain the same pitch as the original chords:

II: A E/G# I F#mi7 Dma7 :II

If you move the capo up to the fifth fret, you’ll need to play these chord shapes to attain the same pitch as the original chords:

II: G D/F# I Emi7 Cma7 :II

The diagrams that follow show how the capo raises the pitch of those new chord shapes; below each are the chord name and the new pitch it represents when using the capo at the indicated fret location. For example, when the capo is at the third fret, I’m employing an A major shape for the I chord. That’s because the capo raises the pitch of both the open and fretted strings to create a C major chord when the A major shape is used. (Essentially. the capo is playing the barre of this chord shape.) Similarly, when the capo is at the fifth fret, I’m using a G major shape for the I chord; the capo raises the pitch of both the open and fretted strings to once again create a C major chord, this time when the G major shape is used.

Various chord diagrams showing capo positioning.

Why is this worth doing? Well, the new shapes provide a higher pitch, as well as different chord voicings to the original sequence, which creates very musical results. (“Voicing” refers to the order of notes from low to high within a chord.) This is a great way to separate frequencies in a dense mix, add interest to two-guitar parts and capitalize on alternate techniques — for example, strumming the original chords and fingerpicking the higher voicing, or vice-versa.

By the way, guitar parts can be layered multiple times using this capo technique giving you many different sonic options to choose from. The three options shown above are used in the video later in this posting, so you can hear how these alternate shapes, used in combination with a capo, affect the overall sound.

Nut Height

The more you press down on guitar strings, the higher the pitch goes up, so you should always check your guitar’s nut height and intonation to make sure all notes are in tune when fretted.

I prefer to have the string height at the nut cut as low as possible so that it takes less pressure to fret the notes while still allowing for a clean buzz-free tone in open position. Often, the reason your acoustic guitar is out of tune when using a capo is because the nut height has been set too high.

Adjustable Tension Capos

The capos a lot of singer-songwriters use on their guitars during live performance are spring-loaded and have a set tension, which means you have no control over the amount of pressure applied to the strings. I always cringe when a performer places one of these types of capos on the desired fret location and starts to play their song … even though the guitar is now way out of tune.

Instead, I suggest purchasing a capo that allows you to adjust its tension. Typically, it will feature a rotary dial that you turn to increase or decrease the tension of the capo without compromising tuning stability. These adjustable capos are great for multiple guitars too, including electric, and you’ll soon acclimate to the amount of tension needed to keep your personal guitars in tune.

There are also partial capos that only depress specific strings (chosen by you). These allow the player to create interesting tunings. They’re great for experimenting, but I’d recommend first getting used to a capo that transverses all six strings.

Different Capos for Different Guitars

The capo is usually associated with steel-string acoustic guitar applications, but it can also be used on electric guitars, nylon-string guitars, banjo, mandolin and even ukuleles. However, it’s important to take into account the fretboard radius of the instrument on which it will be employed.

Vintage electric guitars often have 7″ or 9″ radius fretboards, which means there is a pronounced curve to the fretboard. So, if you are using a capo designed for an acoustic guitar with a flatter radius, you’ll have to tighten it to depress the low and high strings. This can cause tuning problems on the middle strings. Once the outer strings are in tune without rattling, the middle strings are often too tight, causing their pitch to go sharp.

That’s why you should try and find a capo that matches the radius of your guitar(s). This means you may need to use one capo for acoustic guitars and a different one for electric guitars.

In addition, electric guitar strings are usually thinner (i.e., they have lower string gauges) than acoustic guitar strings. You’ll find that the B string, in particular, has the lowest tension compared to the other five strings. Over-tightening the capo may sharpen the B string to the point where it’s noticeably out of tune with the other strings. If this happens, try detuning the B string back to pitch without loosening the capo.

It’s also worth noting that, in contrast to electric and steel-string acoustic guitars, nylon-string guitars have an almost flat radius. If you plan on using a capo on your classical or nylon-string guitar, purchase one designed specifically for a flat radius. These kinds of capos are readily available.

Two kinds of guitar capos, one designed for classical nylon-string guitars and the other designed for steel-string guitars. — *The capo on the left is designed for nylon-string guitars; the one on the right is designed for steel-string guitars.*

The Video

In this video, I play the chord progression using the two capo positions described in the “Playing New Shapes With a Capo” section above.

I start by strumming the progression on a Yamaha FSX3 acoustic guitar using open position chord voicings:

II: C G/B I Ami7 Fma7 :II

I then move the capo to the fifth fret and fingerpick the chords on the FSX3 using the new shapes described above.

II: G D/F# I Emi7 Cma7 :II

Next, I place the capo at the third fret and pluck the new chord shapes, this time using a Yamaha SA2200 semi-acoustic electric guitar.

II: A E I F#mi11 Dma9 :II

Finally, I add a simple but melodic solo motif (played on the SA2200) for a complete arrangement. I coil-tapped the humbucking bridge pickup for the chords and solo lines to provide extra clarity and punch.

The Guitars

The FSX3 has a really well-balanced low-end response, so overdubs stay clean and tight. Its three-way Atmosfeel pickup system also translates well when recording direct to a DAW (Digital Audio Workstation), as I did in the video above.

The excellent SA2200 semi-acoustic electric is one of my favorite guitars. Not only is it a pleasure to play, it imparts a warm, “woody” tone thanks to its design, large body dimensions and acoustic chambers, along with its soft maple center-block construction and Alnico V (coil-splittable) humbucking pickups.

A Yamaha SA2200 semi-hollow body electric guitar. — *Yamaha SA2200.*

The Wrap-Up

A capo allows for instant key changes while using the same chord shapes, or retaining the same key using new and exciting chord shape substitutes further up the fretboard. There are also chord voicings and open-string tunings that aren’t available without the use of a capo, plus it can subtly alter the sound of your guitar by making it more “jangly.”

A capo can be used to inspire great musical effects when you understand how to transpose harmonic structures using the major scale formula. Personally, I’m never without a capo at a recording session, gig, or when I travel. It truly is an essential part of my guitar-playing toolkit … and it should be part of yours too!

PHOTOGRAPHS COURTESY OF THE AUTHOR.

rehearsal at Southeastern Women in Music Symposium

A Symposium for Women Musicians

Written by Kellie B. Gormly on August 16, 2024. Posted in DEI.

What began as a Girl Scout Gold Award project with one of her high school students turned into a 501(c)(3) nonprofit that gathers young female musicians for an honor band that performs an annual concert, fights gender-based inequality in music, and fosters friendship.

In 2021, Kacee Sanders, director of band at DuPont Hadley Middle School in the Nashville area for two years, started working with Mya Foley, who was an exceptionally bright music student from Sanders’ previous job teaching high school. Sanders served as project adviser for the Girl Scout, who graduated in 2023 and is now a freshman at Middle Tennessee State University. Both Foley and Sanders are percussionists, and they noted that percussion instruments stereotypically are for boys. Why should they be?

That question led to another one Foley and Sanders discussed: What if that whole section were women? Better yet, what would a whole ensemble of women musicians be like?

“There are some weird band stereotypes that have evolved in some places,” says Sanders, who shares this firm belief with her middle school students: “It’s about what you like and what you want to play!”

Sanders says, “There is no ‘boy instrument,’ and there is no ‘girl instrument.”

group shot of participants at Southeastern Women in Music Symposium

An Honor Band for Women

Foley and Sanders came up with the idea of putting together an honor band — featuring woodwinds, brass and percussion instruments — for young women in their undergraduate college years and teenage girls in high school from states in the Southeast. The participating band members rehearsed their individual parts remotely, and then put on a symposium concert in December 2022. It was intended to be a one-time event, but something special happened there.

“We had this collective moment as we were cleaning up after the concert,” Sanders recalls. “We had this moment sitting around the table, and we said: ‘This was incredible!’ None of us had ever experienced being in a room of only women musicians. We were all overwhelmed with the emotion. We all agreed this can’t be the only time this happens.”

Mia Foley, Kacee Sanders and Dr. Brittan Braddock — The women behind SWIMS: Kacee Sanders, Mya Foley and Dr. Brittan Braddock.

Launching SWIMS

Sanders, Foley and other participants agreed to repeat the symposium. In the summer of 2023, they officially founded the Southeastern Women in Music Symposium (SWIMS). Sanders is the executive director of the young organization. With the proceeds from the first symposium, SWIMS commissioned Ashley Knox, a previously unpublished female composer, to write a song for the next symposium. The group performed Knox’s piece — “Daydream,” which Sanders describes as a beautiful and intense ballad with a grand ending involving every musician — at the December 2023 symposium. SWIMS will only use pieces composed by women, Sanders says, and concerts include of wide mixture of types of songs.

To recruit new members, Sanders and her fellow SWIMS leaders reach out to every high school and university band director in Tennessee, Georgia and Alabama, to ask for recommendations. After registration closes, SWIMS pushes out the music to the young musicians digitally. They rehearse on their own for several months, and don’t play together until the end-of-year symposium.

SWIMS plans to continue to host the symposium every year. Sanders hopes to see more musicians join, and to split the group into two ensembles based on ability level with the top ensemble requiring an audition. Sanders, who is a 2023 Yamaha “40 Under 40” music educator, is optimistic about growth: The first year, the group had about 20 women musicians participate. Last year, it practically tripled to 75.

session at Southeastern Women in Music Symposium

Independence in the Classroom

Sanders’ teaching philosophy is to prod her young musicians — who, in the early adolescence of middle school, are rapidly changing — to maturity and self-reliance. “Within my classroom, I feel that my primary goal is just to be the person to initiate the rehearsal,” she says. “It is my ultimate goal that my students are developing into independent musicians and independent singers.”

One of Sanders’ techniques is grouping students for brief section meetings, which they run themselves. She doesn’t appoint any student leaders; the students themselves collaborate and create a hierarchy, she says.

“This provides students a lot more ownership, and also their maturity as musicians skyrockets,” Sanders says. “It’s so special being able to see them really come into their own as humans. That’s why I love the band room; here, these students find who they are.”

Sanders feels such a passion for her career as a music educator — especially watching the progression and growth of youths, both as musicians and as people.

“Seeing student growth and watching students grow from the first time you interact with them to when they leave your classroom is, by far, the most rewarding part of being a band director,” she says. “Most of the students who are in band will not go on to play professionally and that’s totally OK, but seeing them grow as humans and seeing the incredible people in these chairs … It is so worthwhile to see people really find themselves here.”

The 2024 Southeastern Women in Music Symposium is scheduled for December 13-15, 2024, in Murfreesboro, Tennessee.

Survival Tips for School Music Parents

Written by Sasha Cisneros on August 15, 2024. Posted in Winds How-to.

Is your child joining band or orchestra for the first time? Embarking on this rewarding journey brings many things to consider for your family. To help you navigate the experience, we’ve gathered insights from seasoned band and orchestra parents to create a list of tips for surviving your first year.

(Be sure to check out the ‘Meet the Parents’ section below to read and hear firsthand experiences from the parents themselves.)

TIP #1: BE PREPARED TO PARTICIPATE

Joining a school music program not only builds lifelong skills but also creates a sense of belonging and community, allowing your child to grow their musical abilities and develop meaningful connections. Equally important is the participation and commitment of parents, who provide a stable and supportive foundation for their children to thrive. Your level of participation has a direct impact on their level of commitment. What’s more, active parental involvement enhances a child’s enthusiasm for their musical endeavors, instilling a sense of pride and motivation.

Parents who show interest in their child’s musical education help create a positive learning environment, reinforcing the values of dedication and practice. Studies and testimonies have shown that students with engaged parents are more likely to excel academically and develop better social skills, making parental support in music programs an essential component for a child’s overall growth and success. Participating in the parent community, whether by volunteering to build props, supporting the band mom or hosting team sleepovers for a group of hungry teens, can significantly enhance the experience for both you and your child. This involvement helps create a fun, supportive environment that fosters camaraderie and a sense of belonging within the group.

Here are some helpful ways you can expect to participate to make it a more rewarding experience:

Attend all performances at concerts, recitals and competitions
Participate and even help facilitate fund raisers
Bring snacks to events for all the students
Volunteer to carpool with other parents

TIP #2: COMMUNICATION IS KEY

Building a support network by staying in touch with music teachers and instructors while also encouraging your child to connect with their teachers and peers is crucial. Understanding the expectations for both you and your child can greatly benefit the entire group. This sense of responsibility and teamwork not only enhances the group’s performance but also creates a supportive and accountable environment among the students.

During peak seasons, such as performance and competition times, it is important for parents to stay connected and communicate with one another. This ensures that everyone is informed about schedules, changes, and requirements, fostering a sense of community and teamwork. Staying in touch allows parents to coordinate support efforts, such as carpooling, volunteering, or sharing responsibilities for events and rehearsals. Moreover, the shared experience and advice from seasoned parents can be invaluable for newcomers, helping them navigate the complexities of peak season with greater ease. By maintaining open lines of communication, parents can help strengthen the overall cohesion and success of the ensemble.

Here are some ways to establish relationships with the school music community:

Utilize school communication tools and platforms to connect with other music parents for advice and support
Join parent-teacher associations or music booster clubs
Encourage your child to communicate their progress and challenges
Engage in the band/orchestra parent community to support each other throughout peak seasons

TIP #3: STAY ORGANIZED

As with any sport or extracurricular activity, organization is key. For your child, this means consistently attending practices and performances while balancing schoolwork and other activities. Practice schedules can vary depending on the instrument and ensemble requirements. In time, your child will learn the importance of time management and how to do it on their own. But booster parents and band moms (and dads) can also play a significant role in maintaining organization by keeping track of rehearsal and performance schedules, coordinating transportation, and managing communication among parents, students and instructors.

Parents should utilize tools like shared calendars, reminder apps and group messaging to stay on top of important dates and deadlines. Keeping detailed records of your child’s progress, music pieces and performance attire can help avoid last-minute scrambles. Additionally, staying organized allows you to better support your child’s musical journey, ensuring they have the necessary materials, time for practice, and a balanced routine.

Here are some ways you can help your child to stay organized:

Establish a daily routine that includes practice time
Use a family calendar to track rehearsals, performances and deadlines
Encourage your child to use planners or digital calendars to manage their time

TIP #4: CREATE A SPACE FOR PRACTICE

Creating a dedicated practice environment for your child can significantly enhance their learning experience and overall musical development. It minimizes distractions, allowing your child to focus entirely on honing their skills, and also helps them establish a routine, thus promoting discipline and consistency — both essential elements for progress in music.

By providing a well-organized and supportive practice area equipped with necessary instruments and materials, you encourage regular practice and demonstrate the importance of your child’s musical pursuits. Ultimately, this nurturing atmosphere helps your child build confidence, improve their performance, and foster a lifelong love for music.

Here are some ideas for a productive practice environment:

Designate a room or area for practice. Their room, garage, basement or other quiet space will suffice.
Schedule a family “concert” where your child gets to perform their pieces. This provides a goal to work towards and makes practice sessions more meaningful.
Incorporate technology by using an interactive music app (such as Tomplay) that allows them to loop difficult passages and record their performances, then play them back in order to evaluate and improve their skills.

TIP #5: KNOW THE BASICS

While you don’t need to be a musical expert, understanding the basics of your child’s instrument can greatly benefit you. Once they have decided on an instrument, do your research to make sure they get one that fits them and is high quality so it’s built to last. You can get helpful advice from their music instructor or your local dealer to find the best instrument for your child and whether it makes more sense for you to buy or rent.

The next step is to make sure your child knows how to care for their instrument. To maintain the playability and lengthen the life of their instrument, it is critical that they learn to incorporate a regular cleaning and maintenance routine. This will go a long way in helping you avoid costly repairs and at the same time enable them to stay engaged with their instrument as it will be easier to play and will sound better.

Here are some tips:

Understand the basics of instrument care
Schedule regular check-ups and repairs
Know the importance of proper storage

ENJOY THE JOURNEY!

Becoming a first-time music parent is an adventure filled with a mix of excitement, anticipation and learning opportunities. It involves navigating new experiences such as understanding the dynamics of band and orchestra programs, supporting your child’s musical journey, and engaging with a vibrant community of parents and educators. It’s a rewarding activity marked by attending performances, learning about different instruments, encouraging practice routines, and being part of fundraisers and events that support the music program. Above all, it’s about witnessing your child’s growth in their musical ability and sharing in their joy and achievements.

MEET THE PARENTS

Eric

Eric Aparicio, a band parent for eight years, had two high schoolers who started on the cymbal line and moved to the drumline. His daughter also played saxophone for a year in jazz band, and his son is self-taught on guitar.

A smiling man in front of a wardrobe bar with jackets hanging.

Eric recalls his daughter organizing study sessions for her bandmates to ensure that everyone met academic standards. She understood that the success of the ensemble depended on each member’s dedication, both musically and academically. Through their active involvement and strong commitment, Eric and his wife played a vital role in their children’s musical achievements. Their dedication and organization provided a solid foundation, fostering personal growth and success for their children in band.

Eric and his wife also formed lifelong friendships through their involvement. Eric reflects, “I truly enjoyed it — the social aspect, watching the kids achieve, and seeing them find a safe place where they all belong. High school can be tough for teenagers. It was also wonderful to see the kids grow and mature. I have two lifelong friends that I met in band, and I know they’ll be my friends until my last breath on this earth. The more that you engage [as a parent], the more you’re going to really enjoy the experience. And the more you enjoy the experience, the more your child’s going to get out of that experience.”

While Eric’s children did not pursue careers in music after high school, the connections they made through their musical experiences have left a lasting impact. His daughter, now a police officer, attributes her strong sense of discipline and leadership to her time in band. Eric’s son maintains friendships with his former bandmates, one of whom was even his best man at his wedding. The relationships and skills they built continue to enrich their lives in meaningful ways.

Dave

A smiling man holding a pair of drumsticks.

Dr. Dave Gerhart and his wife have lifelong careers in music and are parents of two middle schoolers who showed an early interest in music. Both children started on piano, one son now plays cello and the other plays both piano and violin.

Dave remembers that when his kids were growing up, he and his wife encouraged them to play and explore music, and not in just one genre. “In mom’s car they listened to classical music and dad’s car was everything from Caribbean to rock.” He feels that playing music should come naturally and not forced. When his children began creating music, he recalls, “they just kind of wrote stuff. They saw what mom and dad were doing [as musicians] and started creating their own music, then they’d play it for us, similar to writing a story [and reading it back].”

Although Dave’s children are still in the midst of their musical journey, he has already observed a notable increase in their confidence, musical growth and overall character development. He fondly remembers when his son volunteered to wash dishes, a responsibility he embraced during summer music camp. Above all, Dave is thrilled that his children have found a passion and have dedicated significant time and effort to improve their skills.

For more information, check out this video.

A smiling woman holding a saxophone and touching a tablet.

Empowering Women in Music

Written by Dr. Jacquelyn Lankford on August 14, 2024. Posted in DEI.

Finding representation in the professional world that mirrors one’s own identity is a profoundly meaningful experience. Growing up, I was fortunate to have a strong female role model in my mother, a dedicated police officer. However, when I began my musical studies at the collegiate level, I quickly noticed the scarcity of women in my field. As I delved deeper into my studies, I discovered a greater number of women pursuing similar paths than I had initially realized. Although it was heartening to know they existed, opportunities to collaborate with and learn from female peers were limited until I began my doctoral studies at the University of North Texas.

At UNT, I had the privilege of working with Tanya Darby and Raquel Samayoa, two formidable women who excel in a field historically dominated by men. Witnessing them was not only empowering but also served as a testament to the progress toward gender equity. However, it also underscored the ongoing need for further advancement. It was during this time that I made a personal commitment to showcase and celebrate the successes of women in my profession and to amplify their voices, thereby showcasing to the world the wealth of talent that exists within our ranks, ultimately inspiring future generations.

poster for 2020 Women Composing for Trumpet Competition

The Women Composing for Trumpet Competition

In 2020, the world faced many struggles with COVID running rampant and everything shutting down. In addition to that, two hurricanes — Laura and Delta — made their way directly through Lake Charles, Louisiana, the home of McNeese State University, where I taught. The campus suffered severe damage, and students, faculty and every member of the campus were displaced. Even with all this chaos, I made it a point to continue the mission I set for myself and started seeking opportunities and funding. This led to my first large-scale project, The Women Composing for Trumpet (WCFT) Competition. I applied for and was awarded the Juliet Hardtner Women in Arts and Humanities Professorship. Through this, I received funding to start a competition that would celebrate the music of some incredible composers.

The WCFT Competition was created to add to the list of “standard” trumpet repertoire composed by women. While there are many incredible compositions by women for solo trumpet, the only one that is considered standard by the trumpet community is Concerto for Trumpet and Orchestra by Alexandra Pakhmutova, written in 1955. It was my goal to bring light to this matter through the WCFT Competition, as well as give modern women composers the opportunity to contribute to this list of standards and be recognized for their accomplishments.

Once the vision and mission were clear, I compiled a panel of judges comprised of avid advocates for women in the trumpet community including Dr. Pancho Romero, Dr. Raquel Samayoa, Dr. Peyden Shelton and Dr. Ellen Shinogle. Compositions were submitted from all over the world, providing further evidence of the fact that high-quality music written by women does, in fact, exist, and must be showcased and celebrated. I was thrilled to be able to give the award of $2,000 to two grand prize winners: Madeline Lee (“Wind O’er the Highlands”) and Katie Jenkins (“Radiate”), as well as a recording of their work and a publishing deal with Murphy Music Press. The runners up received an honorable mention and included Maria C. Fuller (“Resolution from Fractals”) and Dorothy Gates (“Unseen Things”).

To further celebrate the winners and other extraordinary works for trumpet composed by women, I held an online benefit concert. Having the concert online not only made it available to everyone since we were still experiencing the effects of the pandemic, but it also made it accessible so we could share this music with as many people as possible. The WCFT Benefit Concert included musicians from all over the world including Mary Bowden (Seraph Brass), Robert Garrison, the judges from the competition and more. All funds raised from the concert were donated to the International Women’s Brass Conference with the hopes of helping to provide more support to women brass players across the world.

Since the announcement of these winners, trumpet players across the country have sought out these works to perform. It is my goal to bring the competition back every five years or so to keep working toward this mission, as well as showcasing more extraordinary women composers and musicians.

Powerful Women in Music Concert Series

I remained inspired by what was made possible through the WCFT Competition, and with COVID restrictions lifting, I knew that this was the time to do something in person. I applied for another grant and was awarded the Juliet Hardtner Women in Arts and Humanities Professorship for the second year in a row to fund what I called the “Powerful Women in Music Concert Series.” The objective of this project was to continue to initiate ways to change the fact that underrepresentation of women is prominent in the music profession by featuring women soloists and groups of women performers from various genres, backgrounds and ethnicities.

The first featured artist was Caeley Jackson, trumpet player with the United States Navy Band. Throughout her career, Jackson had toured with the Orchestra of the Americas throughout Poland, Ukraine, Scotland and Germany. She also performed on tour with Seraph Brass, an award-winning all-female brass ensemble. During her residency for the concert series, Jackson gave lessons to music majors and non-majors, as well as provided an in-depth masterclass to the entire music department. This masterclass inspired the students especially with the discussion about how musicians who are a part of military bands can be section players, principal players and soloists as well, resulting in endless options for what is possible with a career in the military. Her concert at the end of her residency included not only our collaborative pianist HaeJu Choi, but also our guitar professor, Jay Kacherski. Her choice in music exposed the students to an incredibly high level of musical artistry through many different genres and styles including pieces originally for trumpet, as well as transcriptions.

Directing the Jazz Ensemble at McNeese State University gave me the opportunity to incorporate the Powerful Women concert series into the curriculum and involve my students. Alexa Tarantino was my first choice when it came to choosing a high-level musician who would be an inspiration for my students. She tours worldwide with Cécile McLorin Salvant, Wynton Marsalis and the Jazz at Lincoln Center Orchestra, and the Alexa Tarantino Quartet. She is also passionate about music education and represents Jazz at Lincoln Center as a visiting educator for various programs with students of all ages and levels. Tarantino was immediately excited when I reached out about this initiative, and provided an inspiring masterclass for the Jazz Ensemble before diving straight into a concert that not only featured her as a soloist, but also many of her original works.

The final feature for this concert series was Calypsus Brass. Founded in 2021 and now a non-profit organization, this professional chamber ensemble performs new works recitals, creates high-level professional recordings for composers, and works with chamber musicians at all levels. The five founding members are avid performers and educators who tour around the world, give masterclasses and recitals. This groundbreaking musical group, founded by five women who earned doctoral degrees in music, is committed to recording and performing works of historically marginalized composers. To further this mission, Calypsus Brass is proud to be the ensemble in residence for Rising Tide Music Press, an organization that publishes and promotes Black, Brown, Indigenous and Asian musicians in their first 10 years of professional-level work as composers and arrangers. Calypsus Brass provided the longest residency for the Powerful Women in Music Concert Series and gave masterclasses to each of the specific brass studios, as well as an in-depth discussion with the brass methods class. Their residency closed with a concert that featured many new commissions including works by Zoe Cutler, Katahj Copley and Cait Nishimura.

The impact of the WCFT Competition and the Powerful Women in Music Concert Series in inspiring and showcasing women musicians across the world have been a resounding success. It’s evident that the music profession’s commitment to this cause remains steadfast. Moving forward, I am dedicated to sustaining this momentum, striving to create even more opportunities for women in music to ensure their voices are celebrated and heard on a global scale. It is my hope that together we will continue to advocate for diversity, inclusion and empowerment in the music community, paving the way for a brighter future for all musicians, regardless of gender.

Create an Emergency Bag for Work

Written by Don Stinson on July 31, 2024. Posted in Teaching Tips.

“By failing to plan, you are preparing to fail.” — Benjamin Franklin

Music teachers spend a lot of time at school, and many of them don’t live near their schools. Situations will occur, and it’s best to be prepared. For personal medical emergencies, make sure that you know where the nearest hospital or quick care is located. However, there are plenty of days when I have needed supplies for non-emergency situations. I recommend having the following items at your disposal. Consider storing them in a drawer, cabinet or even a small crate in your car.

1. Dress clothing: Consider having a set of dress clothing in your office or in your car if you are a traveling teacher. I have used these on occasion when a district employee came over for a picture with the group, and I was dressed for marching band rehearsal or instrument repair day. An extra set of dress clothing can also help in case you spill or tear your clothing right before the concert.

2. Deodorant: Keep a stick in your desk drawer for those times that you feel “unsure.” Or, keep one in a travel bag. It’s not recommended to keep one in your car. I am still cleaning out melted deodorant from the center car console.

3. Non-perishable food: Somedays, you may forget your lunch or your lunch money. Consider having a few cans of soup or some other prepackaged food that you can rely on for those days. If you have a school lunch line that allows you to prepay, you can also put a few dollars on here and use this as a backup plan.

4. Water bottle: Some people bring water bottles back and forth. If you are able, consider keeping an extra one at school, or even one that you exclusively use at school in order to cut down on the items you have to travel with.

5. Travel hygiene items: In addition to deodorant listed above, consider other small travel items for “just in case events,” including a toothbrush, toothpaste, or, if you’re a contact lens wearer, contact lens solution.

6. Flushable wipes: I’m not going to go into any reason why. I’ll just say to always have freshness as a priority.

7. Lint roller: Helpful for making sure you are presentable for your concert, board meeting or parent meeting.

8. Feminine hygiene products: If your school doesn’t supply these in the bathroom, throw a few in your desk drawer.

9. Hairbrush or comb: Again, we’re just making sure that we’re presentable for our professional job.

10. Pain relievers: such as ibuprofen or aspirin. Just be sure to not keep these accessible to children.

11. Backup shoes: If you often wear dress shoes to school, consider having a backup pair of comfortable shoes for days that end up having quite a bit of walking. If you’re attending a festival, definitely bring comfortable shoes for those off-stage moments. On the contrary, if your footwear is typically casual, have a quick set of nicer shoes for the moments listed above.

12. Coat/jacket: If possible, I recommend having an extra one that you can either hang in your office or keep in your car. It can help you manage sudden weather changes in the event you have to leave the building during the day.

13. Safety pins: I’ve had a few instances of buttons coming off clothing or small tears. A safety pin helped me at least get through the day.

14. Cell phone charger: I typically keep one connected in my office. For traveling teachers, consider a cord connected to a standard plug, or even a rechargeable power bank.

15. Instrument repair items: I keep crochet needles, small screwdrivers and even plastic drinking straws around to help with instrument repair emergencies. For even more on this, check out my article on Instrument Repair Hacks.

And what’s the most important thing to have? A realistic expectation that you’ll never be able to plan for everything, and that’s fine. The best stories never start or end with “everything went to plan!”

How To Build a Pedalboard for Bass

Written by E.E. Bradman on July 29, 2024. Posted in Bass.

Effects pedals offer dozens of ways to subtly (or radically) shape your bass tone, making it easy to put a distinctive stamp on your playing. With the right effects, you can recreate the sounds of other instruments, introduce sound effects, and even accompany yourself.

We’ve covered the top 10 bass effects before, but if you use more than one pedal, the order in which you place them (that is, the signal chain) can make all the difference. In this posting, we’ll explore some of the many options available to you.

TUNER

Plugging your bass into a tuner at the beginning of your signal chain (i.e., before any effects) is pretty much a universal rule, as it ensures that the tuner accurately determines your pitch. Many bass players choose tuners that are buffered bypass or true bypass, which means that when the pedal is not engaged, the bass signal completely bypasses the pedal’s internal circuitry, thus avoiding potential noise. The two most important goals for effective pedal sequencing — preserving the strength of your bass signal and avoiding unwanted static and hum — begin with the tuner.

DYNAMICS AND PITCH

As your signal makes its way from your bass to your amp, pedals that need a hotter signal function better closer to the source: your bass. Wah pedals fall into this category, as do compressors, which fatten your signal and make it more even; limiters, which provide a more drastic form of compression; sustainers, which help your notes ring out longer; octavers (also known as “octave dividers”), which generate notes an octave below what you are playing, thus adding anything from extreme bottom end to a bit of menace; harmonizers, which add intervals to your notes; and pitch shifters, which can lower or raise your pitch. Synth bass and envelope filter pedals also work best when placed soon after the tuner and before other effects.

DIRT

Fuzz, distortion and overdrive need plenty of signal, too, so it’s common to place them after a compressor or other signal booster. Explore the full spectrum of dirty options: An overdrive pedal like Ampeg’s Scrambler Bass Overdrive can conjure the sound of a gently overdriven tube amp, while an aggressive pedal with lots of buzzy highs makes it easy to completely obscure your clean bass tone. Develop an ear for the way other combinations — like octave divider/distortion and fuzz/compression — might or might not work for you.

EQ, VOLUME AND NOISE GATE

If you’re playing an active bass and have used your onboard bass preamp to add bottom and/or mids to your dirt pedals (which usually contain lots of high-frequency information), an equalizer (EQ) pedal can help you dial things in before your signal reaches the time-based effects. It’s not unusual to add a boost, preamp or volume pedal here, and it’s also common to add a noise gate after your dirt pedals to tame unwanted noise by cutting off the signal whenever it drops below a certain threshold.

TIME-BASED EFFECTS

These effects — which include chorusing, phasing (“phase shifting”), flanging, tremolo, ring modulation and “repeater” pedals (which can provide anything from echo to a version of tremolo to a looper) — need a bit less signal than dynamics, pitch and dirt. Some players add a compressor before these pedals so that their tone is even, while others prefer the dynamic variation and detail that comes from low compression settings or no compression at all. Many bass players have made great use of chorusing, flanging and phasing as standalone effects (as, for example in the O-Jays classic “For the Love of Money”), but placing these kinds of pedals later in the signal chain allows them to add a bit of shimmer to the sound coming from any pedal(s) earlier in the chain.

DELAY, ECHO AND REVERB

Like time-based effects, delay is less dependent on pure signal. Placing it near the end of your signal chain gives you the opportunity to expand your fully effected signal; similarly, reverb and echo can add a sense of space and ambiance to your overall sound. Most (but not all) players prefer to put delay before reverb; try it both ways.

REMIX AND LOOPER

This family of effects — which includes slicer, stutter, glitch, reverse, sampler and looper pedals — makes the most sense at the very end of your signal chain. That said, adding an effect to whatever you’re looping and remixing can work too. A reverb or pitch-shifter after any of these pedals, for example, can dramatically alter the original sound.

MIX AND MATCH

Expressed in shorthand, an ideal sequence of the most commonly used bass pedals might look something like this:

tuner -> wah -> compressor -> octave divider -> distortion

A slightly more extended signal chain could be:

tuner -> wah -> compressor -> octave divider -> distortion -> EQ -> chorus -> delay -> reverb

An even longer sequence might be:

tuner -> wah -> compressor -> octave divider -> pitch-shifter -> distortion -> fuzz -> EQ -> chorus -> phaser -> delay -> reverb -> looper

Alternatively, you can prioritize sending a strong signal to your dirty pedals before adding complex flavors and controlling volume before it gets to your amp, like this:

Distortion/fuzz/overdrive -> pitch shifter -> wah -> chorus -> envelope filter -> synth -> ring mod -> delay -> looper -> volume pedal

Not having a compressor means that you can preserve the full dynamic range of your playing, from delicate chords and flamenco-style strums to thunderous plucks and slaps.

Pedalboard order is a matter of personal preference. Using good cables and your amp’s effects loop are two more ways to avoid degradation of signal, or as bassists usually put it, “tone suck”; also consider trying an effects switcher (sometimes called a “loop switcher”), which will give you the ultimate freedom in pedal sequences. By experimenting with your signal chain, you can find what works for you; consider these tips as a starting point that gives you the best chance to maintain a strong bass tone, avoid unwanted noise and give each of your pedals a chance to shine.

students wearing masks while walking in school hallway

How has COVID affected today’s students?

Written by Tyler Swick on July 21, 2024. Posted in Advocacy.

For school districts that chose to utilize distance education in 2020, pivotal in-person experiences were missed, such as rehearsals, concerts, field trips, recruiting and a general presence in the community. If you’re like me, memories of scrambling to get my entire curriculum online are quickly fading. At this point, coworkers remind me of the afternoons we spent coercing students to turn on their cameras to prove that they were actually drumming along to an activity. This conversation makes me realize that elementary schools only have two more years of “COVID students” — wow! Of course, middle and high schools have a longer road to travel, so let’s look at where the students impacted by distance education will be during the 2024-2025 academic year.


2024-2025 School Year	March 2020	2020-2021 School Year
12th	7th grade	8th
11th	6th grade	7th
10th	5th grade	6th
9th	4th grade	5th
8th	3rd grade	4th
7th	2nd grade	3rd
6th	1st grade	2nd
5th	Kinder	1st
4th	Pre-K	Kinder
3rd	3 years old	4 years old
2nd	2 years old	3 years old
1st	1 year old	2 years old
Kinder	Birthyear	1 year old

This chart shows where next year’s students were in March of 2020 when most schools shut down as well as the following school year. Many approaches were taken with distance education, including different return dates, so it’s impossible to describe the impact on every American student, but this information can help you conclude how much of each school year was missed in your area.

My school district — Clark County in Nevada — participated in distance education from March 2020 to March 2021, returning in a hybrid model for volunteer students for the remainder of the 2020-2021 school year. My 4th and 5th graders at that time did not get my normal send off to middle school, and according to the chart, they will be freshmen and sophomores in high school in 2024-2025.

High Schoolers

Though I would love to focus on the elementary music teacher perspective, my interest in this topic takes me to high school. Recruiting and retention have been the hot topics since in-person learning has returned because the pre-COVID system worked so well. The transitions from elementary to middle school and middle school to high school have been a well-oiled machine of promoting the benefits of continuing your music education and the perks of being part of your musical family. Next year’s high school students missed these important hand-off years from school to school.

Look at the chart. Next year’s seniors were in 7th grade when schools shut down, and they missed the end of their middle school years, were recruited to join music classes during the online era and returned to in-person education as freshmen in high school. Their experience in online music classes may have stifled them from rejoining music in high school.

Next year’s sophomores missed the end of their 5th grade year and were recruited to start a brand-new instrument via Zoom in 6th grade, not experiencing a live rehearsal until 7th grade.

But it’s not all bad news.

Yes, I’m excited that in two years, elementary school students will not even know what COVID is. And in two years, high school freshmen will have had in-person music classes since 6th grade. These students will have more ensemble time during their formative years than the students older than them, which will hopefully positively impact their tuning, intonation and listening skills.

Middle School Students

Middle school students are in a gray area where they missed the middle chunk of elementary school, but they all had a full year of 5th grade before transitioning to middle school, resulting in a successful recruiting campaign to join a music ensemble. Of course, they missed a large chunk of elementary music curriculum but signing up for a music ensemble is more than half the battle when it comes to recruiting.

My current 5th graders missed the end of 1st grade and all of 2nd grade. Though that is a large deficit, they have received the most amount of preparation and recruiting out of any students since 2020 because the middle school band can again travel to perform at the elementary schools, demonstrating all the available fine arts options. As much as I want to comment on the social-emotional skills that still need to be polished, I don’t have a degree in psychology to back up my theories.

two students wearing masks and elbow bumping — Photo by Prostock Studio / Adobe Stock

Elementary School Students

In 2024-2025, students entering 1st, 2nd and 3rd grades joined the public school system after in-person learning returned. Should they be absolutely normal? Probably. But it doesn’t take a Ph.D. to know that although these children weren’t in school, they were still raised in homes that were impacted by a global pandemic. My current kindergarteners have absolutely no fear walking up to my smart board and commanding it around like a giant iPad. I can only guess that increased screen times and access to phones and tablets are the root of this new efficiency. Instead of ridiculing, I can now ask students to perform tasks on the board that I wouldn’t have attempted five years ago.

The bottom of the chart shows that next year’s kindergarteners were born during the COVID quarantine. I have a coworker who gave birth twice during the COVID protocols in the hospitals — something she doesn’t recommend. Though her children were born with limited guests and strict contamination guidelines, their lives at home since have been quite the opposite. The following year gave her family more time to be at home with the babies, her in-laws a reason to stay in Vegas while they worked remotely, and my friend had a chance to be near her children more than if she was working in-person. This was not everyone’s experience, but it is a ray of positive hope that today’s youngest students might have received more facetime with their families during these early years than any generation before.

My daughter experienced a similar upbringing, where my wife and I were home for over a year, playing dolls and dressing up with her, making meals together, and generally living together in our house 24/7. When it was time for her to start kindergarten, saying goodbye at the gate was devastatingly rough as it was the longest time we had spent apart since birth.

———————————————————–

I encourage you to reflect on where your students were during distance education and ask yourself if there is a noticeable gap in their musicianship, emotional wellness or maturity. Just kidding, we already know that we were all affected by COVID. Give yourself some grace. If you’re able to let your pandemic memories fade, I am happy for you. I hope the new school year begins with tons of potential and happy music-making.

Top photo by Syda Productions / Adobe Stock

Exercise Can Help Fine-Motor Skills

Written by Kathryn Drury Wagner on July 19, 2024. Posted in Self-Care.

When it comes to learning an instrument, fine motor skills are key. It takes quite a bit of skill to play the keys on a French horn, for example, or move fingers quickly on a clarinet. Want to improve your music students’ fine motor skills? Steal a page from the P.E. teachers and incorporate physical exercise into your rehearsals.

Everyone from elite athletes to physical therapists have been using a tool called “exercise priming” — the concept that movement can help prime the brain for skill development.

Boost Neuroplasticity

Now, research from the University of Copenhagen has given further validation to the idea of exercise priming. Its 2024 study found a 10% improvement in a person’s ability to remember a learned motor skill, such as playing the violin, if they have exercised before or after playing the instrument.

“This is probably because physical activity increases the brain’s ability to change, which is a prerequisite for remembering,” wrote the study’s co-author, Jesper Lundbye-Jensen, of the university’s Department of Nutrition, Exercise and Sports. The brain’s ability to change is also referred to as “neuroplasticity,” which means that the brain rewires, literally adapting its neural networks in response to stimulants.

Older research had previously found that music lessons themselves have a positive effect on neuron development. For example, a 2010 study from Northwestern University found that music training prior to age 7 boosted neuroplasticity and allowed for better auditory processing.

close up of two women in a gym doing squats

Exercise Before and After Learning

The new study from the University of Copenhagen used riding on a fitness bike as the form of aerobic exercise. Participants biked enough to raise heart rate — but not at a too intense rate (think exertion, not exhaustion). The study found that exercising either before or after learning a skill both improved results, but results were even better when the subjects exercised before and after.

While the study’s participant pool was limited to men ages 18 to 35, the researchers believe the skill-boosting effect applies to other ages, such as children, adolescents and older adults, too.

Interestingly, the study specifically excluded professional musicians. That’s because “people with extensive experience in practicing motor skills typically start at a different level,” wrote Lasse Jespersen, Ph.D., the first author of the study. “While the motor task used in the research study were unknown to all, involving experts would have changed the dynamic from the get-go. But that doesn’t mean they wouldn’t benefit from the effects we’ve shown.” In fact, Jespersen says a future study on people with elite-level fine motor skills would be fascinating.

Tips to Build Fine-Motor Skills

So, based on the information that physical exercise helps build those vital fine-motor skills your students need, how can you extrapolate this for use in your teachings? Here are some ideas:

Let’s start with adult students. For example, you could suggest to your piano or cello student that they do their daily workout — whether it’s cardio like a brisk walk or strength training — either just prior to practicing their instrument or just afterward. Explain the research behind your request and ask for their feedback to see how they feel after trying the technique.
Do you teach band or chorus? Have the group do some squats and arm circles prior to starting rehearsals.

elementary school students jumping and dancing

For wigglier, smaller children, throw a dance party. Play music and encourage freestyle dancing or teach simple choreography for the group to get blood pumping prior to settling down to the instruments. Smaller kids are less likely to feel self-conscious, too, with movement requests like, “Everyone do five pushups!”
Short on classroom space? Have kids run in place or even hop on one foot — whatever you can do to raise their heart rates a bit.
If your school setting permits a “school without walls” lesson, try this: If the weather is nice, are there ways to spend a few minutes on playground equipment before segueing into a music class under the shade of a tree?
Check in with administrators and your fellow teachers about creative class pairings that might benefit all. For example, can recess be directly before or after music class for some students? Could gym glass pogo-sticking or hula hooping lead to a better music class, and vice versa? Moving around schedules will obviously work better for some schools than others but is worth exploring.
Another idea, if budget permits: use classroom movement materials such as wobble stools or standing desks, encouraging movement throughout the day, not just in music classes.

Whatever physical activity you incorporate into your music education, be sure to periodically change up the activities, and consider students who may have challenges with movement and need accommodation.

Taking Your Guitar on the Road

Written by Robbie Calvo on July 17, 2024. Posted in Guitars How-to.

I recently spent six weeks traveling through Indonesia, Australia and the Philippines. The trip involved ten flights, two inter-island ferry transfers and two speedboat rides, plus multiple Tuk Tuks (a motorized three-wheel taxi), regular taxis, shared van transfers, and of course, lots of walking. (Sometimes running to make the next connection!)

A smiling man in an airport with a soft guitar case over his shoulder. — *On my way to Bali.*

In this posting, I’ll tell you about that amazing experience and describe the preparations I made in advance, along with some general tips for taking your guitar on the road.

Choosing the Right Guitar to Take on the Road

Like most people who travel, I’d planned on taking one small suitcase for clothes, plus a backpack for my computer, phone charger etc. But, unlike many folks, when I travel, I usually end up performing too, so I also needed to take along a guitar that I could plug into any PA system or amp. Obviously, the physical size and overall weight of the guitar had to meet airline carry-on guidelines. (More on this below.) I also often write songs on the road, so having a guitar that was tonally inspirational was important too.

After careful consideration, I chose to take a Yamaha CSF-TA TransAcoustic guitar with me. This remarkable instrument is small and easy to play, is relatively lightweight, and comes with a durable hard bag with adjustable shoulder straps. Best of all, it sounds incredible, with onboard effects and a piezo undersaddle pickup system. In short, it filled all my requirements.

An acoustic guitar on a sofa. — *The parlor-size Yamaha CSF-TA TransAcoustic guitar.*

Checklist Before Departure

In preparation for the trip, I put new coated Elixir strings on the CSF-TA and put a spare set in the case. I also made sure to place a supply of picks, a capo, a headstock tuner, a small pair of wire clippers and string cleaner in the guitar pouch too.

I knew that Indonesia and the Philippines would be extremely hot and humid, while Australia would be hot, with a dry climate. For that reason, I put humidi-packs inside the sound hole to regulate the instrument’s humidity. This also automatically adds/removes moisture from your guitar as needed while it’s inside the case.

I also took into consideration the fact that, if the flight crew would not allow me to take the guitar on the plane and it was instead put into the hold of the aircraft, the surrounding temperatures would be much colder than in the cabin areas. What’s more, I knew that the guitar would be going from hot taxi rides to air-conditioned hotels within short periods of time. Given all these temperature extremes, the shorter scale length of the CSF-TA would likely provide a better tuning platform than a full-size guitar.

Air Travel Tips

We’ve all heard horror stories about how the airlines treat guitars, and baggage in general, and I have personally had several bad experiences of my own. Here’s some advice to anyone who wants to take a guitar with them on their travels:

Smaller domestic flights and aircraft throughout the U.S. and Asia generally have smaller overhead bins. Think ahead when you fly and see which aircrafts you’ll be flying on. The larger the aircraft, the larger the overhead bins, and therefore the better the chance of taking your guitar into the main cabin. The smaller the guitar, the better the chances are too.
If you have a full-size acoustic, soft bags generally raise eyebrows less than a hardshell case. That being said, if your guitar is worth thousands of dollars you’ll have to decide if you trust a gig bag to protect your investment.
Pay for priority boarding if you can afford it. First come, first served … and if my guitar is in the bin, I win. (Note that underpants won’t get crushed in the hold if another passenger runs out of space in the bins.)
I never offer to check my guitar when I’m at the bag drop and check-in desk, but comply when asked. Check-in counter staff are generally very nice, but often tell you that their policy is to not let guitars on the plane and that you’ll therefore need to check your guitar in. I’m always polite and ask them to label the guitar with a fragile sticker and have the guitar walked to the plane with the other oversized items. In the United States, some airlines will allow you to take your guitar to the gate and “gate-check” the guitar. This is where wheelchairs and baby strollers, etc. get left before boarding. The staff there will walk the guitar down to a special area in the hold for these items. They’ll also bring it up to the same area for you upon de-planing. This means the guitar won’t go on the conveyor belt and dumped alongside other heavy bags, where there is a potential risk that it could be mishandled by ground staff.
Fighting with the staff won’t get you anywhere, but you’ll also find that a lot of the decision-making comes from the airlines’ staff manager. I asked the flight crew manager in Denpasar, Bali if my guitar could go in an empty seat and she said yes, provided that it was an empty window seat. Score.
If your guitar is put in the hold, collect it promptly upon arrival, and open the case to make sure nothing is damaged. Report any damage to the airline staff before you leave the airport.

Foot Traffic

As many of you know, navigating airports, changing planes, and general travel requires a lot of walking and dodging other passengers. Having a small, lightweight guitar in a gig bag with shoulder straps is a godsend in these scenarios. One hand is likely wheeling a suitcase, one shoulder can carry a backpack, and the other hand or shoulder can carry the guitar.

Just remember that no travel is without timing issues, check-ins, boarding, de-planing, immigration, passport control and customs lines. How you juggle the gear you travel with can reduce the frustration when you’re trying to find boarding passes, visas and hotel information.

The bottom line is this: Plan ahead, and double-check everything.

Water Travel Tips

One of my favorite locations in the Philippines is the beautiful and secluded resort, Cauayan Island. The day started with a taxi ride in Cebu; a small plane hop to El Nido, Palawan; a shared van ride to the boat docks, and then a speedboat to the island.

An island beach with sand and palm trees. — *Cauayan Island, Palawan, Philippines.*

Travel by inter-island ferry is very common in the Philippines. Most luggage can be checked in and stored outside the cabin, although the undercover outside storage compartments looked a bit fragile to me. Fine in good weather … not so good in torrential rain on the ocean.

I took my guitar and backpack onto the ferry, but found there weren’t any overhead bins; onboard luggage is instead placed at the front of the cabin. This is fine in calm weather, but remember: other passengers have heavy bags there too. Place your guitar upright and without anything on top, just in case it gets rough on the open seas.

And, if you check your luggage, make sure not to lose your ticket! It’s absolute chaos at the arrival port, so stay aware, and make sure you keep an eye on your belongings at all times.

Land Travel Tips

I found that most taxi drivers were very helpful; however, they would always want to put my guitar upside down in the trunk of the car. My advice is to take the guitar into the back seat with you, where it’s climate controlled, and you can personally handle it with the care it deserves. I also did this on any shared van transfers … assuming, of course, that space allows.

I had such a blast riding around in the Philippines in the open air Tuk Tuks. You really get to experience the local way of life on the roads between towns and in the city streets and provincial rural areas. Again, I put my guitar on the back seat with me. There’s limited space back there, so I suggest you hire a personal driver rather than a shared ride.

Never leave your guitar in a hot automobile! Glue can soften in extreme heat, and delicate parts may warp beyond repair if heat damaged. Likewise, avoid extremely cold climates for prolonged periods of time.

Climate Changes

As expected, Asia was hot and humid, but the CSF-TA remained stable and held its tuning well from location to location. Australia was hot and dry during the daytime, but temperatures could drop quite a bit during the evening.

My CSF-TA guitar is over three years old and has acclimated to mild temperatures and moisture changes; however, the humidi-packs definitely help when you keep the guitar in the case … which is something I’d recommend whenever it’s not being played.

The Video

I performed at several locations during my trip. One morning my niece in Australia asked me to sing everyone a song at breakfast time. She filmed me singing one of the cover songs I play at my gigs — John Mayer’s “Say” — using the CSF-TA without any of the onboard effects engaged. This video shows my impromptu performance captured on a smartphone, along with some of the stunning locations from my travels.

The Guitar

The parlor-size Yamaha CSF-TA TransAcoustic guitar features a solid spruce top, along with a mahogany back and sides. Many players may find the smaller body size and short scale much easier to play than a dreadnought guitar, and it’s certainly easier to travel with. It also has a built-in piezo pickup and allows the user to add two types of reverb and variable amounts of chorus without the need for amplification or pedals.

A smiling man on a beach playing an acoustic guitar. — *On the beach with my CSF-TA.*

The Wrap-Up

It’s always great to perform in another country, or at least capitalize creatively on the inspiration you’ll find at new destinations. However, airports are getting busier, and travel isn’t as luxurious as it used to be (unless you have a private jet or travel first class, both of which are unavailable to most of us).

I’m happy to report that my CSF-TA survived multiple temperature changes and other challenges during my recent journey, and I’m confident that, with careful forethought and detailed planning, you can travel comfortably with your guitar too, keeping it perfectly safe while dealing with all the rigors of the road.

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Play the soprano saxophone sheet music of Miley Cyrus’ “Flowers.”

stressed out man holding hand to his face

Compartmentalizing Stress in Teaching

Written by Don Stinson on July 10, 2024. Posted in Self-Care.

Imagine this: What if a tough moment only ruined a couple of hours of your day instead of the whole week? That angry parent email comes in at 8:10 a.m., and you’re over it by noon. Or that rehearsal was a complete disaster, full of interruptions, instruments seemingly falling apart as you look at them, and your soloists and back up soloists are absent; by the next period, you’re back on track? Or your group is about to take the stage at a festival, and your snare drummer sends another student up to you to break the news that they definitely have their sticks, but they left the snare drum back at the school? Wouldn’t it be great to move on and not have to stop yourself from giving dirty looks to Mr. Air Drummer?

Stress-Free Doesn’t Exist

Stress and conflict only occur when people are involved. If you are going to be around people, stress will be present.

We can stress ourselves out by wishing for a situation that will never happen. We must release the desire, wishes and ambitions for a stress-free life because it doesn’t exist. The kicker is that the quicker we accept this, the better we will be able to handle the stress that comes our way. We need to have some stress. It tells our body when situations require our attention. What we don’t want is a full system overload where every decision becomes stressful. We typically find that new or unfamiliar situations that require our decision can cause a lot of stress.

The First Time is Always the Hardest

Remember that first time you stepped in front of the classroom? You were bubbling with anxiety, speaking with a little shake in your voice and trembling as you held the whiteboard marker. The next day? A little better.

Talking to a good friend or your significant other? Easy. It’s like we’ve always known each other. But that first conversation or approach? A knot in our stomach, and an endless supply of “what if” questions running through our brains.

The same can be said for any situations with conflict or that require a decision. Posting those audition results the first time? Nearly debilitating for some. I don’t know if this ever gets to a point of feeling good, but it does become manageable and even predictable. Or that first meeting with a parent. You’re 20 years old and speaking to a 40-something parent who entrusts you with their most prized possession. That’s a little nerve-wracking. But it keeps getting more manageable each time you interact. You notice that you still get a little nervous before parent-teacher conferences, but it’s only the hour before as opposed to all day. We’re looking for progress everywhere we can get it.

two women turning their backs on each other

Rehearse for Stress and Conflict

If it’s always going to be hard the first time, then we can manage stress and conflict by rehearsing, just like we prepare for a concert.

My colleagues and I love playing the “what if” game.

“What if a parent bursts in right now and demands to see us in rehearsal because we didn’t perform a piece the parent performed in high school?”
“What if the principal asks us to give the solo to the school board member’s son?”
“What if our star students all get caught up in a test scandal, and they’re out for the festival tomorrow?”

We can go on for days, and some of these become pretty humorous, but they all have a common theme: an issue that has must be solved that may not have a clear-cut solution. We talk these issues out, workshop a few different solutions, understand the repercussions and ultimately come up with a few scripts that could play into the Breath, Reflect, Respond method (see below).

We find that situations typically come up in the following categories: students, administrative, colleagues, parents and community. Talk with a friend and play “what if.” You may find that your collective responses help you to approach these situations in ways you didn’t think of.

You may also find that some of the most off-the-wall scenarios you come up don’t even hold a candle to what really happens! I wish I had thought about what I would do when I found out that students were sneaking in George Foreman grills to cook breakfast sandwiches behind the lockers and sell them for a quick profit, and how this might be an OSHA issue and a violation of the school’s food-service contract. But this particular “what if” never came up.

young man sitting on basketball court, looking up and taking a deep breath

Breathe, Reflect, Respond

In most cases, we don’t have to respond as quickly as we think. Emergency situations, yes, but let’s make sure we define what a real emergency is. Some broken bones or a true safety situation? Absolutely. A parent who demands, “We need the fundraiser information now!”? Nope. At least, not my emergency.

Let’s say two students come up to you. They’re fighting over who gets to play the piano today, or they’re arguing over playing the solo, who sits on the end or who gets to take the classroom pet home today (which is a stuffed frog named Nothing But Treble). If you’ve dealt with this before, you probably have some initial solutions, and realize how much of a nothing situation this is. However, if it’s your first time, these situations can absolutely drain your energy while they filleth your cup of stress. So, try this.

Breathe: That’s right. Breathe. As long as the kids aren’t being a safety risk to themselves or others, just take a breath. In through the nose, out the mouth. Find a word that brings you some peace and say it in your head as you exhale, like water, beach, wind. My word is “cabin” because when people are arguing around me, I think about being alone in a cabin in the snowy mountains for some peace and quiet. That, or I imagine that they are in the cabin for a time-out.

woman writing in notebook and looking off

Reflect: Now, we’re going to reflect based on the information we have. In new situations, if possible, you want to give yourself some time. It helps to have a script before entering this phase.

“Hey, thanks for bringing this to my attention. I need to think about this and then I’ll get back to you, OK?”

If you have a class coming up or some more urgent matters, write down the issue with some notes. This will help you to remember the details later, but the primary goal is to just get it out of your head for now so you can free up space for other issues.

Then sit down and reflect on this. How long? It depends on the issue. For a small disagreement, I tend to spend no more than 10 minutes ruminating on the issue. Larger situations may need an hour or two with some deliberation amongst colleagues. Huge issues? Most often these need to become the responsibility of someone above me, such as an administrator.

Respond: It’s time to either invite the parties back to discuss further, or I just deliver the decision. I understand that some unpopular decisions may lead to a little more stress: parents emailing to disagree with the decision, for example. If that happens, I handle that situation. I respond based on my core responsibilities — a primary focus on safety and education, along with the moral, ethical and legal obligations tied to these responsibilities. That’s a mouthful, but it’s important because educators are responsible for acting with authority in some gray areas.

Sometimes we need to breathe-reflect-breathe-breathe-breathe-reflect-breathe-again-then-respond!

Plan For Five Things to Go Wrong

So, we have given up on wishing for stress to just disappear, and we’re rehearsing how to deal with stress. Now, we can begin to expect it. One trick that has greatly helped me is planning for at least five things to go wrong each day. Just knowing that things won’t be perfect and that challenges will come up that will require my expertise and response puts me in a much better place. I’m not always calm, but I’m not out of control and don’t have to spend energy regulating myself.

What about when the sixth thing goes wrong? That’s when I start stressing a little bit. We all need to let it out at some point. Just make sure that you directly communicate to a colleague that you need to vent.

Expecting a small number of things to go wrong helps immensely when traveling with a group or participating in any new experience. If you’re new to the profession, at least double this number. Don’t expect things to be perfect. Besides, no one ever sits around the dinner table talking about how things went to plan. Our most interesting stories and interactions come from the unexpected and our ability to respond in the moment!

Here are some more sample scenarios to consider. What would you do in the following situations?

The Box Cutter: You discover that one of your most reliable students has a box cutter in their backpack during a routine check. This student works at the local big-box store overnight to help support their family. The school’s policy is very strict on this. Also, you have a concert tomorrow, and this student has an important solo that no one else can cover. How do you handle this situation?

One possible answer: School policy states that teachers must report these items, regardless of intention. Chances are, the school will still enact their consequences; however, the teacher can still share the student’s story with counselors, administrators and other decision-makers to highlight the student’s character. Policies are important, but they should be applied with context in mind. Unfortunately, we must act as our school requires.

The Field Trip Sabotage: An upset colleague attempts to undermine a meticulously planned music field trip. How do you address internal conflicts without compromising student experiences?

One possible answer: This is a case of two colleagues who care about their classes and programs — you and the upset colleague. Try to understand and acknowledge their feelings. In this case, I would speak directly to the colleague — no email or phone call, just set up a meeting. Try to find common ground and address any valid concerns. Keep the focus on what is best for the students.

viewpoint of someone in a wheelchair looking down a school hallway

Inclusion Causing Discontent: Striving for inclusivity, a student with special needs joins the ensemble. Other students, however, feel this is a distraction and want to quit. How do you approach this situation responsibly and ethically?

One possible answer: This can be a difficult situation for everyone involved. I would consider speaking with the concerned students. Work together to come up with solutions, such as having a peer buddy or even adjusting rehearsals while still making sure that you are working on behalf of all students in your classroom. In some cases, it may be worth working with the school counselors to make adjustments to where students are placed to ensure success at all levels.

The Battle Over Budget: You and your colleague face off in a heated debate over the allocation of a limited department budget. How do priorities align with program needs?

One possible answer: Some decisions are above our heads. If you are not a department chair or someone involved in allocating the expenses, then there is not much you can do. In the case above, one music teacher received more money than another for their program. I would be open to hearing the colleague out and potentially look for solutions where you can work together. In this case, I find it helpful to work with the other colleague and let them know how they can request funds in the future from administration.

overly exuberant man holding one fist in the air

The Overzealous Music Booster: A music booster parent bypasses the director, making decisions that could alter the course of the program. Where does the line between support and overreach lie?

One possible answer: It’s great to have support, but there’s a fine line between helping and overstepping. The director makes the decisions. This could start off as a friendly conversation to thank them for their support while reminding them of the importance of following the proper channels. Encourage parents to share ideas with you, but let them know that not every idea will be able to be enacted. Unfortunately, if there is pushback, you may need to speak to administration about this.

Seven Great Songs to Play on the Saxophone This Summer

Written by Yamaha Corporation of America on July 9, 2024. Posted in Winds How-to.

Whether you’re a seasoned saxophonist or a passionate learner, here’s a curated list that promises to infuse your summer with the soulful sounds of the season. From the bouncy melody of Miley Cyrus’ “Flowers” to the classic charm of Ella Fitzgerald’s rendition of George Gershwin’s “Summertime” to the uplifting beats of Pharrell Williams’ “Happy,” this playlist is your perfect companion for the season.

And with our partner Tomplay, mastering these melodies for the summer is a breeze! Tomplay is a digital sheet music app and online platform designed for musicians. It offers a wide range of interactive sheet music for various instruments, including saxophone, trumpet, clarinet and more. Tomplay distinguishes itself by providing features that enhance the learning and practicing experience for musicians, such as :

Synchronized Professional Accompaniments. Musicians can effortlessly listen to and perform alongside professionally recorded piano accompaniments
Tempo Adjustment. Users have the flexibility to modify the tempo of audio accompaniments, tailoring practice to their skill level
Passage Looping. Musicians can loop specific sections of music, for more focused and efficient practice
Self-Recording. The app offers a self-recording feature, allowing users to record their performances and review their progress
Annotation Tools. Musicians can annotate scores with fingerings, bowings, customized highlights, text additions and more
Sharing and Collaboration. Users can easily share their annotations and recordings with their music teacher, promoting collaborative learning between lessons.

Each song in the list below is accompanied by a link to its Saxophone Sheet Music page, which includes a professional recording of the song, synchronized with the sheet music to enhance your learning experience.

1. Flowers by Miley Cyrus

“Flowers” is a song by American singer Miley Cyrus, released in 2023. You may have already heard it, as it broke streaming records. The lyrics of the song are directly inspired by the singer’s personal story. Stemming from her breakup with actor Liam Hemsworth, this ‘revenge song’ highlights a strong and independent woman who is recovering from a difficult breakup and learning how to love and accept herself. Its upbeat melody and affirming message have made it a favorite for summer playlists, inspiring many to embrace their strength and inner beauty.

Practicing the melody on the saxophone can be a great way to bring the song’s vibrant energy to life. On Tomplay, you can find various arrangements of “Flowers” suited to different skill levels, whether you play soprano, alto or tenor saxophone. The platform allows you to adjust the tempo to your liking and provides a professional audio recording to guide your practice, making it easy to master this hit and share its empowering vibe with your audience.

Play the alto saxophone sheet music of Miley Cyrus’ “Flowers.”

Play the tenor saxophone sheet music of Miley Cyrus’ “Flowers.”

2. Summertime by George Gershwin (as performed by Ella Fitzgerald

Composed by George Gershwin with lyrics by DuBose Heyward, “Summertime” was first performed in 1935 as part of the opera Porgy and Bess. Gershwin created the song to capture the essence of a lullaby, drawing on elements of African American spirituals and folk music. Singer Ella Fitzgerald, known for her impeccable vocal style and improvisational prowess, recorded her iconic rendition of “Summertime” in 1958, solidifying the song’s place in jazz history. Since then, the song has been covered by over 25,000 artists!

Tomplay features like self-recording and loop passages allow you to master this classic.

Play the soprano saxophone sheet music of Ella Fitzgerald’s version of George Gershwin’s “Summertime.”

Play the alto saxophone sheet music of Ella Fitzgerald’s version of George Gershwin’s “Summertime.”

Play the tenor saxophone sheet music of Ella Fitzgerald’s version of George Gershwin’s “Summertime.”

3. Happy by Pharrell Williams

Released in 2013, “Happy” by Pharrell Williams quickly became a global sensation with its infectious melody and upbeat lyrics. The famous singer crafted this song for the soundtrack of the animated film Despicable Me 2, and it went on to top charts worldwide, spreading joy and positivity wherever it was played. The song’s catchy rhythm and cheerful vibe have made it a staple of summer tunes.

Playing “Happy” on the saxophone is a great way to channel its exuberant energy and bring smiles to your audience. Tomplay offers various arrangements for different skill levels. Slow down the tempo and speed it up as you work on the piece to perfect this amazing hit!

Play the alto saxophone sheet music of Pharrell Williams’ “Happy.”

Play the tenor saxophone sheet music of Pharrell Williams’ “Happy.”

4. Sunny by Bobby Hebb

“Sunny,” composed and performed by Bobby Hebb, was released in 1966 and became an enduring classic celebrated for its uplifting melody and positive lyrics. Hebb wrote the song in response to personal tragedies, including the assassination of President John F. Kennedy and the death of his brother. Despite these dark inspirations, the song conveys a message of hope and resilience.

Discover multiple arrangements of “Sunny” with Tomplay. The sheet music is suited to different skill levels, complete with a top-notch accompaniment track. Annotate your scores and use the on-screen saxophone as a visual aid to get to grips with the piece.

Play the soprano saxophone sheet music of Bobby Hebb’s “Sunny.”

Play the alto saxophone sheet music of Bobby Hebb’s “Sunny.”

Play the tenor saxophone sheet music of Bobby Hebb’s “Sunny.”

5. Black Orpheus by Antônio Carlos Jobim

“Manhã de Carnaval”, also known as “Black Orpheus,” is a bossa nova song composed by Antônio Carlos Jobim and Luiz Bonfá for the 1959 film Black Orpheus. It recounts the Greek myth of Orpheus and Eurydice set during Rio de Janeiro’s Carnival. The story follows Orfeu, a charming musician, and Eurydice, a young woman fleeing a mysterious stalker personified as Death. They fall in love, but tragedy strikes as Eurydice dies while escaping her pursuer, and Orfeu, stricken with grief, ultimately meets a tragic end himself. “Manhã de Carnaval” was one of the first compositions to bring bossa nova to an international audience, helping to popularize the genre outside Brazil.

Tomplay provides multiple arrangements to accommodate all proficiency levels and allows you to perform the rich melodies of this song with a professionally recorded orchestral accompaniment.

Play the soprano saxophone sheet music of Antônio Carlos Jobim’s “Black Orpheus.”

Play the alto saxophone sheet music of Antônio Carlos Jobim’s “Black Orpheus.”

Play the tenor saxophone sheet music of Antônio Carlos Jobim’s “Black Orpheus.”

6. Sittin’ on the Dock of the Bay by Otis Redding

“Sittin’ on the Dock of the Bay,” composed by Otis Redding and Steve Cropper, was recorded song just days before Redding’s tragic death in a plane crash in 1967, and released the following year. The song captures a reflective mood, with Redding’s soulful voice conveying a sense of longing and contemplation as he watches the tide roll away. The signature whistling at the end was added as an impromptu fill-in because Redding hadn’t yet written the final verse, and it has since become an iconic element of the track.

The soulful melody of this wistful song is perfect for the summer!

Play the soprano saxophone sheet music of Otis Redding’s “Sittin’ on the Dock of the Bay.”

Play the alto saxophone sheet music of Otis Redding’s “Sittin’ on the Dock of the Bay.”

Play the tenor saxophone sheet music of Otis Redding’s “Sittin’ on the Dock of the Bay.”

7. Despacito by Luis Fonsi

“Despacito” was composed and performed by Luis Fonsi featuring Daddy Yankee in 2017, and quickly became a global phenomenon. This reggaeton-pop fusion is characterized by its infectious rhythm, with an upbeat tempo and romantic lyrics that celebrate the sensuality and passion of Latin music. The song became the first Spanish-language song to top the Billboard Hot 100 since “Macarena” in 1996. Its popularity surged even further with a remix featuring Justin Bieber, making it one of the most-streamed songs of all time.

Master this modern hit on the saxophone alto, tenor or soprano with Tomplay. Simply hit the play button and start playing along with a high-quality accompaniment track.

Play the soprano saxophone sheet music of Luis Fonsi’s “Despacito.”

Play the alto saxophone sheet music of Luis Fonsi’s “Despacito.”

Play the tenor saxophone sheet music of Luis Fonsi’s “Despacito.”

LOOKING TO ENHANCE YOUR SUMMER SAXOPHONE SESSIONS?

Explore the extensive catalog of Yamaha saxophones and saxophone gear to find the perfect instrument for your needs. From the sleek and innovative YDS-150 digital saxophone, which offers exact saxophone fingering and authentic sound, to a wide range of professional and student models, Yamaha has something for every level of player.

Whether you’re jamming to summer hits or practicing new pieces, Yamaha saxophones provide superior quality and playability. Plus, with your purchase or rental of a Yamaha brass, woodwind, string or mallet keyboard instrument, you’ll receive three months of free premium access to Tomplay, offering over 80,000 sheet music titles with backing tracks to play along to. Elevate your musical experience this summer with Yamaha and Tomplay … and let the summer festivities begin!

Want to try Tomplay? Register your Yamaha saxophone and get a three-month subscription to Tomplay for FREE.

The Magic in the Details

Written by Savy Leiser on July 5, 2024. Posted in Case Studies.

In just five years, the Winter Guard International (WGI) indoor winds program at Westfield High School in Indiana, has progressed from competing in Scholastic A Class to competing in Scholastic World Class, in a transcendence that occurred during one of the most trying times for competitive band programs: the COVID pandemic. Because the program has progressed so quickly, some students have had the unique opportunity to perform in three different competitive classes — A Class, Open Class and World Class. In 2019, 8th-graders performing for Westfield competed in A Class; now, in 2024, those same students are high school seniors, spending their final year competing in World Class.

“I can’t think of other examples of programs that have grown so fast that students have had the opportunity to be there for every season to get to World Class,” says Westfield Director of Performing Arts Andrew Muth. “The kids bought into excellence.”

Muth attributes his program’s rapid growth to long-term planning, short-term goal-setting and a mindset focused on tackling one obstacle at a time. “What is excellent today isn’t excellent tomorrow,” Muth says. “The standard is going to grow and evolve.”

Westfield High School band during performance

From Pandemic to Performances

Westfield’s indoor winds program first began during the 2019 school year. After just one year of competition, the 2020 COVID lockdowns ended the following season early. When students returned for the 2020-2021 school year, rehearsals faced a series of modifications, including requirements for students to wear masks, stand five feet apart and fill out health forms on an iPad to confirm they had no COVID symptoms before entering the rehearsal space.

The pandemic posed an obstacle to Westfield, as it did to every band program in America. However, despite a year of lost practice and competition time, the pandemic helped the students at Westfield develop a resilient mindset to come back even stronger.

Muth explains that band rehearsal was the highlight of the day for students and music teachers alike. Everyone was excited to return after months without practice. “For me personally, going to rehearsal, working with everybody, that felt normal. Even though we wore in masks, even though we were socially distancing, even though it wasn’t exactly how we wanted it to be, we were working on something together,” Muth says. “It felt so good to come back and do a rehearsal, even five feet apart in masks.”

A season without band served as a motivator. Muth, who was recognized as a 2024 Yamaha “40 Under 40” music educator, and his students learned a lot about how important it is not to take the band experience for granted. “We knew at any point our season could be done,” he says. “So, we were going to make the most of every single thing we did.”

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Westfield High School students holding up champion banner

A Well-Oiled Machine

Concepts like gratitude for each performance and taking responsibility for each day of practicing are not unique to the COVID lockdowns. Even years removed from the quarantine, Muth still stresses the importance of breaking down each piece of performance to its details. If each piece of the puzzle fits into place, it will create a whole. As a result, the Westfield indoor winds program has many pieces that work together like a well-oiled machine.

Westfield High School band members during performance

The first puzzle piece is nailing down each detail of the show with music selections, staging and costuming. “There’s no such thing as too detailed,” Muth says.

The next piece is making sure the band staff is working in tune with one another. Because of Westfield’s growth, the indoor winds staff has expanded from three members back in 2019 to 13 in 2024. New staff members include a recently hired choreographer, plus indoor winds alumni who Muth hired to help out.

The third piece of the puzzle is perhaps the most important, the students. Success for students, just like for staff, comes down to the details. Muth challenges his students to give their best effort during every step of the process, not just during their performances. “This includes [being] good at unloading and loading the trailer in the parking lot of the show,” Muth says. “We’re good at walking into warmup and setting up. We’re good at getting on the floor. We’re good at performing because obviously that’s the main goal, but everything matters. There’s not a detail of what we do that isn’t important.”

Parents are the last piece to complete the puzzle. If parents are fully on board with the commitment that the indoor winds program requires, they play an important role in helping the students perform to their full potential.

As the program has grown, parents’ initiative has grown as well. While five years ago, parents were volunteering to learn the process, parents are now making their own suggestions for improvement. Without being asked, Westfield band parents regularly take on tasks like setting up pre-performance meals in the parking lot, organizing uniform dry cleanings between shows, and noticing when to alter uniforms to fit better. “They’re constantly raising their own bar, just like the kids are,” Muth says.

Westfield High School student during performance

Marching One Step at a Time

In addition to the importance of teamwork, Muth emphasizes that progress is slow and gradual, but it’s important to embrace every step of the process. “It’s an old saying, but it’s true: Rome wasn’t built in a day,” Muth says.

Muth doesn’t focus on making the first performance perfect; instead, he looks to establish good habits and patterns for long-term growth. “We’re a slow burn, and we know that,” he says. “The Westfield band you see in week one is not the band you’ll see at the end of the season.”

Part of Muth’s growth as an instructor has come from understanding the hierarchy of the band’s priorities. “When I was a 23-year-old band director, I wanted to fight every fight and die on every hill,” Muth recalls. However, during his teaching career, Muth realized: “It’s about the war, not the battle. You can’t die on every hill. You must take it in parts and pieces.”

Setting Goals

Those parts and pieces often go back to the basics — a regular focus on improving marching technique and music rehearsals. For Muth, those pieces also include being willing to delegate more tasks among staff. “I’ve let go of a lot of things that I used to be responsible for,” he says.

Instead of trying to lead every piece of the program himself, Muth spends time training staff members to take on more responsibility. “We’re not only educating our students,” he says. “We’re educating our staff.

Goals for students must be tangible, measurable benchmarks. “Students can say, ‘I want to play better. I want to move better,’” he says. “But what are some larger, big ticket boxes that we can check?”

For example, during the program’s third year, Muth and his students set a goal to make it to WGI finals. After accomplishing that goal, Westfield won Open Class during year four. “It was never the goal to win,” Muth says. “The goal was to be in a place where it could happen, where we had the level of training and excellence where [winning] was in the cards for us.”

To reach those goals, Muth recommends forming mentorships and alliances with other schools and their band directors, plus going to watch other schools’ rehearsals. “I haven’t yet met a successful band director who is not willing to let you come in, watch the rehearsal and see how the sausage gets made,” Muth says.

Watching other bands rehearse can help a band director identify areas where their own band has similar struggles. “It’s eye-opening. You’re like, ‘Oh! They’re telling their kids to play in the key signature and get their toes up just like we’re doing,’” Muth says. “It contextualizes it for you and makes you realize that you’re not alone.”

Alternate Bass Tunings

Written by E.E. Bradman on June 27, 2024. Posted in Bass.

One of the fastest and least expensive ways to step out of your comfort zone and explore new territory is to change the way you tune your bass. Electric bassists have inherited E-A-D-G tuning from the upright bass, but there are many other options. In this posting, we’ll explore a number of them, but first, a little history.

STANDARD TUNING

Basses (and the bottom four strings of guitars) are tuned in fourths, which means that each string is four semitones apart. Most other stringed instruments, including cello, violin, viola, mandolin and tenor banjo, are tuned in fifths: Cellos and violas are tuned C-G-D-A, while violins and mandolins are tuned G-D-A-E.

In the 1800s, the upright bass was tuned in fifths, too, but many players found that this made it harder to shift positions. Today, acoustic bass players who have gone back to tuning in fifths say the strings have richer overtones and fit in better with the rest of the string section; they also find the interval of a tenth is easier to play. In addition, the C-G-D-A tuning gives them a low C without the special extender they’d need to use on a standard-tuned bass. (See the “Go Low” section below for more information.)

BE OPEN

Classical composers have been employing alternate tunings, which they called scordatura (“mistuning”) as far back as the 17th century. They prized being able to use the power and resonance of an instrument’s open strings, and when composers wrote in unusual keys or with nonstandard tonalities, they sometimes asked that string players adjust their tuning to play the composition. Many contemporary songs written on guitar, in fact, are in E, A, D and G because many of the notes in these keys can be played on open strings.

Another reason musicians re-tune their instruments is to make difficult parts easier to play; if a particular lick is a big stretch on adjacent strings, for example, tuning one of the strings up or down by a half-step makes it one fret easier to reach.

GO LOW

Some bass players outfit their instruments with piccolo bass strings designed to be tuned an octave higher than normal, yielding the same pitches as the lower four strings of a guitar. This can offer interesting possibilities in a solo context, but it’s safe to say that tuning down is more prevalent than tuning up.

One of the most common reasons to reasons to tune down is to access lower keys and go below a bass’s normal range. In metal and hard rock, many guitarists (and their accompanying bassists) tune down a half-step, use D standard (a four-string tuned down a whole step to D-G-C-F), C standard (C-F-B♭-E♭, a major third lower than usual) or B-E-A-D tuning (the standard tuning of the lowest four strings on a five-string bass) on a four-string.

But this kind of so-called “drop tuning” is hardly confined to metal. As far back as the 1980s, Anthony Jackson was tuning his bass down to C standard on sessions with Chaka Khan, and Ross Valory was using B-E-A-D tuning with Journey. In addition, many gospel and R&B bassists tune down to accommodate songs in flat keys.

The more strings you have, of course, the more options there are. Common variations on standard five-string B-E-A-D-G tuning include F#-B-E-A-D and E-A-D-G-C, and some gospel bassists tune their six-string instruments to A-D-G-C-G-B♭ for especially thunderous impact.

In these tunings, you can still use standard scale and chord fingerings, but that changes if you detune just one string. “drop D” tuning means lowering the E string to D and leaving all the other strings just as they are. To achieve this quickly during live performance, some bassists use an extender, a lever that can drop their E string as far down as B.

USE THE RIGHT STRINGS

With all these possibilities, it can be easy to forget that your bass is made of wood that expands and contracts. Lower tunings can work with a standard .45 – .105 gauge four-string set, but if you go all the way down to B-E-A-D, it’s simpler to use the lowest strings of a standard five-string set, with a low B that’s .125 gauge or thicker. Several companies sell heavier-gauge strings for down-tuning (.50 to .110, for example), lighter gauges for piccolo bass (such as .20 to .52) and mixed sets that can accommodate a wide variety of tunings. In rare cases, you might need to buy a single string that deviates from the rest of the pack.

TAKE IT TO A TECH

If you’re serious about exploring a substantially lower or higher tuning, I strongly suggest you take your bass to a professional tech who can tweak your truss rod, dial in your string height, check your intonation, and adjust your nut for new string sizes.

START SMALL

Experimenting is fun, but you can also be strategic: Can your lowest string match the lowest note of the song? Is there a passage that could be easier to play if you change the tuning of one or more strings? If tuning down to D standard feels too extreme, just tuning down the E string alone might do the trick. If you have more than one bass, consider keeping one bass in a particular tuning. For inspiration, listen to bass players like Michael Manring, who has explored alternate tunings more thoroughly than most.

woman standing outside and looking at watch

The “No-Shortcuts” Approach

Written by Don Stinson on June 24, 2024. Posted in Teaching Tips.

Sometimes, it’s the seemingly insignificant moments that hold the greatest lessons. I was watching a cooking and travel series called “The Chef Show” that featured actor, director and aspiring chef Jon Favreau and renowned chef Roy Choi. During a mundane scene of the men chopping onions or making some stock, Favreau asks, “Are there any shortcuts?”

Choi responds, “If you cook with shortcuts, it will taste like shortcuts.”

This statement struck a chord with me and turned into a guiding principle for me personally and professionally. I noticed that anytime I took the time to work at something — spend the time to plan things out — it didn’t feel like I cut any corners. However, when I took shortcuts and skirted around things, occasionally I would get lucky and no one would notice, but ultimately, the shortcuts were obvious.

Confronting Conflict Head-On

Take conflict resolution, for example. Avoiding difficult conversations, whether with colleagues, students or administrators, might seem appealing. Our minds often persuade us to steer clear of potential discord. However, reality is starkly different. Facing tough situations directly not only resolves them more effectively but also prevents any lingering stress that comes from avoidance. A challenging conversation today can save weeks of underlying tension. In my book “Harmonizing Ethics and Education,” my co-authors and I don’t promise to eliminate stress; rather, we provide techniques that can help you manage conflict so that instead of ruining an entire week or more, it’ll only ruin a few hours.

Think about things that loom in the back of your mind. Maybe it’s a tough situation with a colleague or administrator, posting audition results or working through a challenging section of the music. These are often the things we want to avoid, want others to do for us, or even just hope that they work themselves out. But deep down, we understand that the actions we want to avoid are necessary.

Our brains may say, “I’m conflict averse. I don’t want to have this difficult conversation with my colleague because I don’t think it will go well.”

Reality: You need to have this tough conversation. In fact, avoiding it may lead to more discord and unresolved tension.

Our brains may say, “I don’t want to spell this out and spoon feed it to the kids — they just need to practice this transition section!”

Reality: You need to spell it out and spoon feed it to the kids because they won’t practice.

As long as you work with people, there will always be some stress involved. Why not choose a shorter burst of intense stress (that measures a 6 out of 10) that lasts a few hours to a day instead of dealing with a low-grade level of stress (maybe a 3 or 4) that lasts several weeks or even months. The intense burst may tire you out and stress you out quite a bit, but I believe that consistent stress or conflict that isn’t managed over multiple weeks or months may be more detrimental than larger, focused bursts. Think about the times you had an argument with someone that actually led to more understanding and even brought you closer to someone.

The Detailed Craft of Score Preparation

The principle of avoiding shortcuts manifests clearly in score preparation. Learning a score on the podium is a shortcut with tempting immediacy. Yet, the true understanding comes from immersing yourself in every part of the score and understanding what the students are truly doing.

I worked with one of my student teachers recently on shortcuts — or rather, not taking them. We always start with score prep. What is the shortcut? Learning the score on the podium. What is the simmering process? For us, it’s taking the score and playing every single part on the piano. That’s what I said. Every. Single. Part. And do it three times. What does mean? For a band score, we start with the flute or piccolo part, and we play the whole part on piano. Then we move to flute two and do the same thing. Then we go to oboe, and so on.

Then we do it again. And then one more time.

Does it get boring and mundane? Absolutely! By the end of this laborious process, we have spent so much time with the score — even specific parts of the score — that our understanding of it, the intricacies of why it was written that way, and our ability to detect errors and suggest solutions has become much more efficient than simply figuring it out on the go. The result? You end up really feeling like you know what you are doing!

From a professional standpoint, it feels really good to hear an issue and say, “Alto twos: check your part. It sounds like we’re a step off. Try this instead.” Standing in front of an ensemble as a new teacher with no score prep can feel like opening a car hood after hearing a clunk, and going, “Yep, there’s an engine in here.”

Best- and Worse-Case Scenarios

Addressing common shortcuts directly, such as avoiding conflict or neglecting detailed score preparation, illustrates potential pitfalls. Best-case scenarios might offer temporary relief, but worst-case scenarios can lead to significant setbacks. The aim is to encourage a mindset that seeks thoroughness and dedication, recognizing the long-term benefits over the fleeting allure of shortcuts.

Avoiding conflict with students, teachers, parents and administrators.
- Best case scenario? Things may just work themselves out. Worst case scenario? The entire student population and coworkers stage a coup and you’re out.
Not learning your score or planning for your classroom.
- See above. This is one of the items we can control on a daily basis!
Not speaking to students regularly about instrument maintenance or vocal care.
- Higher repair costs, non-participation in class and injured voices.
Not double-checking the itineraries before they go out.
- Missed call times, loss of trust (in one case, I know of a director who showed up to a college with his band for a clinic on the wrong day. Two years in a row!).
Saying that you don’t have time to address something.
- Spending even more time and resources to fix the issue and other issues that arose from not addressing the original issue.

Does it Get Easier?

Yes! On one hand, spending more time in this process does make it and the journey more enjoyable (after all, the more onions you cut, the less you cry; but only if you remove the bulb and don’t nick it with your knife). The other advantage with not taking shortcuts at the beginning is that your skills improve a lot. Yes, you are playing the long game, but you are truly investing in your skills. Sure, there are those people who can read transposition for F horn right away, but chances are that most just spent a lot of time doing the work, and you only see the final result.

Spending more time on these items actually may help you find the other “shortcuts” and processes that help. Spend time playing through every part by a specific composer. What do we now see? Patterns on how this specific composer voices parts. The process then becomes more enjoyable. You can fly through a part without worrying about the transposition because you’ve worked through it already. Your skills improve on plunking out parts and you don’t have to go back to fix things.

You understand that going through the extra process of confirming with the district office that your buses will in fact be here in two days to take you to the festival saves you the added stress of wondering exactly where they will be on Saturday.

By embracing this “no-shortcuts” approach, we not only enhance our skills and resolve conflicts more effectively but we also discover a deeper satisfaction in our endeavors. The long road might be more demanding, but it is undeniably more rewarding.

Top photo by Momius / Adobe Stock

Instant Classic: FS9 Acoustic Guitars

Written by Robbie Calvo on June 18, 2024. Posted in Acoustic Guitars.

Last year, I was lucky enough to get to play and write about the latest flagship Yamaha acoustic guitar: the FG9.

Having the chance to experience this extraordinary handcrafted instrument literally changed my opinion on what an acoustic guitar should look and sound like. That said, both FG9 models (the FG9 R and FG9 M) have fairly large dreadnought bodies, and my personal wish would be for a smaller size. With the recent release of the FS9 M and FS9 R concert body guitars, my wish has been granted!

Two acoustic guitars. — *FS9 M (left) and FS9 R (right).*

Both models have the same design aesthetic as the FG9, so it should come as no surprise that they sound and look just as incredible as their larger cousins. Let’s take a deep dive into the reasons why these all-acoustic guitars (which, like the FG9, have no onboard pickups) are, in my humble opinion, instant classics.

Tonewoods

Both FS9 models feature solid Adirondack spruce tops with tapered edges (a feature that allows the body to vibrate more efficiently), a one-piece bolt-on solid African mahogany neck, an ebony bridge and fingerboard, bone nut and saddle.

The FS9 R features a solid African rosewood back and sides, while the FS9 M features a solid African mahogany back and sides. These two tonewoods have slightly different sonic characteristics … but they both sound great!

FS9 R.

FS9 M.

Design Aesthetic

Yamaha kept the design aesthetic for the FS9 deceptively simple. The solid Adirondack spruce top and sound hole are outlined with a beautiful rope motif, while the distinctive fingerboard inlays resemble traditional Japanese Kumiki woodworking.

Fretboard of acoustic guitar where it meets the body.

The company’s logo at the top of the guitar is also Adirondack spruce, and the truss rod cover is unfinished ebony to match the fingerboard and bridge. The scratch plate has a tortoiseshell pattern. One of the nicest touches on these fine instruments can be found on the neck heel by way of the spruce inlay and “FS” logo marquetry.

Back of acoustic guitar neck where it meets the body.

Technical Specifications

FS9 concert-body guitars have a slightly shorter scale length than their dreadnought counterparts: 25″ versus 25 9/16″. The string spacing and nut width have remained constant, however, at 11 mm and 44 mm respectively. They also offer the same high-precision Gotoh SXN510 Cosmo Black open-geared tuners found on the FG9.

In addition, like the FG9, both FS9 models come supplied with a hardshell case.

Playability

I’m a big fan of the FS9 for several reasons. First, I find the smaller bouts provided by the concert-body size easier to manage when strumming. Secondly, the picking hand placement feels more comfortable to me; essentially the smaller size allows your shoulder to find a more natural resting place. Of course, this is relative to your physical size, but I think most players will find this aspect easier to manage than on a dreadnought or jumbo guitar. And, while it’s true that the FS9 does not have a cutaway — neither does the FG9 — the fact of the matter is that acoustic guitarists rarely play above the 12th fret, so I honestly don’t miss it at all.

The slightly shorter scale length on the FS9 (as compared to an FG9) also reduces string tension somewhat — a very desirable attribute for players with less hand strength, or those who spend a lot of time on their dedicated instrument.

I found the neck to be extremely comfortable to play; in fact, I didn’t really need any time to adjust to its dimensions and string spacing. The fret edges are beautifully dressed, to the point where you don’t feel them at all during changes in position.

In addition, the satin-finished neck allows for easy slides and glissandi along the fretboard without it ever feeling sticky or sweaty. I’m so glad guitar manufacturers like Yamaha are aware of how much players appreciate these finer details … as they should on a premium guitar like this.

Tone

I recently spent a couple of weeks with the FS9 M in my studio, which gave me time to make some comparisons with my other acoustic guitars.

I was expecting the mahogany back and sides to emit less bass-end response than my rosewood guitars, but that wasn’t the case at all. In fact, I found the FS9 M bass response to be well-tailored to the size of the guitar. In addition, the midrange response was clear and musical, and the top end added just the right amount of sparkle to chords and arpeggios without ever sounding too bright.

Of course, what the player hears, compared to a listener ten feet away, is often completely different … but I think most players would lose themselves in the quality of tones coming from this guitar and fall in love with what it can do to inspire your musical performances, songwriting and recording sessions.

I thought the best way for me to see if the guitar would work well for songwriting was to record how it sounded both with a pick and my fingers in a multi-track recording. I also wanted to see if the FS9 would sound good when applying other acoustic guitar techniques and stylistic approaches like bottleneck slide and single-note lines, so I produced a track using the FS9 M exclusively to capture what this guitar can do in a real-world recording session with a rhythm section plus male and female vocals. You can hear and see the result in the video below.

The Video

Here, I’m playing a Yamaha FS9 M on an original song, “Rain Down On Me.” I think this presentation gives you a good idea of how the guitar sounds in a modest home studio setup, for what I consider a singer/songwriter acoustic guitar demo.

After the song concludes, I discuss the guitar specifications, show photographs of both the FS9 M and FS9 R models, and present isolated strumming and fingerpicking sound samples from the FS9 M.

The Wrap Up

FS9 concert body guitars are a terrific addition to the pinnacle “9” range of Yamaha all-acoustic guitars. They are extremely expressive instruments that allow the player to precisely create dynamics with either their fingers or a pick … without ever losing details across the low, mid and high-end frequency ranges.

Experienced guitar players will appreciate the versatility these instruments offer; the ability to seamlessly transition between articulate arpeggios, finger styles and strumming, all in one musical passage, is rare on many acoustic guitars. Add the clarity of solo lines, fills and bottleneck slide to the mix and you have an acoustic workhorse worth double its weight in gold. Singer/songwriters will appreciate the overall size, light weight, ease of playability and the harmonic support the FS9 provides to either male or female vocals.

So if you’re looking for a dedicated acoustic guitar that will sit front and center both in your studio and onstage, look no further than the excellent FS9.

PHOTOGRAPHS COURTESY OF THE AUTHOR.

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music educator watching student play the bass

You Will Never Feel “Ready,” But You Can Be Prepared

Written by Dr. Jessica Vaughan-Marra on June 16, 2024. Posted in Teaching Tips.

Music education degree programs are unique in the breadth of content areas addressed and in the intensive study of music and music performance — all intended to prepare graduates to teach and meet state licensure requirements. In most states, music educators are certified as PreK-12 music content specialists. This includes, but is not limited to, instrumental band, orchestra, choir, general music, modern band, music technology, composing, conducting and more. Within a four-year undergraduate teacher-preparation program, there is no way for teacher educators to address all these content areas. It’s no wonder that many undergraduate music education majors learn best through hands-on learning experiences that connect theory to practice.

Through all the coursework, performances and eventual pursuit of a career in music teaching, it is essential for undergraduates and novice music teachers to reflect on challenges and personal motivation along their journey. Below are nine recommendations for pre-service music education majors as well as novice in-service music educators to consider as they navigate their degree programs and enter the teaching profession.

1. Collect Resources

According to research, it is essential for music education majors to actively engage in learning opportunities to explore hands-on music education. These opportunities will make learning memorable but may not be able to address all areas of need surrounding a particular topic or area of interest (Vaughan-Marra, 2017). Alongside these experiences, maintaining organized materials and resources from coursework, professional development sessions, conference attendance and workshops will be invaluable during in-service teaching.

2. Connect with Teacher Preparation Programs

Professional development does not stop with the completion of an undergraduate degree. Music educators continue to learn alongside their students in their classrooms. This learning can expand to supporting pre-service music education majors when in-service music teachers connect with teacher educators. This can be through hosting fieldwork or practicum courses or through coordinating to bring an ensemble or class to a local university. Music educators working in higher education settings often welcome the opportunity to visit school sites of alumni, work with PreK-12 music makers, and support professional development that directly impacts teachers with their students. Novice music educators should contact local universities to request clinics or professional development with the help of faculty.

music educator sitting at piano while facing student playing strings instruments

3. Connect with Professional Organizations

Music education degree programs often encourage students to participate in collegiate chapters of state, national and international professional organizations. Active members of collegiate chapters get opportunities to network with in-service educators as well as participate in additional professional development.

4. Observe and Work Alongside Master Teachers

While fieldwork and practicum courses require visiting a range of schools and communities as part of undergraduate teacher preparation, new in-service music teachers may find it challenging to schedule time to observe colleagues or master teachers during their first years in the profession. Though it can be challenging to plan for substitutes or request funding for professional development, many districts encourage teachers to seek professional development throughout the school year. When possible, taking time to visit another school site or observing colleagues teaching similar content areas will help music teachers develop ideas that they can bring back to their own classrooms.

5. Connect with Music Teacher Mentors

Successful new music teachers demonstrate a willingness to connect with mentor teachers. In music education, finding content-specific mentors can be challenging due to a lack of consistent contact opportunities with music colleagues. A music teacher mentor can help a new music teacher navigate their first five years in the profession. This may include the social-emotional support needed to communicate with administrators, colleagues and parents. It may also include invaluable support in the classroom that helps refine teaching. When combined with rehearsal and lesson review, mentoring can evolve into rich opportunities to refine teaching.

6. Set Professional Goals

Most students set goals toward completing their undergraduate degree programs, but it’s also helpful for them to have a sense of what type of teaching position or career path they want post degree completion. Some new music teachers begin with goals related to their first teaching position. Though it can be helpful to narrow interests to help support learning during the degree program, it is vital for music education majors to remain flexible to different ways a future teaching assignment may be constructed. In addition to teaching assignments, I recommend including goals for pursuing an advanced degree. Expanding learning to areas such as philosophy, research and curriculum design change as music educators teach within their own classroom (Conway et al., 2021). There is no better way to reflect upon or grapple with these ideas than within a robust master’s program.

7. Consider Your Motivation to Learn

“Motivating Students to Learn” is a framework by educational researcher Jere Brophy (2004) . Within this framework, how students approach learning experiences and identify meaning and intended benefits are most important. He contends that this is a way of bridging casual exploration with focused learning. During an undergraduate music education degree program, majors may face challenges related to projects and curriculum requirements that are less interesting or personally enjoyable. Students who reflect upon practice sessions, coursework and required assessments through the degree program as learning opportunities are more able to develop professional goals and utilize strategies for learning in ways that extend beyond other forms of motivation such as rewards, grades or praise alone.

teacher in foreground while student plays trombone

8. Understanding Feedback

Part of professional growth includes learning to understand the ways feedback can be approached. Musicians, like athletes, develop habits around how they prepare for and accept feedback. Due to the personal nature of musical performance and self-expression, it can take years for young musicians to develop self-reflection skills that support a growth mindset around their musical development.
Similarly, music education majors and novice music educators will face challenges related to their own learning, lesson planning and teaching, as well as the challenges and successes of their own students. Throughout their undergraduate degree program, music education majors may consider the ways that they are most receptive to feedback. This will enhance communication skills with faculty and peers, and it will constructively impact their performance. Though feedback can produce an emotional reaction, it is powerful to remember that feedback is information, and music education majors should look at systematic practice to demonstrate what is currently absent to the assessor. If a novice music educator can develop a growth mindset regarding their own learning, they will model this with their future students as they participate in music performance-based assessments.

9. Refine Your Adaptive Expertise

Hatano and Inagaki (1986) define adaptive expertise as the flexibility an individual has in relation to work and content areas of specialization. Routine expertise functions as the predictable patterns of behavior or habits. In music education, these forms of expertise are developed through coursework but also by working with students. Routines are vital for educators because they help teachers refine their self-confidence in their curricular choices. Having said this, adaptability is potentially more critical for music educators to develop due to the breadth of content and areas of specialization within the profession.

__________________________________

How music educators approach their own learning may impact the experiences of their students and how they develop curriculum. Starting within the undergraduate teacher preparation experiences, music education majors must consider how they navigate the development of their expertise both routine and adaptative. This lays the groundwork for future opportunities to learn in their classroom and includes how music educators pursue professional development throughout their career. Undergraduate teacher preparation is the first step into the profession. From there, connecting with professional organizations, music teacher mentors, colleagues for collaboration and advanced degrees like a master’s in music education or paralleled programs, help music educators refine and evolve with the needs of their students, school district and community. Music educators who are willing to adjust, listen, try new ideas, while also balancing these skills with prior knowledge, will flourish in the profession.

References

Brophy, J. (2004). Motivating students to learn. Routledge.
Conway, C., Vaughan-Marra, J., & Marra, C. (2021). Balancing the varied needs of Master of Music Education students: Perceptions from program directors and alumni. Journal of Research in Music Education, 69(1), 105-120.
Hatano, G., & Inagaki, K. (1986). Two courses of expertise. In H. Stevenson, H. Azuma, & K. Hakuta (Eds.), Child development and education in Japan (pp. 262–272). New York: W.H. Freeman.
Vaughan-Marra, J. C. (2017). Meeting New Teachers Where They Are: Digital Mentoring Program Focused on Orchestra Content-Specific Support. AERA Online Paper Repository.

music teacher using hand motions to teach

Use Music to Connect with Students of All Ages

Written by Kellie B. Gormly on June 12, 2024. Posted in Case Studies.

Angela Ammerman recalls the serendipitous moment in 2018 when a colleague talked about going to Thailand to teach music to children at Hope House Children’s Home. She spontaneously said, “I’ll go!”

Ammerman, who’d always felt compassion for children in difficult situations, packed up violins and flew with them to Thailand, where she spent 10 days at the rescue home for abused, abandoned and neglected children. She taught children in grades 4-12 how to play the violin. However, Ammerman faced a major obstacle: The kids didn’t speak a word of English, and she didn’t speak a word of Thai. How could she teach them when she couldn’t communicate with the kids verbally?

Spoiler alert: At the end of their time together, kids were playing Canon in D and performed a little concert for the community.

teacher sitting on ground and teaching music to group of Thai students

Finding Ways to Communicate

How did Ammerman make that happen? She figured out a way to communicate with the students, who spoke tribal dialects, through body language and using a lot of call and response. Ammerman would stomp her feet, one foot at a time, to demonstrate the proper posture for playing, and use arm gestures while playing the violin, so that kids would start to associate those movements with the instrument.

She would teach students a few key music words in English, like “Bravo!” which she would say when they did things correctly. The children caught on to her modeling and repeated after her. Soon, the kids would say “Bravo!” themselves as a happy word. The older kids would help teach the younger kids, using the same methods as Ammerman.

Ammerman also made the effort to learn a few words of Thai dialects, and she tuned in to the kids’ sound effects. One quirky thing the Thai students did was tease each other with what sounded like “Ding, ding, ding!” in reference to scorpions. Ammerman used that running joke by making the same sound in her violin lessons.

“That brings the connection between the violin and who they are socially together, so that they see themselves in my lessons — and now, they are part of the curriculum,” says Ammerman.

The results were phenomenal. Ammerman recalls an especially touching story about a young girl, who had experienced trauma and wouldn’t speak, progressed socially; by the last day, the girl was playing with good posture rather than hunched shoulders. Another child, after days of practicing, told Ammerman: “I’m not feeling tired and sleepy anymore.”

At the end of the last day, Ammerman taught the Thai students to say: “I love violins!”

“They said it to me, and I just lost it,” she says. “All these things are very clear signs to me that their confidence was being boosted.”

young student holding triangle in music class

Working with the Youngest Students

Ammerman, who now lives in Fredericksburg, Virginia, uses almost identical techniques when teaching young music students at Art Time 4 Kids. Her youngest classes range in age from toddlers to babies, who absorb the music they hear.

Like she did in Thailand, Ammerman pays attention to what her students say. She takes the natural babbling and sound effects the children make with their own friends and families and makes an effort to put those same sounds to music.

“All of a sudden in a music class, students start to speak the words they’ve been working on,” says Ammerman, who uses exaggerated lip and mouth movements, and intentional eye contact with struggling students. “Parents and grandparents are floored.”

Both families and Ammerman — who also guest conducts with high school orchestras — see a strong progression in language skills as students learn via music.

“I see it and I hear it from parents all the time,” she says. “Overwhelmingly, parents will tell me over and over again: ‘I can’t believe the development since our kids started these music classes.’”

Teaching All Ages

Ammerman, who completed her Ph.D. in music education from George Mason University in 2018, has enjoyed a lifelong passion for music. She’s wanted to teach music for as long as she can remember, and a college professor’s impact on her confirmed her desire to pursue teaching after graduation.

“I knew that I wanted to teach teachers,” Ammerman, who was recognized as a 2024 Yamaha “40 Under 40” music educator, says. “The impact you have teaching the teachers is exponential!”

When she first started teaching, Ammerman’s dream job was teaching music in elementary school, so she started there. Then, she moved to teaching orchestra in middle school and high school. When she and her husband had their son, who is now 3, Ammerman became fascinated by early childhood development. Because she wanted to stay home with her son more, Ammerman started teaching one day a week at Art Time 4 Kids.

“It’s the most crucial time in a child’s life,” she says about ages birth to 3. “If we can impact them at this stage, the benefits are phenomenal for the rest of their life.”

Outside of teaching the little ones, Ammerman also works as an adjunct professor at George Mason University. She teaches two days a week online, and on Fridays, she goes to the Fairfax campus in person. She teaches a radical age mix of students during a typical week, but Ammerman says she loves the variety of this hodgepodge of classes, and she feels like she has come full circle.

“It’s fascinating and so fulfilling,” she says. “I’ve become fascinated with development over time and the trajectory of life.

“If you asked me what my favorite age is, the answer is: I love them all,” Ammerman says. “What many don’t expect about teaching is that teachers truly get more out of teaching than the kids. We learn so much from them.”

teacher showing student proper way to hold bow — Angela Ammerman shows a student the proper way to hold a bow.

Shifting Gears

She has become good at dramatically shifting gears quickly: On some days, right after teaching the early childhood classes, she logs on to teach a virtual college class in professor mode.

No matter the student’s age, Ammerman says that music education should, above all, be fun. “To me, the biggest thing is that it doesn’t feel like work,” she says. “Music is so much fun and it just feels like you’re playing.”

Another key element of music education happens when music is a social activity. “I know we can enjoy music independently, but music is more fun when we are together,” she says. “I believe so firmly that that sense of belonging is a key component.”

How to Play Shuffles on Bass

Written by E.E. Bradman on May 30, 2024. Posted in Bass.

Consider for a moment the one element that unites Stevie Wonder’s “Isn’t She Lovely,” Steely Dan’s “Reelin’ in the Years,” Queens of the Stone Age’s “Keep Your Eyes Peeled” and Michael Jackson’s “The Way You Make Me Feel.” What does every song on this disparate list have in common? The almighty shuffle.

Learning to play shuffles is a fundamental skill for any drummer, which makes it indispensable for bass players too. In this posting, we’ll show you how to get into the shuffle groove.

SHUFFLE VARIETIES

There are many different varieties of shuffles, but they’re all rooted in the blues and are all triplet-based. Shuffles can be identified by feel (i.e., the “half-time shuffle,” which places the snare on beats 2 and 4), associated with a drummer (such as the “Gadd shuffle,” named after famed Yamaha Artist Steve Gadd), tied to a region (the “Texas shuffle”), named by genre (the “jazz shuffle”), or even by its association with a record label (the “Motown shuffle”). Here are some of the most popular shuffles and the dynamic duos who helped make them famous.

THE 12/8 SHUFFLE

The slow pulse of legendary bluesman Muddy Waters’ “Mannish Boy” is (arguably) in 12/8 time, but the weight of the quarter notes makes it easy to feel as if it’s 4/4, with implied triplets coming from the drums. Notice how bassist Charles Calmese only plays on the song’s signature riff, leaving plenty of space for drummer Willie Smith to lay down the groove.

The big, bad feel of “Mannish Boy” is the foundation for many tunes, including George Thorogood’s “Bad to the Bone,” though here, bass player Billy Blough hugs drummer Jeff Simon’s kick drum and doubles the main riff. This 12/8 shuffle also underpins songs like Tears for Fears’ “Everybody Wants to Rule the World,” which perfectly syncs Curt Smith’s synth bass line with Manny Elias’s drum part.

THE PURDIE SHUFFLE

With its syncopated ghost notes on the snare, Bernard Purdie’s signature shuffle has inspired countless variations. Chuck Rainey’s bass parts have accompanied the Purdie shuffle as far back as 1970, when the two musicians played on Aretha Franklin’s “Heavenly Father.” Perhaps the best-known examples of Purdie-Rainey synergy are Steely Dan’s “Home At Last” and “Babylon Sisters,” both of which benefit from interactive bass parts that support the band’s jazzy harmony while accentuating each song’s reggae-ish lilt. (Be sure to check out this minus-vocal clip of “Home at Last,” which allows you to hear all the instrumental parts especially clearly.)

THE BONHAM BEAT

On Led Zeppelin’s “Fool in the Rain,” bass man John Paul Jones leaves lots of room for this prototypical example of drummer John Bonham’s trademark shuffle. Even when Jones leaves his main C major part for a Latin-flavored break, he’s still right in time with Bonham’s rock-solid shuffle; the samba-ish section halfway through the song gives them both a chance to jam, and Jones stretches out, right up until they return to the half-time shuffle. Although he introduces new touches and revisits the Latin flavor in the last minute of the track, Jones never loses his connection to Bonham’s thunderous groove. (Check out this isolated bass/drum clip.)

THE “ROSANNA” SHUFFLE

Drummer Jeff Porcaro said his approach on Toto’s “Rosanna” was a combo of the Purdie shuffle, the Bonham beat and the Bo Diddley beat. As you can hear in this isolated rhythm section track, Toto’s then-bassist David Hungate, a studio veteran, pairs the complexity of Porcaro’s part with a straightforward bassline that hugs the kick on hits, matches the drummer’s dynamics and livens things up with a slap bass part. As the song reaches its conclusion, Hungate mirrors the kick for maximum effect. “Rosanna” is a masterclass in dynamics, simplicity and a rhythm section working closely together.

THE TEXAS SHUFFLE

Double Trouble, the magical combo of bassist Tommy Shannon and drummer Chris Layton, is best known for supporting Stevie Ray Vaughan. A shining example of the Texas shuffle can be found in Vaughan’s “Pride and Joy,” where Shannon’s bassline bounces right along with Layton’s precisely sloppy feel. The kick, snare, ride and bass part are tied so tightly together that hearing the isolated bass track is a revelation.

THE GADD SHUFFLE

The smoothly swinging jazz shuffle most associated with drummer Steve Gadd — a backbeat and ghost notes on the snare coupled with a steady bass drum (sometimes four on the floor), along with signature hi-hat and ride moves — is an invitation to play strong quarter notes and walking basslines with tasteful ornamentations. In this video, Gadd demonstrates several shuffles, one played with fellow studio legend Will Lee on bass (and harmonica). And on David Grusin’s “Shuffle City,” Gadd and bassist Anthony Jackson balance iron-clad time with ultra-creative improvisation.

SHUFFLE SUCCESS

When it comes to shuffles, repetition and simplicity are powerful tools. As demonstrated in the audio clips below (all played on a Yamaha BBP35 bass), try different note lengths: If the drummer is playing the ride cymbal, long bass notes can match the cymbal’s sustain, while short notes can accentuate a chunky hi-hat/snare/kick groove.

Playing quarter-note walking basslines like these can allow you to “float” over a shuffle, while matching the kick keeps things grounded, as demonstrated in these audio clips:

You can also learn how other bassists handle shuffles in genres outside blues and jazz by listening to playlists like this one, which provides a fascinating overview of half-time and four-on-the-floor shuffles in pop music. And don’t forget to search YouTube for examples of grooves (like the ones demonstrated in this video), isolated tracks, instrumental versions and bass-less versions of songs that catch your ear. They’re all great approaches to mastering the art of shuffling on bass.

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Five Facts About the Piccolo

Written by Aleah Fitzwater on May 28, 2024. Posted in Winds.

Ah, the piccolo — the little woodwind that is quite possibly the most joked-about orchestral instrument. However, the piccolo has always held a special place in my heart despite its reputation for being difficult to play, shrill, and piercing. I enjoy controlling the highest of the high-end into mellow pianissimos.

I first learned to play the piccolo out of necessity. On a fateful day when I was a first chair flute player in 9th grade, my band director handed me a small case. I spent the rest of the rehearsal endlessly blowing air and not making a sound. That was my first sign that the piccolo was very different from the flute.

While many flutists double on the piccolo, the little instrument has a separate history and setup from its larger counterpart.

Here are five things you probably didn’t know about the piccolo.

1. It Has a Conical Bore

The piccolo’s unique internal shape changes the core of its sound. Many conical-bore woodwinds, such as the medieval double-reed instrument called the shawm, were originally used to project very loudly over noisy or spacious environments. The sound of instruments like the shawm and piccolo can travel long distances, even when played outside.

Most flutes, on the other hand, are nearly entirely cylindrical with just the slightest taper on the far left side of the instrument at the end of the headjoint.

While some metal piccolos have cylindrical bores, most professional piccolos have a conical bore, which changes the soundwave it produces. The result is a unique timbred instrument with a rich and even range of sound.

Other instruments that have conical bores include the French horn and saxophone.

woman looking frustrated with hands on head

2. Its Name Causes Confusion

The word piccolo simply means small, but the instrument’s older name, the flautino, caused some confusion because it was the name of another small woodwind. The flautino was an instrument that came before the piccolo; it was a small recorder that was often used in the Baroque era.

This means that there is a chance that the piccolo part in Handel’s “Rinaldo,” which is believed to be the first classical piccolo part to be written, might actually have been played by a small recorder instead.

It’s difficult to decipher whether composers intended for the pieces to be played by the transverse (piccolo) or the vertical recorder, both known as flautino. Similarly, small duct flutes called flageolets were also sometimes described as flautino.

The piccolo has had many other names, such as flauto traverso oder à l’octave (transverse flute at the octave), ottavino (which means eighth in reference to the instrument being eight notes higher than the flute), and petite flûte (little flute).

3. It Is Used to Represent Nature

Often described as a flourish or “garnish” instrument, the piccolo commonly represents the fleeting motif of a bird or cricket. The piccolo represents bird calls alongside the violin in Ravel’s “Daphnis et Chloe.” Similarly, in Stravinsky’s ballet, “The Firebird,” the piccolo represents the mythical creature taking to the sky. And in Telemann’s “Grillen Symphony,” also known as the “Cricket Symphony,” utilizes the piccolo to create a quirky feeling.

The piccolo has also been used to represent wind, water, howling, and lightning in various compositions. Operatic music from the 1800s often used the instrument for special effects with one of the most notable examples being the lightning in Verdi’s “Rigoletto.”

Other common uses for the piccolo include in operatic overtures (especially Rossini) and even for military entrances (such as in Mozart’s opera, “Die Entführung aus dem Serail”).

4. Its Use Changed Over the Centuries

The precursors to the piccolo, which were called military transverse flutes, were used in military battles starting around the Middle Ages. This iteration of the small flute had just 6 open holes. Eventually, instrument makers began adding keys. By the early 1700s, the instrument had grown into something close to the piccolo we know today.

It was around this time that composers like Handel and Vivaldi began using the piccolo in concert music. The first known concert piece to use the piccolo was supposedly Handel’s “Rinaldo,” which premiered in 1711, but due to the confusion over the instrument’s name, the first piece for piccolo may have been a bit before or after this time.

Beethoven is also known for being one of the first composers to use the piccolo in a symphony. The last movement of Beethoven’s “Fifth Symphony” has bombastic brass music. This section of music was the piccolo’s first cameo in a symphony.

As the piccolo became more common in orchestras (and orchestras grew as the romantic era approached), the instrument began doubling violins and adding soaring melodies or countermelodies on top of the flute. The use of the piccolo is a far cry from its original intention, which was to signal an incoming army/battle.

5. It Was Commonly Found in D-flat

When people think of the flute, they picture the C concert flute, but there are alto flutes (G) and the much less common flute d’amour (in Bb or A). The piccolo usually comes in C today, but one special piccolo, the Db piccolo, was made for a specific purpose — playing in bands with brass (think Sousa marches).

Before flutes and piccolos were standardized, the Db piccolo was common in military bands. You may even see the rare Db piccolo today, as it is much easier to play difficult excerpts like the solo in “Stars and Stripes Forever.” The Db piccolo is more friendly because brass bands often played in keys with multiple flats, so the fingerings and transitions were easier.

Top photo by Janisphoto / Adobe Stock.

How Singing Can Improve Your Overall Musicianship

Written by Sarah Jones on May 24, 2024. Posted in Creativity.

Every player knows that mastering an instrument takes years of practice and dedication. But what if the key to unlocking your full potential as an instrumentalist lies in your voice?

Singing isn’t just for singers. When instrumentalists incorporate vocal techniques into their practice routines, they don’t merely hone their vocal abilities, they build fundamental skills and deepen their emotional connection to music. Here’s a look at how singing can improve your overall musicianship.

A BETTER GRASP ON PITCH, RHYTHM AND HARMONY

Renowned vocalist and vocal coach Jaime Babbitt has sung with legends like Barbra Streisand, Willie Nelson, Leon Russell and Miley and Billy Ray Cyrus, as well as on hundreds of national TV and radio spots for major brands. She is a sought-after lecturer and educator and the author of the book Working With Your Voice: A Career Guide to Becoming a Professional Singer. Babbitt feels strongly that singing enhances pitch accuracy and intonation while also fostering a deeper rhythmic awareness.

A female singer with her hand raised in the air. — *Jaime Babbitt.*

“From a rhythmic standpoint, it can open one’s mind a lot, no matter what type of instrument they play,” she says. “If they play a chordal instrument, there are times when keeping both vocal and musical rhythms steady is tough and takes practice, but boy, does it solidify your polyrhythmic chops.”

For musicians who play chordal instruments like piano or guitar, singing can deepen an understanding of melody and harmony, even unlocking new songwriting possibilities. “I tell my voice clients it would behoove them to learn a chordal instrument, as I believe it solidifies their relationship to pitch,” Babbitt explains. “Why wouldn’t the converse be true for instrumentalists?”

MAKING A DEEPER CONNECTION WITH MUSIC

Singing isn’t just about hitting the right notes — it’s about connecting with the heart of music itself. “Singing is of the most emotional acts one can perform in this life,” says Babbitt. “Look at the place singing has held throughout history, from one culture / era / epoch to the next. We sing for joyful occasions, sorrowful occasions and everything in between!”

By tapping into the emotional power of singing, you’ll infuse your playing with greater depth and expression, and you might even open a path to more meaningful storytelling in your songwriting.

GREATER CONFIDENCE

Does singing improve stage presence? “I think that depends on the person,” says Babbitt. “For some, it can be a distraction, especially if their instrumental chops have been around far longer than their singing chops. That might be more anxiety-producing than anything. For others, having another avenue of expression can be fiercely liberating.”

According to Babbitt, the degree of improvement comes down to three factors: How much time you can devote to practice, what your realistic commitment level is and where your financial comfort level is with regard to hiring a vocal coach.

USING THE BODY AS AN INSTRUMENT

Being able to conjure notes with your body requires a different skillset — and a different mindset — than playing notes on an instrument, so embrace a beginner’s perspective.

“From my experience with musicians, just because they can play the notes doesn’t mean they can always sing the notes accurately,” Babbitt explains. “When you try to intonate yourself physically, it’s a process happening inside your body, versus using, say, a violin bow. Without the muscle memory of knowing how to use your body to form pitches — how you physically have to do a million things to produce a particular note — you have to get used to that to produce sound with your body.”

Babbitt adds that those who play non-fretted or non-keyed instruments — strings or trombone, for example — tend to have a more fluid relationship to vocal pitch. “They should try not to be surprised if there’s a bit of sliding around the pitch!”

Because of bone conduction and body resonances, your voice sounds different inside and outside your head, which can be a psychological barrier. “Musicians often don’t like the timbre or sonic quality of their recorded voice compared to the voice inside their own heads,” says Babbitt. “Vocalists don’t always like it, either, believe me! It’s just that they’ve had so much more practice getting used to it.”

Getting comfortable with the sound of your voice from every vantage point means spending time actively listening to both your “inside” voice and your recorded voice. This is where having a good vocal coach/teacher can really make a difference, according to Babbitt, especially with regard to healthy, efficient and in-pitch sound production.

INCORPORATING SINGING IN PRACTICE

If you’re new to singing, start with basic vocal exercises to familiarize yourself with your vocal range and capabilities. Breathing exercises, pitch-matching exercises and vocal warm-ups can help you establish a solid foundation for vocal development.

“Alternate playing a line, then singing it,” Babbitt suggests. “If that’s challenging, start with an ear-training app that matches pitches. Many apps will record you so you can start to hear when you’re closer or farther off.” Then move to interval training, singing the root to the second, root to the third, root to the fourth, etc. “Find mnemonic devices by associating songs you know that contain those intervals,” Babbitt advises.

Experiment with playing and singing simultaneously to get comfortable with pitch relationships, sharpen coordination and dexterity and improve improvisational skills. “Just as Ella Fitzgerald was an instrumentalist, I think musicians can become like Ella!” Babbitt says. “If they play chordal instruments, they can take a page from the George Benson playbook and sing their lead melodies. If they play non-chordal instruments, recording themselves playing scales and then singing over those scales can be a great exercise too.”

Vocal exercises can help wind players improve their breath control, stamina, tone and phrasing. Babbitt’s favorites are called SOVTs: Semi-Occluded Vocal Tract exercises. These include straw phonation (making sound through a straw), lip and tongue trills, and humming. “They’re the best things that ever happened to me and to my own vocal practice and I swear by them,” says Babbitt, who also recommends taking advantage of free online resources such as ear-training apps, singing apps and beginner tutorials. She suggests singing along to karaoke tracks using the free Transpose Chrome plug-in to vary the pitch of any YouTube video, and she’s a big fan of yoga and meditation. “Everyone thinks yoga is great for flexibility and longevity, and it is, but ultimately, it’s about the breath,” she says. Working with a coach can accelerate your progress and ensure that you’re practicing effectively.

FOCUS ON THE POSITIVE

Finally, focus on the positive. “People are so easy to point out what they are bad at,” Babbitt says. “They’ll sing a song, and then we’ll talk about it and they’ll go right down the list of what sucked. I urge them to always look at what they’re doing well because that’s what you’re going to learn from. When you’re doing something like singing, which requires muscle memory, if you do something that that wasn’t good, why would you keep reinforcing it? Look at the things that you’re doing well and capitalize on that.”

Incorporating singing into your instrumental practice isn’t just about mastering a new skill — it’s about realizing your full potential as an artist. With dedication and practice, you’ll harness the transformative power of your voice, build confidence and reach new levels of musicianship in the process.

Jeremy Bartunek and his choir performing

Overcoming Performance Anxiety

Written by Kellie B. Gormly on May 20, 2024. Posted in Case Studies.

Award-winning musician and educator Jeremy Bartunek has released two full-length albums and co-composed five musicals. But perhaps his greatest accomplishment happens when a struggling child overcomes performance anxiety because of his leadership.

Bartunek, who directs the children’s choir for grades 1 to 5 at Greenbriar School in the Northbrook 28 school district located north of Chicago, became concerned about how many students he saw who became terribly anxious about performing in the winter concert. Even though they were recruited to do this every year in December, these kids felt pressure and experienced social anxiety about performing for an audience of other kids. They would seek soothing from the social worker or just stay home on concert day. It clearly wasn’t a sustainable situation.

“It was not good or healthy,” says Bartunek, a quarterfinalist for the2024 GRAMMY® Music Educator Award. “¬¬So many kids were physically unable to perform in front of their peers ¬¬— it was burning out the social worker and the school counselor.”

Knowing that the fear stemmed from a lack of confidence, Bartunek knew that he needed to work hard to earn the children’s trust. That trust would help him foster confidence in his students as the semester unfolded in a new school year.

“The last thing anyone wants is to have kids having panic attacks in the school counselor’s office on the day of the show,” says Bartunek. “I’m trying to identify them early.”

Stage fright stems from different reasons, such as students’ inherent personalities, their home life and past experiences. The key is to treat them well. “I foster an environment of respect — throughout my kids, throughout my classroom,” Bartunek says. “I respect them as learners. Even when they see me walking through the hallways, I am always setting an example.

Playing Games

Bartunek likes to use playful games to connect with children. For example, instead of reading books silently, he has students sing the words to the book out loud with expression — just like reading a book out loud, but with singing.

“Working through that process gives kids confidence so they realize that they know what they’re doing,” Bartunek says. “Some kids are stronger readers than others, but they all know how to read.”

Bartunek, who was recognized as a Yamaha “40 Under 40” music educator in 2024, extends this melody-tinged speaking to conversational singing, which is fun. He will sing, “Hello, how are you?” in any tune, instead of saying the words, and the kids respond in kind. That often gets them laughing, which put them at ease and helps them develop their musical sense.

“My goal is to have kids singing for 80 percent of the class period,” he says. “That’s where your musicianship comes from: your singing and your ear.”

Preparation

Bartunek finds that preparing students for performing and talking them through their fears is a good way to help them cope.

“I tell them ahead of time: ‘You’re going to do this in front of your peers and you might be nervous. How do you feel?’ And I work with them,” he says.

“They know they are in a safe space,” says Bartunek, who is working on a doctorate degree in musical arts from Boston University remotely. “We acknowledge their feelings and discuss them. I’ll say: ‘What does that feel like? That is an interesting feeling, isn’t it? Does anyone else feel that way?’ That way, students find out that other kids are in the same boat.”

Anxious kids often ask Bartunek: “Can we just sing in front of you?” But that’s not a good idea, he says. Students may sound great in private with him, but they still are unable to get up on stage and perform in front of their peers, so one-on-one practices do nothing to solve the problem.

Bartunek’s techniques have worked well. This year, out of his 5th grade class of 60 students, every single one of them tried out for a singing solo in the musical, and many of them are involved in his “Something More” chorus. This group of about 45 students in 4th and 5th grade are highly committed to after-school music rehearsals and performances around the community at least once a month.

“At the end of the day, I want everybody to be on stage and singing,” Bartunek says. “I know that not everyone is going to be a star, but if I can give them the courage and desire to get up there and try their best, then I’ve done my job.”

Teaching Philosophy

Bartunek, who received a Golden Apple Award for Excellence in Teaching in 2020, is passionate about nurturing the inner musician in each child, which is very important in elementary school because only some kids take music electives in middle school and high school. “Every person is musical; everyone can do it,” he says. “I believe that the best musicians should be teachers, and the best teachers should teach the youngest students. The early childhood years are so important. There is a chance that for the six years I have with these kids, I’m the only musical influence in their lives.”

According to Bartunek, there are four things that students need in music class: well-trained minds, well-trained hands, well-trained ears and well-trained hearts.

“All four of these things need to be developed in young children — everything follows from that,” Bartunek says.

The Daily Grind: Find Joy in the Routine

Written by Jessica Corry on May 16, 2024. Posted in Teaching Tips.

I have been teaching junior high band in the public school system for 12 years. In that time, I have discovered what it takes to be a strong leader in my classroom while also having a deep understanding of the students in front of me. Here are five specific points that highlight essential aspects of being an effective director.

happy woman holding a balloon with happy face

1. Embrace the Daily Grind: A Labor of Love

Teaching band is not for the faint of heart. Many music educators enter the field because we have a passion for playing our instrument, and we want to pass that on to our students. However, when you are in the day to day of the job, you realize that sometimes this is the smallest part of what you do. I recently told a student teacher, “This job is a daily grind. It is hard, but the end result can be worth it.” Their response, “That isn’t very encouraging.”

They aren’t wrong, but it is reality. From early morning rehearsals to late-night planning sessions, our dedication to fostering a love for music is what sets the foundation for success. Young music educators or those considering the field must recognize that it takes a lot of hard work, and it is this consistent effort and passion that you invest in your students that makes a lasting impact.

2. Discover and Refine Your System

Every successful director understands the importance of having a system. This has nothing to do with lesson plans and rehearsal schedules. It’s about understanding your students’ needs, creating a positive learning environment and setting clear expectations. First, take time to discover what methods work best for your unique group of students — it could be a specific teaching technique, rehearsal structure or communication strategy. Then, refine your system to maximize efficiency and create a cohesive learning experience for your students.

Here are a few examples of what I do:

Communicate in various languages. I get much more involvement from families if I reach out in a language that they are comfortable communicating in. ChatGPT and Google Translate have come a long way. Sure, there are a few grammatical errors, but these provide a fantastic starting point.
The daily expectations remain the same. Every. Single. Day. Yes, even during what I call the “dark days” of January/February.
Provide the pencil. How many times do we fight students on supplies? If it is the expectation and your student population does not meet it, provide it. If it is that important to you, make it happen. Show them with your actions that you are serious. Rehearsal does not start until a pencil is on every stand. Trust me, they will learn.
Keep your personality in your classroom. Do I do a daily pencil check? Yes. Do I sometimes put on the opening ceremony theme for the Olympics and slowly raise a pencil and wait for all students to do the same? Yes. I still require the pencil, every day.

3. Consistency is Key: Stick to Your System

Once you have identified a system that resonates with your students and enhances their musical development, consistency becomes paramount. Students thrive in an environment where expectations are clear, routines are established and the director’s approach remains steady. While it may seem tempting to experiment with new methods, resist the urge to constantly reinvent the wheel. The wheel is fine — you know what works, so just do it. Sticking to your tried-and-true system not only fosters a sense of security for your students, but it also allows them to focus on honing their musical skills without unnecessary distractions.

What’s that you say? You just went to a conference, and you are all fired up to completely change your program, which you know will be the key to what you consider success? Stop, look at what you currently do and pick one item to change. That is the only item you change this school year. Reevaluate in May.

You must give change time to settle in and then look at the results, good or bad. You wouldn’t receive an antibiotic from a doctor and not finish the full dosage. I suggest six months minimum of consistency before revisiting the decision/implementation.

Here’s a true story: Three years ago, I took a look at “Important Ingredients: A Daily Warm-up and Development Method for High School Symphonic Bands.” I quickly realized that younger students could do this as well. Why did I pick this particular method book? One of the best directors in my area not only wrote it, but he implemented it into his program. When someone is consistently going to the top festivals in your state and being recognized, it speaks for itself. “Important Ingredients” is a 24-page packet of everything your students need to reach an extraordinarily high level of musicianship. My 8th graders are playing scales with just intonation and every single student could tell you how they need to adjust the scale degrees. We have been working on it since August. Each year, I add in one — yes just one — more exercise for daily or weekly focus for every grade. There is a major (and minor) scale sheet in the book that breaks down scales. You must read the director companion to understand it is meant to be read vertically measure by measure instead of left to right. Is it hard? Extremely. Are my 6th graders already reading key changes better than my 8th graders? Yes. When they become 8th graders, I can only imagine their potential.

4. The Ensemble is a Mirror: Understand Your Impact

When I assess my career in music education, I always have one specific phrase in mind, which one of my mentors, Brian Wis, shared with me: “An ensemble is a direct reflection of the director.” Every single thing — from classroom management to how our students play — is on us. This is a lot, but it’s also amazing. We have complete control over the outcome of our group. Don’t believe me?

I used to be a yeller in the classroom, I was very quick to raise my voice. When I transitioned to a new school where I was the head director, I kept a piece of paper on my stand that said, “Don’t get louder, get closer.” That piece of paper stayed on my stand for three years. It was a daily reminder to pause and react differently. Now, I have a different reminder on my stand that says two things: “Be the awesome teacher they expect you to be EVERY DAY” and “If they are not engaged, DISENGAGE.” This helps me stop when the students are off. Before, I would continue speaking and teaching even when the students were off track. Remember, from students’ playing ability to how they enter your classroom is on us.

It is essential to recognize that your ensemble is a direct reflection of your leadership. The mindset you bring to rehearsals, the expectations you set and the passion you convey all contribute to the overall success of the ensemble. Understand that the collective sound and performance of your students are indicative of the guidance and inspiration you provide. Accepting this responsibility can be challenging, but it’s a crucial aspect of being a strong director. Embrace the opportunity to positively shape the musical journey of your students and take pride in the growth and achievements of your ensemble. Students see it, too, and it matters. We don’t have to be perfect and we don’t have to be the total package right away — we just have to work at it consistently.

"make people feel loved today" painted on wall

5. Mindset Matters

In just about everything in life, mindset plays a pivotal role in shaping the overall experience. Some music teachers may struggle to accept that the ensemble’s success is a direct reflection of their mindset. Have there been days where you were upset and came into the band room in a foul mood, and your students gave it right back to you? Have you ever been upset that your partner didn’t unload the dishwasher? Were you passed over for a district leadership team position? Did you take it out on your kids? Sounds ridiculous on paper, and we would never plan to do this, but these things do happen. This is the difference between students who have trouble managing their emotions because of their age and teachers who should be managing their emotions.

Cultivate a positive and growth-oriented mindset, not only for yourself but for your students. Encourage a culture of continuous improvement, where mistakes are viewed as opportunities to learn and grow. Foster a supportive community within your band, where each member feels valued, and the pursuit of musical excellence becomes a shared goal.

The journey of a music educator is marked by dedication, consistency and a profound impact on students’ lives. The ability to find joy in the routine and accept the challenges with resiliency is what defines a strong director. So, embrace the daily grind as a labor of love, discover and refine your unique system, and understand the profound connection between your mindset and the success of your ensemble.

two happy band students talking next to lockers

Teaching Music in High-Need Schools: Sustainability

Written by Dr. Robert Bryant on May 9, 2024. Posted in Advocacy.

As we have discussed throughout this series, music programs in high-need schools serve as anchors for creativity, discipline, community, collaboration and musical excellence. We also know that resource allocations and student demographics continue to shift, so sustaining these programs is a challenge. Music education at its core is about fostering creativity and strategic thinking. In the final article of this series, I urge all music educators to prioritize sustainability in all music programs, particularly within high-need schools. Please consider the following best practices as we highlight indicators that ensure music program longevity and sustained success.

Be Adaptable

One thing we know is that change is constant. Rather than be in a position where we must react to changes in our school, administration, students or larger community, we should watch trends and plan for numerous combinations of possible futures. By educating ourselves on the social, political and economic factors that directly impact our schools, we can become proactive and use these shifts to sustain our programs. By posting open forums to community stakeholders, offering listening sessions for our colleagues and parents, and elevating student voices within the organization, we can help our programs move forward even in times of change and uncertainty.

I have recently seen music programs create their own governing boards, create succession plans and develop resources for emergency operations all in order to “future-proof” the organization. Seth Pendergast explores the structural, interpersonal and intrapersonal factors that can contribute to program sustainability in his article “Understanding Participation in Secondary Music Classes: A Literature Review.” These and other strategies can help music teachers feel confident that when they leave their program, there is a blueprint in place for future teachers to access for continued success.

Empower Students

Though I credit much of my initial professional development to my alma mater, Florida A&M University, it was actually in various leadership positions while in high school at Columbia High School in the metro Atlanta area where my spark for teaching was first ignited. Every time we approach the podium, we have the opportunity to empower our students to lead in numerous ways. Whether it was serving on committees for different aspects of the program, leading rehearsals and conducting at concerts, or developing our motto or mission statement, my high school and college directors prioritized placing us at the center of the operations of the program. That’s why I tried to do the same with my students. We never know how those experiences can change students and spark their interest in someday becoming a music teacher. National Association for Music Education (NAfME) recently released “A Blueprint for Strengthening the Music Teaching Profession,” which details the major phases of music teacher recruitment, training, placement and support throughout the early years of working in the profession. We as teachers stand in a critical position to inspire the next generation of music teachers.

Another vital aspect of student empowerment comes through engaging in our own continuous improvement. When we listen, have discussions with our students and use their feedback to lead substantive change, we show how much we value them not only as musicians, but as people. These interactions serve as the foundation for effective peer-to-peer learning and authentic approaches to program improvement that can increase engagement and enhance student achievement.

Exceed Expectations

One of the goals I had for myself as a K-12 teacher (and it remains a goal for me) was to always “over-deliver” and exceed the expectations of our community stakeholders. I would take time each year to assess my program, see how we were excelling, and research what other programs in our district and around the country were doing that we could incorporate. Then, I would share my ideas with my students and parents so that they could see what the next level of success could look like for us, so long as we were willing to work for it as a collective. My students and parents would sometimes show me what other local programs were doing or places they were going, and we would work together to create vision boards and discuss how we could pursue and achieve it.
Having buy-in from the community and school administration, along with equity among students and parents through shared decision-making, can help to fuel even greater success. I believe that my students and parents always had their sights set on what was next, and this energized me to continue to strive for the highest in musical excellence.

_____________________________

Sustainability is not merely a goal, but a journey toward ensuring that music programs in high-need schools thrive and enrich the lives of students for generations to come. Throughout this series, I have attempted to highlight best practices in recruitment, retention, fundraising, teaching, learning, musicianship, access, diversity and community building. I know that each of our schools can create vibrant and inclusive music programs that adapt to change, empower students and exceed even our highest expectations for success all while instilling a lifelong love for music in our students. Let us commit ourselves to sustainability through our work as music educators as we continue to mold minds, move hearts and change lives.

Read part 1 of this series on recruitment.

Read part 2 of this series on rapport.

Read part 3 of this series on defining success.

Read part 4 of this series on best practices.

Read part 5 of this series on funding.

Read part 6 of this series on retention.

How to Make Your Acoustic Guitar Easier to Play

Written by Robbie Calvo on May 9, 2024. Posted in Acoustic Guitars.

On a recent vacation in Bali, the manager of the resort I was staying at surprised me one night by asking if I would perform a few songs, impromptu, for the guests at the beach restaurant.

The resident performer handed me his guitar. I sat down, adjusted the microphone height, and got ready to launch into a few of my favorite tunes … and then it dawned on me that the strings were unplayably high up off the fretboard (some were rusty too) and the intonation was way off, yet I was now obligated to perform for everyone.

In these scenarios, all you can do is figure out a way to simplify chord voicings, shorten the song length, and smile through the pain and dissonance. There are also times when you inherit a guitar from a friend or relative, find one at a pawn shop, or play a brand new one that just isn’t set up the way you’d like it to be.

In this posting, I’ll tell you about some simple adjustments that can make any acoustic guitar really nice to play. A couple of caveats, though:

These steps have to be taken ahead of time. There’s really nothing you can do in the short term to remedy rusty strings, high string action or a less than optimal neck; and
If in doubt as to your fix-it abilities, I strongly suggest having any work undertaken by a professional luthier.

1. Adjust the Action

A guitar action refers to how close the strings are to the fretboard. If the action is too high, it may take an inordinate amount of effort to press the strings down, thus making the instrument virtually unplayable — especially if you’re a relative newcomer and have not yet developed sufficient hand muscle strength. If it’s too low, some notes may buzz or may not ring out correctly. The optimum is somewhere in the middle, though some players (especially beginners) prefer that the action be set as low as possible.

If the action seems off, start by looking down the neck from the headstock to the bridge saddle on both the bass side (i.e., where the low E string is) and treble side (high E string) of the neck. Luthiers call this sighting the neck.

A guitar neck, seen from the headstock down on the bass side. — *Neck sighting (bass side).*

A guitar neck, seen from the headstock down on the treble side. — *Neck sighting (treble side).*

Check to see how much space (“neck relief”) there is between the strings and the fretboard. Ideally, the neck will be relatively straight, with a tiny amount of concave relief. This will allow the strings to be fretted everywhere along the fretboard without buzzing. Place a capo at the first fret, then place your first finger on the sixth string (low E) past the last fret. With your other hand, tap the middle of the string to see if there is a small space between the bottom of the string and the tenth fret. This will determine if there is enough concave relief on the neck to allow the strings to vibrate freely.

If, however, you see a large concave bow away from the middle of the strings, there’s too much relief and you’ll have to add tension on the neck to alleviate the problem. If the bow is convex and touches the strings, you’ll need to relieve tension on the neck so the strings won’t buzz and rattle against the fretboard.

Illustration of guitar showing concave and convex neck bows.

These adjustments are made by adjusting the guitar’s truss rod, a metal rod that runs inside the entire length of the neck and fretboard. Depending upon the model of acoustic guitar, Allen key truss rod adjusters are located either inside the sound hole, at the headstock under the plastic cover plate above the nut, or less commonly, at the heel of the neck.

Acoustic guitar sound hole looking up towards the neck. — *Truss rod adjuster inside the sound hole.*

Acoustic guitar headstock cover removed. — *Truss rod adjuster under the headstock cover.*

Turning the truss rod clockwise will straighten a concave bow by adding more tension to the neck, while turning the truss rod counter-clockwise will relieve a convex bow and reduce tension. Note that these adjustments have to be made very slowly, no more than a quarter turn at a time, or you risk doing permanent damage to the guitar neck. Again, if in doubt, give this task to a qualified luthier.

Guitar truss rod adjustment for less tension and more tension.

2. Adjust the String Height

Even if the neck is straight, the strings might be too high. Ideally there should be just enough space between the strings and fret wires to slip a regular business card between them without sticking.

Guitar nut slots are sometimes cut to allow for rattle-free fretting of chords in open position, but in my experience, this can make the action too high. If necessary, a luthier can re-cut the nut to adjust string action. (This is not a do-it-yourself job!)

It’s not uncommon for the string action at the bridge to be set too high for most players. Of course, this depends on your hand strength, playing dynamic, the thickness of the string gauge and the type of music you play. (Bluegrass players, for example, often prefer higher actions.)

The good news is that the bridge saddle simply comes out of the bridge housing slot, enabling a luthier to sand the underside of the bridge, reducing its height until a desirable playing action is obtained. The bridge saddle string slots can also be re-cut to accommodate larger string gauges. (Again, these are not do-it-yourself jobs.)

If you are reducing the string gauge (see below), sometimes a new saddle or nut blank can be cut to replace the existing saddle and nut.

3. Put on Lighter Strings

It’s true that heavier strings (i.e., those with larger gauges) will give you more volume, and subjectively, better tone. That said, I have found that the string gauges used on most acoustic guitars (usually 12-53 or 13-56 gauge) are way too heavy for beginners or finesse-based players. Lighter-gauge strings will also have a lower tension to them and often allow you to set your playing action a little lower.

I want to play my guitars, not fight them, so I choose lighter-gauge strings for my acoustic guitars. Personally, I like 11-52 gauge phosphor bronze strings. I think choosing ease of playability over volume and tone is the best way to go … at least to begin with.

4. Adjust the Intonation

Intonation refers to the accuracy of tuning across all strings at all frets. A well-manufactured acoustic guitar should have perfect (or at least good) intonation right out of the box.

However, if you’ve changed string gauges as suggested above, you may find that the nut and saddle slots need to be cut in order to compensate for any intonation discrepancies. Again, this is a job for a luthier.

You should make a point of telling the luthier what string gauge you’d prefer prior to any work being done. That way, they’ll adjust everything based on the string gauge, nut and saddle heights you prefer. I even tell my luthier how gently I play the guitar and ask them to set everything up to accommodate my light playing touch.

5. Check the Tuning Pegs

Check that the tuners are working properly by tuning each string up, and then down again. You’ll want the strings to stay in tune without slipping, and to be able to finely adjust the tuning of each string in small, smooth movements.

If the strings slip out of tune, it may be that the tuning peg itself needs replacement, but quite often it could just be an insufficient winding of the string around the post. Check out this blog posting and video for more information.

The Video

In this video, I layer four distinct guitar parts on a Yamaha FSX3, much like that of a looping performance. Each part was recorded direct to my DAW (Digital Audio Workstation), demonstrating the sonic versatility of the instrument.

Note how my right-hand finesses the strings with light spreads and percussive subdivisions to accent each chord change. I also wanted to define the bass movement in each chord, so I added a simple bassline on the low E-string using sixteenth notes.

The third, arpeggiated guitar part utilizes chord fragments from the first guitar part … proving that even the most basic overdubs can be extremely musical.

The melody line is a simple melodic motif using the C major scale, making sure that the melody line resolves to the chord tones of the last chord within the progression (G major).

The Guitar

I’m a huge fan of Yamaha Red Label Series guitars — in particular, the FSX3 model. Its concert body size is perfect for me, allowing my picking hand to rest comfortably on the lower bout of the guitar without stress to my shoulder.

In addition, the satin-finished neck of the FSX3 is slim and fast, giving a similar feel to that of my electric guitars. This allows me to transition between acoustic and electric with minimal adjustments to my fretting hand.

The solid mahogany back and sides, combined with the solid spruce top, provide clarity and warmth for both strumming and fingerstyle playing. Red Label guitars are treated with the proprietary Yamaha A.R.E. treatment (Acoustic Resonance Enhancement), allowing the tonewoods to resonate freely, much like that of an older, played-in instrument.

Acoustically, the FSX3 creates a wonderful volume balance between the guitar and my vocals. What’s more, its Atmosfeel three-way pickup system combines a body sensor, microphone and piezo undersaddle pickup to create extraordinary plugged-in acoustic tones.

An acoustic guitar showing pickup controls. — *FSX3 Atmosfeel controls.*

The Wrap-Up

Sometimes we find an acoustic guitar sitting in the corner of a second-hand store, or in the attic of our parents’ house, that seems at first glance to be unworthy of our time or effort. Yet small body cracks, missing binding, and aesthetic wear and tear usually won’t affect its tone or playability. And with the right attention to specific details and a little tweaking (possibly with the assistance of a qualified luthier), even the roughest diamond in the rough can often be restored to its former glory and become one of your go-to instruments.

Photographs courtesy of the author.

woman holding up hand with a sticky note with an X on it

Healthy Tips for Educators

Written by Don Stinson on May 5, 2024. Posted in Self-Care.

I’ve often struggled with my health, particularly during stressful times. I also noticed that the least healthy periods of my life occurred when I was starting or changing jobs. At the beginning of my teaching career, I was in what I considered a healthy spot, but I quickly resorted to eating poorly, giving up exercise and not taking care of my mental well-being. This pattern followed me in all my subsequent job changes. The positive outcome of realizing this pattern? With some healthier habits, asking for help and keeping myself in check, I could get back to a place that was both healthier for me and beneficial for those in my charge.

Below are five tips to keep your health in check during your teaching career.

lunches and snacks packed in plastic containers

1. Failing to Plan is Planning to Fail

Teaching and leading extracurriculars or coaching is demanding. Without a solid plan for meals, exercise and mental health, it’s easy to fall into unhealthy habits.

Meal prep and fast-food options: I couldn’t always afford to live in the town where I taught, so I often had long drives to and from school. Meal prepping became a lifesaver, particularly with my long commute and after-school rehearsals. The convenience of having a healthy meal ready meant I was less tempted by fast food (and it was easier on my wallet). However, when things were stressful and being so far from home, I didn’t have the option to turn around if I forgot my lunch. So, I made sure to create a list of menu items from local restaurants and fast-food chains as a “just-in-case.” For me, this consisted of Jimmy John’s Unwiches or high-protein, low-carb meals. This little emergency plan helped me avoid dietary pitfalls and maintain my energy levels throughout the day.

Ask for help: I also helped myself by looking at my schedule each week and determining whether I could actually get all my work done. If not, I did the toughest thing I could imagine: I asked for help. Students, music parents, friends, etc., were always willing to help as long as I was clear with my requests. This had the added benefit of building some positive connections. This planning kept me from scrambling at the end of the week.

close up of person taking a pill and holding a glass of water

2. Finish Your Medicine!

I had a position once where administrative issues were consistent. During this stressful time, I contacted my school’s employee assistance program and scheduled some therapy sessions. Just when I thought I was “fixed,” I would stop only to be in the same boat a few weeks later. I learned that following through, and maybe even going to a few extra sessions than I thought I needed, helped me truly understand the ebb and flow of my stress, anxiety and mental health. So, when you think you’re on top of things, stay the course just a little bit longer. And, a little routine maintenance every once in a while never hurt anyone.

3. Establish Boundaries and Stick to Them

I’ve experimented with setting boundaries and found a lot of different things. Sometimes I was public with my boundaries, which allowed others to support me, but there were some people who wanted to test me to see if I really meant it. Other times, I kept my boundaries private, which was easier at times because I didn’t have to explain myself. Yet, some people wanted to dig in to find out why I was making a certain choice when it came to my time. You will find out what works for you at your specific time in life and school.

My first boundary was based on that phrase that some of us heard growing up: “The bell doesn’t release you; I release you!” I was never a fan of this, as this wasn’t how scheduling worked for me. My desire to finish the “perfect phrase” is not more important than a kid getting stressed out about being late to the next class. So, I started setting a boundary of only working during my scheduled contract time or specific scheduled times for my stipend/extracurricular work.

Try this: Make rules and schedules and stick with them for a week. You may be surprised at how efficient you can be. Or, you may be surprised to find that there are some items that just don’t get done and can wait until the next day or even the next week. I always rushed to answer emails from my administrators to show them how good of a communicator I was. I then realized that the good administrators understood that my job was teaching, which always came first. If I responded to them in 24 hours, or even if I sent an email that stated, “I’ve seen this message and I’ll respond tomorrow,” it was always understood.

4. Too Much, Too Soon

Would you rather succeed at one item or fail at three? If you are attempting change, chances are it’s much harder to handle multiple items. As teachers, we believe we can do it all! However, we don’t want to get burned out, and becoming disappointed or stressed can have a negative snowball effect.

During my first year of teaching, I had a goal of being healthier and I did not meet this goal. I focused on three main goals: lose weight, gain strength and change my eating habits. Those are three substantial goals! As you can imagine, I lasted maybe a week before failing at all three.

Consider gradual change. “I will take a walk outside or on a treadmill for 10 minutes per day for 20 days.” That’s it! It may not seem like a lot but imagine the state of mind you’ll be in on day 20. I would bet that you would then be in a stronger position to add “eat one healthy meal per day for 10 days.” And so on.

5. Go Away!

You can’t miss something if you’re always there. My schedule left little time to relax at home because I was often at school. I found some balance in stepping away from school during breaks, either driving to a quiet spot or taking a walk. Other times, I took a day or two each month to schedule some coffee visits with friends or phone calls with mentors during the time in between school and a rehearsal. These times took some effort to set up, but I found myself a little more recharged after I stepped away from my classroom. It’s easy to get excited about teaching and all the possibilities, but we have to take action to protect our passion from burning out.

The Takeaway

Our health is important, but taking care of ourselves is a time-consuming task, and it can be especially stressful when we feel like we have to do so much work. Many health issues don’t happen overnight, and the same can be said for improvement. With some planning, patience and perseverance, we can be in a healthier place for ourselves and those in our charge.

Closeup of hands playing electric bass guitar.

How to Play Bass Guitar Harmonics

Written by E.E. Bradman on April 26, 2024. Posted in Bass.

String players in classical music — most notably, violinists — have been using harmonics for hundreds of years. More recently, acoustic guitar players like Lenny Breau and Tommy Emmanuel have employed harmonics with great sensitivity and melodic imagination. And ever since Jaco Pastorius set the bass world on fire in the 1970s with dazzling harmonics in songs like “Portrait of Tracy,” “Okonkole y Trompa,” Weather Report’s “Birdland” and Joni Mitchell’s “Coyote,” bass players have used these bell-like tones to add sparkle and spice to their lines.

NATURAL VS. ARTIFICIAL

Natural harmonics are chime-like sounds that occur at the halfway point of each string — on bass, that’s the 12th fret — where you’ll find a “node,” a spot on the string that doesn’t vibrate. It’s the same note as the open string, only an octave higher. Dividing the string again, the node at the seventh fret gives us a note that’s an octave and a fifth up from the open string. (On the G string, that’s a D.) Finally, the fifth fret produces a note two octaves up.

There are many places to play harmonics, but some of the strongest harmonics begin at the third fret and occur at odd-numbered frets. Many basses, including all Yamaha models, have fret markers at the third, fifth, seventh, ninth, 12th and 17th frets, which are great spots for harmonics. The illustration below shows the most robust and commonly used natural harmonics on a five-string bass. The patterns repeat beyond the 12th fret: The 15th and 19th frets have the same harmonics as the third and seventh frets, and the 17th fret mirrors the fifth and 12th frets.

Fingering chart for bass guitar. — *Natural harmonics at the third, fourth, fifth, seventh, ninth and 12th frets.*

Natural harmonics happen on open strings, whereas fretted notes that produce harmonics are called artificial (or “false”). To play a natural harmonic, touch the open string lightly at the desired fret, as shown in the video below of me playing a Yamaha BBP35 five-string bass:

To produce artificial harmonics, fret any note, then tap or “pinch” the same note on the same string an octave higher (12 frets away), as demonstrated in this video by Yamaha Artist Billy Sheehan playing his signature Yamaha Attitude Limited 3 bass. (Billy also demonstrates the technique at the beginning of this video.) The great thing about artificial harmonics is that you aren’t limited to natural nodes — you can generate them anywhere on the fretboard.

TUNE UP

Many bass players use natural harmonics at the fifth and seventh frets to get in tune. If you’ve never done it, try it! It’s easy and reliable.

As shown in the video below, start by using a tuner to make sure your G string is in tune. When you’re ready, place your fretting-hand index finger on the G string directly on top of the seventh fret. Press lightly while playing the note with your picking hand. You’ll hear a D harmonic. Now play the fifth-fret harmonic on your D string, which is also a D harmonic, and tune your D string until they match without hearing any audible beating between the two tones. Do the same on the rest of your strings: Tune the seventh-fret harmonic on your D string to the fifth-fret harmonic on your A string, and then tune the seventh-fret harmonic on your A string to the fifth-fret harmonic on your E string. If you have a 5-string, tune the seventh-fret harmonic on your E to the fifth-fret harmonic on your B.

With a little practice, tuning a bass using harmonics becomes easy, and it’s especially useful if you’re playing alongside a piano that’s out of tune: Simply tune the A at the seventh fret of your D string to the piano’s A below middle C, then tune the rest of your instrument to match.

Dead strings and too much low end get in the way of clean, chiming harmonics, so don’t hesitate to put on fresh strings and dial in some highs; if your bass has two pickups, use the bridge pickup when tuning.

Here’s a video of a short improvisation played on a Yamaha TRB bass that uses natural harmonics with fretted notes in-between. (While Yamaha no longer makes the TRB, the TRBX is its contemporary 34″ scale cousin.)

LISTEN AND EXPERIMENT

Now that you’re familiar with harmonics, listen to how innovative bass players like Victor Wooten, Squarepusher, Randy Coven and Alain Caron have used them, and then marvel at how a violinist like Hilary Hahn employs harmonics in an orchestral setting.

As you begin to explore, listen for the many other, more subtle harmonics available on your bass, in addition to the natural ones shown in the illustration above. An easy way to find them is to simply move your fretting-hand fingers lightly over a string while playing with your picking hand. You’ll discover that you can play each open string’s major triad — for example, D, F# and A on the D string — by playing at the fifth, fourth and third frets, and again, at the 12th, ninth and seventh frets. Finding the distance from a harmonic to its matching fretted note can help you map harmonics on the fretboard. At the fourth fret, for instance, the harmonics are a fifth away on the next highest string. Try playing two or three harmonics at once to form ringing chords. Add effects like reverb, chorus and distortion to make them really stand out. As you experiment, new sonic vistas will be revealed, and your basslines will be greatly enhanced.

Learn more about Yamaha pianos.

Evolution of the Modern Piano: From Dulcimer to Disklavier

Written by Yamaha Corporation of America on April 18, 2024. Posted in Acoustic Pianos, Piano History.

Most historians agree that the piano was invented in the early 1700s by Bartolomeo Cristofori, but its lineage actually goes back much further than that — all the way to ancient times.

Let’s take a look at the long and fascinating evolution of the modern piano — one of the most popular musical instruments ever created and a mainstay of so many different kinds of music, from classical to jazz, pop and beyond.

Progenitors of the Modern Piano

The development of the modern piano can be traced to 2650 B.C., when a Chinese instrument called the ke was introduced. It had strings strung over a movable bridge on a wooden box that could be plucked to produce various tones.

In 582 B.C., Pythagóras began experimenting with musical sounds and mathematics, inventing the monochord. Some 400 years later, a movable bridge was added to the monochord allowing for increased intonation. By approximately 1000 A.D., clavis (keys) were applied to the monochord, used to prick strings on a scale division. (You can hear the meditative sound of a monochord in this video.)

Some time in the 14th century, a successor to the monochord — the clavicytherium — made its first appearance. This instrument was also played with a keyboard, but had its strings arranged in a harp-like triangle.

Although the piano is best classified as a string instrument due to the fact that the sounds come from the vibration of strings, it can also be classified as a percussion instrument because a hammer strikes those strings. In this way, it is similar to a hammered dulcimer, an instrument that originated in the Middle East around 900 and spread to Europe in the 11th century.

Stringed instrument being played with small mallets. — *Hammered dulcimer.*

The hammered dulcimer is a type of zither that uses small mallets called hammers to strike wires stretched across a simple resonating box. It was widely used throughout Europe during the Middle Ages and can still be heard in some modern folk music today.

Because it was the first instrument to use strings, a soundboard and hammers to produce musical tones, the hammered dulcimer is considered by many to the direct ancestor to the piano. However, there were to be several intermediate stops along the way.

The Clavichord, Spinet and Harpsichord

One such instrument was the clavichord, which first appeared in the 14th century and became popular during the Renaissance Era. The clavichord used the same stringed components of the hammered dulcimer, but it incorporated a keyboard that triggered metal blades, called tangents, to strike the strings. It had more strings than the clavicytherium (for a range of four to five octaves) and had pins fastened to the keys; eventually, a cloth was placed between the strings that acted as a damper. Lap versions of the instrument were played on tabletops while others were built on stands varying from 3 1/2 to 5 feet in width. However, because clavichords were not loud enough for large performances, they were mostly used as practice instruments or for composition.

Beautifully decorated small piano. — *Clavichord.*

In the early 16th century, adaptations of the clavichord led to the introduction of a new instrument called the spinet, named after inventor Giovanni Spinnetti, though it was later called a “virginal” by musicians in England, often housed in an ornate cabinet. This was a longer-stringed clavichord with tangents that pricked the strings using a quill fastened to a jack. Unlike the clavichord, the spinet had no expression or way to manipulate the pressure or strength of the tone.

The limitations of the spinet resulted in numerous attempts at modification so as to obtain greater volume and depth of tone, with many European instrument makers introducing spinets in a case shape similar to that of a harp. This triangular harp-like appearance is essentially the shape of grand pianos today.

In 1521, a new keyboard instrument called the harpsichord was introduced as an offshoot of the spinet. When a harpsichord key is pressed, a quill plectrum attached to a long strip of wood called a jack plucks a string to make a sound. Its invention began as an experiment to improve the sound quality of the spinet, and its longer strings produced the desired volume, but the string plucking on the larger scale increased the intensity of the wiry and harsh tone.

Drawing. — *Early harpsichord, c. 1521.*

Small piano-like instrument. — *Later period harpsichord.*

Over the years, many attempts were made to improve the sound of the harpsichord, such as lengthening its case and the use of leather buffs and stops to soften the tone. By the end of the 16th century, harpsichords with dual keyboards were introduced, making it easier to play complex two-handed musical arrangements. Nonetheless, the instrument had serious limitations. Though the harpsichord is louder than the clavichord, its volume cannot be varied: The strings are plucked with uniform loudness no matter how hard or soft the player plays, and they are immediately damped when the key is released. However, its system of strings and soundboard, as well as its overall structure, resembles that of the piano, which is why many people view the harpsichord as the immediate progenitor of the modern piano.

Introduction of the Piano

Born out of the need to improve the sound quality of the harpsichord, the piano combined many ideas that had first been tried on the clavichord and harpsichord. Inventors began adding hammer actions to restore the smooth tone of the clavichord on the frame and case design of the harpsichord, but the individual generally recognized as the father of the piano was renowned harpsichord maker Bartolomeo Cristofori, whose gravicembalo col piano e forte, or “harpsichord that plays soft and loud,” was unveiled in 1711. Eventually, the name was shortened to fortepiano or pianoforte, and then, finally, piano.

The first pianos were actually very similar to a harpsichord, with one crucial difference. In a harpsichord the strings are set into motion by plucking (as in a guitar) and the loudness of the resultant sound is independent of how forcefully a key is depressed. In a piano, the strings are struck with a hammer and Cristofori invented a clever mechanism (called the piano “action”) through which the speed of the hammer and hence the volume of a tone is controlled by the force with which a key is pressed. This allows the player to vary the loudness of notes individually — something that was not possible with the harpsichord — and gave the piano new expressive capabilities that were soon exploited by composers such as Mozart and Beethoven.

Little is known about Cristofori’s life, but the few surviving examples of his work provide evidence that he refined the design of his piano over the years. Three of his instruments survive today and can be seen at the Metropolitan Museum of Art in New York City (shown below), the Museum of Musical Instruments in Germany, and the Museum of Musical Instruments in Italy.

Antique piano. — *An original Cristofori piano.*

The first pianos were made by hand, and the music written for them was initially mostly confined to the aristocracy. However, the instrument became popular with the general public following the French Revolution in 1789, and demand increased. This led to the rapid industrialization of piano manufacturing. In addition, the music that had previously been enjoyed in the courts of aristocrats was now being performed in concert halls that were built to hold a thousand or more people. This, in turn, led to a desire for pianos with louder volume and longer sustain. The strings were strung under higher tension, and a sturdy iron frame began to be used to support them. The age had arrived when pianos could no longer be made completely by hand.

The Square Piano

In 1760, the square piano was introduced by Johannes Zumpe in London, England as a smaller alternative to the wing form design of the early grand pianos (see below). It was essentially a clavichord with metal strings, a hammer action and a reinforced frame.

A rectangular piano on four legs. — *A square piano.*

In 1781, the position of the hammer action was changed to improve the resonance and make the sound louder (previously a downfall of the square shape). Further changes were mostly regarding the material from which frames were being made to achieve a better tone. The English makers were attempting all-iron and iron hybrid frames to allow for heavier strings and louder, more sonorous tone emanation, while German makers were devoted to traditional wooden frames, claiming the sound was too metallic and wiry when the strings were connected to an iron frame. Square pianos remained popular for the next 100 years before being supplanted by upright pianos.

The Upright Piano

Even as the square piano was rapidly rising in popularity, several unconventionally-minded inventors began experimenting with an upright piano. The first one is believed to have been made in Austria by Johann Schmidt in 1780 but the first upright with diagonal strings was introduced by British inventor Robert Wornum in 1832, and his design was to change the landscape forever. German manufacturers later improved on Wornum’s upright by building an iron frame with three strings for each note, which produced a robust sound and improved the overall tonal quality.

Since it took up less space than a grand piano, the upright piano — often elaborately decorated — quickly became popular. By 1860, nearly all square pianos in Europe were being replaced with uprights thanks to the increasingly industrialized city planning that mandated smaller, more compact pianos for urban spaces and in-home enjoyment. At around this time, American piano manufacturers began to shift their attention to developing uprights that could accommodate the square piano market. By 1880, the upright piano had completely replaced the square piano in America.

The first piano to be made in Japan was an upright model built in 1900 by Torakusu Yamaha, founder of Nippon Gakki Co., Ltd. — later renamed Yamaha Corporation.

Antique piano with built in candlestick holders. — *An early Yamaha upright piano (c. 1904).*

Upright pianos continue to be a popular choice for pianists with smaller budgets and tight spaces, making them perfect for schools, practice studios, homes, and public places like cafes and nightclubs. Models such as the Yamaha U Series (the most popular upright piano in the world), as well as the YUS Series (which incorporate many features from the company’s flagship CF Series grand pianos) and b Series are held in high regard by performers, teachers and students alike, and are found in many top music schools.

A Yamaha piano. — *A modern Yamaha upright piano.*

The Grand Piano

The early pianoforte designs utilized a “wing form,” similar to that of a harp laid down horizontally. By the late 1700s, manufacturers were beginning to understand the advantages of that design for superior sound quality, volume and engineering. The grand piano came to the forefront of piano making in 1776.

The natural horizontal plane utilized by the grand piano lent itself to the best action (the mechanism of the piano that causes hammers to strike the strings when a key is pressed) and string orientation for optimum playability, volume and tone. English inventor Robert Stodard’s action created for the first “Grand Pianoforte” in 1777 set the baseline for future grand pianos. Three years later, Viennese manufacturer Johann Andreas Stein and his daughter, Nanette Stein-Streicher, improved upon the original grand piano design to create a tone so desirable that Mozart, Beethoven and other composers wrote pieces specifically to be played on their instruments. This new action combined a forceful, direct strike with a slight wisp across the string that created an elegant tone that other makers could never achieve.

When pianists began competing with embellishments such as trills or fast arpeggios, or by repeating fast passages, there was an increased need for more responsive instruments. The revolutionary new action that answered that need and made it possible to repeat notes in rapid succession was invented in 1821 by Sébastien Erard of France. His double escapement repetition mechanism was a major development, and one that is in use, in a refined form, to this very day. The Erard mechanism allowed the pianist to quickly repeat a note without having to fully release the key. Up until its introduction, when a key was depressed, the hammer rose and struck the string but was not ready for the next keystroke, until it had fallen back to its at-rest position. Erard’s invention made it possible to prepare for the next keystroke even though the hammer had not completely fallen back.

In 1838, Erard added to his accomplishment with the invention of the capo tasto, which was a pressure bar that increased the rigidity of the strings, providing a counter-pressure to the hammer, thus improving the tone. This bar is now standard on nearly all grand pianos today.

By about the middle of the 19th century, the principles of the piano mechanism, and the devices that comprise it, had reached a certain level of perfection. Thereafter, the efforts and goals of piano makers would turn almost entirely to improving quality. Piano strings became even thicker and were wound with wire, and as a result the overall tension also increased, necessitating their need to be strung on a cast iron frame.

Many case improvements followed. In the 1860s, English manufacturers began adding veneer to a wooden frame that was made from power machines, as opposed to the previous method of hand-planing the case to the desired thickness. This was more economic and guaranteed a consistency to the case-making that ensured quality of sound and desired acoustic properties.

Photo of Yamaha grand piano with lid open. — *A modern Yamaha grand piano.*

Yamaha has a long and rich history as one of the world’s leading manufacturers of pianos. The company released their first grand piano in 1902, one of which was sent to the 1904 St. Louis World’s Fair, where it received an Honorary Grand Prize. Today, we offer a wide range of models, ranging from “baby grands” (under 5′ in length) like the GB1K, GC1 and GC2, to larger instruments like those in the CX Series (the most recorded piano in history) to stunning 9′ concert grands like the flagship CFX. (For more information, see the “Yamaha Pianos” section below.)

A large grand piano and bench spotlit on a stage. — *Yamaha CFX Concert Grand.*

Key Range Expansion

The first piano invented by Cristofori had only 54 keys. Most of the keyboard music of J. S. Bach can in fact be played on the 49 notes of the first pianos, but composers soon wanted more, and instrument designers responded. By Mozart’s time in the late 1700s, most pianos had 61 notes (a five-octave range). They expanded to 73 notes (six octaves) for Beethoven in the early 1800s, and eventually to the 88 notes (7 1/4 octaves) we have today. Liszt was the first major composer to make unrestrained use of the expanded note range and increased sound volume that resulted. (Curious as to why a piano has 88 keys, and not more? Read this posting.)

Yamaha Pianos

As mentioned previously, the first Yamaha pianos were an upright built in 1900, followed two years later by the company’s first grand piano. By the 1920s, many well-known pianists were taking favorable note of Yamaha instruments, among them Arthur Rubinstein and Leo Sirota. In 1950, Yamaha released the FC concert grand to great acclaim. Eight years later, Yamaha set up a grand piano assembly line at its Hamamatsu headquarters. By 1965, the company was producing more pianos than any other manufacturer.

In 1967, the CF concert grand piano was unveiled, along with the C3 grand. Their successors, the CFIII and the CFIIIS, were released in 1983 and 1991, respectively. CF Series concert grand models made their debut in 2010, followed seven years later by premium SX Series grand pianos.

The latest line of Yamaha pianos is represented by the next-generation CFX Concert Grand, introduced in 2022. It incorporates advanced A.R.E. wood-curing technology, along with new means of connecting joints to minimize vibration loss. In addition, its soundboard has been completely redesigned and reshaped to improve the mid-bass frequencies crucial to producing a warm, rich and resonant tone.

The Disklavier Breaks New Ground

The player piano (sometimes called a “pianola” or a “reproducing piano”) was first invented in 1896, giving people a way to have a self-playing piano in their homes during the early and mid-20th century. Composers used a special “arranging piano” to punch individual notes of songs onto a master roll. The roll would then be used to trigger full songs on the piano, with motors instead of the human hand depressing the keys.

With the debut of the Disklavier in 1987, Yamaha took a quantum leap forward. (The term “Disklavier” is a combination of the words disk [as in floppy disk] and Klavier, the German word for keyboard; at the time that the first Disklavier was introduced, recordings were stored on 3 1/2 inch floppy disks.) A Disklavier is a real acoustic piano outfitted with electronic sensors for recording and electromechanical solenoids for player piano-style playback. Sensors record the movements of the keys, hammers and pedals during a performance, and the system saves the performance data as a Standard MIDI File (SMF). On playback, the solenoids move the keys and pedals and thus reproduce the original performance.

Modern player piano in upscale living room. — *Yamaha Disklavier.*

Disklaviers also allow the user to change tempo or key with the touch of a button, thus facilitating learning even complex piano pieces. They have been used extensively in music education, including colleges, universities, conservatories, community music schools, K-12 institutions and private studios. Yamaha has also converted numerous performances recorded by prestigious composers such as George Gershwin into MIDI data, allowing those performances to reproduced with complete accuracy decades or even centuries later.

Modern Disklaviers include an array of electronic features such as a built-in tone generator for playing back MIDI accompaniment tracks, as well as built-in speakers, MIDI connectivity that supports communication with computing devices and external MIDI instruments, and additional ports for audio input and internet connectivity — there are even Piano Radio and Disklavier Premium Pass streaming services designed for the instrument.

In 2016, Yamaha introduced its seventh-generation Disklavier system, the ENSPIRE, available in numerous piano sizes ranging from 48-inch uprights to a 9-foot concert grand. There are three variations in the ENSPIRE line: CL, ST and PRO. The CL is a playback-only model, while the ST and PRO models add recording and SILENT Piano™ functionality. PRO models are also capable of capturing and reproducing up to 1,024 steps of key-on and key-off velocity articulations, as well as 256 steps of incremental pedaling.

From 2650 B.C. to 2024 A.D.— that’s over 4,600 years of development. No wonder the piano is one of the most beloved instruments of all time!

What is Winter Guard International?

Written by Mike Levine on April 16, 2024. Posted in Marching.

For many, the term “color guard” conjures up images of soldiers in dress uniform standing briskly at attention or marching in step.

But for many high school and college-age students, color guard is less about regimented military marching and more about creative, choreographed performances featuring dance, movement and athletic manipulation of flags, sabers and mock rifles.

Color guards are often part of high school and college marching bands, which typically perform during football season. The organization Drum Corps International (DCI) also provides an opportunity for color guards to join drum corps that compete in the spring and summer. And thanks to Winter Guard International (WGI), color guard participants get to shine independently between January and April every year, without being tethered to a drum corps or marching band — executing their elaborate routines to recorded music.

“There are great color guards that perform with drum corps and in almost every high school and college band,” says Dennis DeLucia, a member of both the DCI and WGI Halls of Fame, a judge at WGI competitions and a longtime Yamaha Artist. “But winter color guard is an activity unto itself.”

Closeup of snare drummers in a marching band performing in a gym.

The History of WGI

According to the WGI website, its purpose is “to create a standard set of competition rules, establish a unity in judging techniques, and provide a national championship event,” but some historical context is helpful to understand how the organization came to be.

“Competitive drum and bugle corps started as a VFW and American Legion activity right after World War I, when both organizations were enjoying huge post-war enrollments,” explains DeLucia. “All the competitions were sponsored and governed by those organizations, and the rules were military-based. For example, in percussion, you were prohibited from using accessories like cowbells, maracas and tambourines, which were all deemed illegal. You weren’t allowed to use mallet percussion. You were playing on snare drum, single tenor drum, bass drum or cymbals — and that was it.”

Starting in the 1960s, many people involved in drum and bugle corps wanted to loosen the rules, which eventually led to the founding of DCI in 1972. “The first thing that DCI did was abandon all the rules set forth by the military organizations,” DeLucia says. The success of DCI helped spur those involved in winter color guard activity to form their own governing body, and in 1977, WGI was born.

WGI Structure

WGI, whose tagline is “Sport of the Arts,” is not just for color guards. It also oversees competitions in two other categories: Percussion and Winds ensembles; the former are essentially indoor drumlines, while the latter are comprised of brass and woodwinds with stationary percussion support. (DCI competitions only allow brass instruments.) The participants in these categories also perform choreographed routines, but play their own music live rather than using recordings.

The Percussion category incorporates the marching percussion and front ensemble (“pit”) components of a marching band. Winds ensembles also march but have a freer reign over instrumentation. “Winds were added a few years ago to include ensembles that wanted to use brass and woodwind instruments and feature them rather than percussion,” DeLucia says, “although many groups use grounded percussion at the back of the gym floor — timpani, mallet percussion, or a drum set.”

Close-up of percussion player on xylophone.

WGI is organized into a rather complex set of classifications. Within each of the three categories — Color Guard, Percussion and Winds — are two divisions: Scholastic and Independent. Scholastic groups are connected to high schools, while groups in the Independent division comprise non-affiliated organizations. “They are individual organizations that run their programs like nonprofits,” explains DeLucia. The Independent groups have to fundraise for their equipment, whereas the Scholastic groups can use the instruments owned by the high school to which they’re connected.

Here’s how WGI describes the various classes within each category and division:

Regional A Class – Novice programs and performers with basic skills (Color Guard only)
A Class – Beginning programs and performers
Open Class – Intermediate level programs and performers
World Class – The most advanced programs and performers
Concert Class – A Class, Open Class and World Class (Percussion only)

Most WGI participants are high school or college age. “It’s similar to DCI in that you age out at the end of your 21st year,” says DeLucia. However, there’s one exception: World Class Color Guards, who abandoned the age rule a few years ago.

Despite the different skill levels, multiple classes sometimes compete at the same event. “When I judge a WGI show,” DeLucia says, “I might judge eight A Class Scholastic, six Open Class Scholastic, four World Class Scholastic, and three independent classes.”

WGI Judging

Each WGI category has its own set of rules and judging criteria. Generally speaking, judges look for factors such as quality of sound or movement, overall presentation, complexity of equipment or instrumentation, and visual effect.

The factors that judges evaluate in Winds competitions include Clarity of Program Concept, Artistry, Musicianship and Audience Engagement. Color Guard competitions are based on performance, movement, equipment and effect. Those judges compartmentalize the difference between the movement of the groups with their bodies and the equipment that they use — the flags, rifles or sabers that they are holding in their hands and throwing — plus the total effectiveness of the program.

DeLucia gives this example of the General Effect judging category in Percussion competitions: “The General Effect judge sits at the top of the stands or near the top and evaluates the whole product. One of the things he or she will assess is whether the performance elaborates on its stated title — say, ‘Rhythm in Blue.’ Does the show reflect the title? Does the visual interpretation match what the judge sees and hears? They’re judging the whole thing together as one performance, whereas the other judges in that competition have specific areas they’re evaluating.”

WGI Competitions

The WGI season begins in late January and is organized as a tournament that starts with regional competitions and culminates with the World Championships in Dayton, Ohio in April. Even with the winnowing down that happens in the regionals, 300 Color Guard, 200 Percussion and 40 Winds ensembles end up at the World Championship events, which occur at various Dayton area venues. Champions are crowned in each of the categories, divisions and classes.

DeLucia points to many benefits for participating in WGI. “First of all, it’s a goal-driven activity. It teaches about the seriousness of purpose, plus it’s a collaborative effort: Students must master their individual tasks in order for their section — and ultimately the entire group — to succeed. Participants learn how to rehearse, travel, perform and help each other reach their common goal.”

There are other aspects, too, according to DeLucia. “Boys and girls participate equally, with shared responsibilities, as do both honor roll students and those who struggle academically, because at the end of the day, it’s about the artistic endeavors. In addition, the camaraderie and bonding among the kids and staff is so powerful that it forms the basis for social life in school and beyond. Seniors welcome and care for incoming freshmen. Lifelong friends are made.”

The Future of WGI

DeLucia is optimistic about the future of the organization. “I believe that the WGI model will prosper moving forward,” he says. “It’s mostly scholastic-based, giving guards and drumlines a home in which to rehearse, recruit and perform. This is important to both school districts and to the parents’ groups that raise money and support their children in every way imaginable, through fund-raising, transportation, help with props and costumes, etc.”

As DeLucia points out, kids interested in color guard or indoor drumline have easy access to online resources like FloMarching, with WGI providing a solid national governing body for those with a psychological predisposition to participate in competitive art. But perhaps the most compelling argument for WGI’s future success is the simplest one of all: It’s exciting, challenging, inclusive and fun … and nobody sits on the bench!

Closeup of someone's hands playing violin.

How to Restring a Violin

Written by Nicole Lamphier on April 15, 2024. Posted in Acoustic Strings.

There are many reasons why you might need or want to change the strings on your violin. They could be broken, dull-sounding or “false” (hard to tune), or maybe you just want to change up the feel and tone of your instrument. We’re here to help!

How to Choose Your Strings

There are many different types of strings you can choose from, and each has its own unique sound and playability factors. Choosing the right set may seem complicated, but once you understand how violin strings are made it’s much easier to choose the type that fits your particular playing style.

Violin (and viola, cello, and bass) strings consist of a “core” that is wrapped with metal winding. There are three main types of violin strings: gut core, steel core and synthetic core. Each has its own unique tone and feel.

Gut Core

Gut strings have been around since the very first stringed instruments were made, thousands of years ago. They were originally called “catgut” strings, but no cats were ever harmed! Instead, they are made from the intestines of sheep, and modern versions will have metal windings around the core. These type of strings have a rich, warm, tone with complex overtones. Mostly used by professionals, more sophisticated, nuanced bowing is needed to command the slower response of gut strings.

Examples: Eudoxa, Oliv, Passione.

Steel Core

Steel core strings have either a solid or stranded steel core. They have a brilliant, clear, and crisp sound with a very stable pitch. Their fast response makes them a popular choice for beginning players.

Examples: Helicore, Zyex, Spirocore.

Synthetic Core

These type of violin strings were first introduced in the 1970s and utilize a core of nylon or other synthetic polymers. Think of them as a cross between gut core and steel core; they are more stable in pitch than gut strings, with fewer overtones, but are warmer and smoother in tone than steel core strings. Their versatility makes them popular with all types of players, from beginners to professionals.

Examples: Dominant, Evah Pirazzi, Infeld.

Helpful Tips and Tricks

Here are a few things to keep in mind each time you change your strings.

Make sure you purchase the correct size strings for your instrument. If you play a 3/4 violin, you’ll need 3/4 size strings.
Be careful not to overtighten your strings. If it’s your first time changing a string on your own, it’s best to do so with a teacher or stringed instrument expert such as a luthier standing nearby to help if needed. Violin strings can be a bit pricey, so it’s always a good idea to err on the side of caution!
Change strings one at a time — do not remove them all at once, because that can cause your bridge or soundpost to fall. If this happens, immediately loosen all strings and consult a string expert as soon as possible. A fallen soundpost (you’ll see or hear a little dowel rolling around inside of your instrument) can cause numerous problems, including top or back cracks, which can be very complicated (and often very expensive) to repair.
Wipe down your strings after every use with a clean untreated microfiber polishing cloth. Gently removing the oils and rosin this way will help prolong the life of your strings and ensure good tone and playability.
If you notice that your strings are pushing against the side of the peg box or if the instrument is difficult to tune using the pegs, it’s a good idea to take the instrument to a string expert. They may need to rework the pegs to provide optimal smoothness while turning. You should never need to force a peg into the pegbox to tune your violin — all that should be required is just a bit of gentle pressure. The pegs are fit with such precision they are not glued in place, but over time (and depending on storage and humidity conditions) they will need regular maintenance to keep them in peak condition.
If the strings you are replacing are not broken, save them! It never hurts to have an extra string or two on hand in case you break one during a performance and need a quick fix.
All strings have a “secret code” to tell you what they are. The colors of the top and bottom of the strings (called silking) are different for each string and will tell you the manufacturer, brand, and string itself (E, A, D or G for violin). There are many websites with this information, so utilize those resources!

Check Out the Video

If you’re a beginner, changing your own strings might seem intimidating, but the video below demonstrates how easy it can be. As you can see, all you’ll need is a set of new strings, a digital tuner or tuning fork, a wire cutter and a clean, untreated microfiber cloth to remove the fingerprints and rosin when you’re done. Happy playing!

Explore Yamaha violins.

A woman playing saxophone and using a tablet.

Side-by-side pictures of a woman happily playing an electric guitar and a man intensely playing another electric guitar.

What’s the Difference Between Pacifica and Revstar?

Written by Robbie Calvo on April 12, 2024. Posted in Electric Guitars.

I’m often asked what the differences are between Yamaha Pacifica and Revstar guitars. The short answer is: Quite a lot. Although they are both double-cut instruments, that’s really where the similarities end.

In this posting, we’ll discuss the main differences between the two, and why you might choose one over the other. But before we start, it should be stated that both the Revstar and Pacifica guitar ranges have multiple variations within their respective lineups. I’ll lean into any of those details when I feel they are important.

Tonewoods

Pacifica and Revstar guitars have a vastly different body styling, as well as varying tonewood combinations, which is a big part of the reason why they sound so different from one another.

Pacificas utilize a finely sculpted alder tonewood for the body. Alder is lighter than the mahogany used by Revstar guitars and has a more open grain pattern within the timber. This provides a softer, open, airy character to the tones it produces.

600 Series Pacifica guitars like the PAC612VIIFMX also feature a flame maple veneer. This veneer may change the tone slightly, but it is used more for its visual appeal rather than any tonal distinction.

Revstar guitar bodies are mahogany with a maple top (sometimes called a cap) — a classic, tried and tested tonewood combination. The mahogany adds weight and warmth to the sound, while the maple brings clarity and bite.

Pacifica 600 Series, 300 Series, 200 Series and 012/100 Series guitars all have solid bodies. Pacifica Standard Plus and Professional models, as well as all second-generation Revstar models, utilize a chambered body crafted with proprietary Yamaha acoustic design technology to reduce weight and optimize the balance between body and neck.

Unfinished wooden body of an electric guitar. — *Pacifica Standard Plus / Professional chambered body.*

Unfinished body of a wooden electric guitar. — *Revstar chambered body.*

The bodies of Pacifica Professional and Revstar Professional guitars are also treated with Yamaha I.R.A. (Initial Response Acceleration). This unique process applies specific vibrations to release stresses between the instrument’s components, giving the guitar a played-in sound and feel even when brand new. I’ve played guitars with and without the I.R.A. treatment, and you can definitely feel more responsiveness, resonance and sustain in the former.

Weight

If you play seated for extended periods of time, or stand up for three-hour gig engagements, the weight of your go-to guitar may be worth considering. In general, Revstars are slightly heavier than Pacificas, but this will vary between models.

Neck

All Revstar guitars have mahogany necks and rosewood fingerboards. These are both extremely dense tonewoods that impart a warm tonality.

Pacifica guitar necks are crafted from maple, which provides a brighter sound than mahogany. Some Pacificas are also available with rosewood fingerboards, and this adds a touch of the aforementioned warmth to the overall tone.

The satin finish and full “C” shape on the necks of the new Pacifica Standard Plus and Professional models feels really comfortable and should be welcoming to most guitar players. The medium fretwork is stainless steel, which makes them bright, durable and well-intonated. I also like the 10″ to 14″ compound radius employed by Pacifica Professional necks; it really does make a difference to the fretting hand when making chord shapes in open position, and for sustaining full-tone bends above the twelfth fret.

Revstar guitar necks are relatively chunky and feel very positive in the hands. I really like the jumbo frets on these guitars too — a personal preference of mine. Revstars also have a neck-through-body design. This is meant to improve resonance between those two elements by eliminating a neck pocket and metal screws. However, this also means that a neck reset or replacement is not an option without a lot of work.

Pacifica guitars, on the other hand, employ a bolt-on neck construction. If coupled correctly with a nice snug joint, the resonance between the body and neck should be just as good as that of the neck-through-body design employed by Revstars. The new Pacifica Standard Plus and Professional models also sport a complete redesign to the neck heel, allowing for even greater access to the upper frets.

Scale Length

Revstar guitars have a 24 – 3/4″ scale length. This allows for a lower string tension and brings the first fret of the guitar closer to the guitar player.

Pacifica guitars have a 25 – 1/2″ scale length, adding a little more tension to the strings than Revstar, along with a slightly longer distance between the nut and bridge.

Scale length does not affect the tone, but it will have an impact on playability (see below), so it’s well worth trying out both scale lengths to see which one feels best to you.

Bridge

The bridge systems used by these two guitars are very different. Revstar bridges are either wraparound stop tailpieces (as in the Revstar RSP20 model shown below), or utilize a bridge-and-trapeze tailpiece design like those on the Revstar RSP02T. (The “T” in the model number represents the trapeze tailpiece design.) I find that there is actually a subtle tonal difference between the wraparound bridge and the trapeze tailpiece-equipped Revstars, so that may also be something to pay attention to when deciding which model is best for you.

RSP20_swiftblue_f_0001_c11ebfb42ff36fdbab9d2d2b7c179af9

Revstar RSP20 bridge.

RSP02T_swiftblue_f_0001_dc0d1112b68da1c5cbc8dfb8f6e77ccf-1

Revstar RSP02T bridge.

Most Pacificas come with a two-point Gotoh or Wilkinson tremolo bridge, the exception being the PAC611HFM model, which has a hardtail bridge. The hardtail design functions similarly to the Revstar bridges, while the tremolo systems have the strings going through the body of the guitar, which in my opinion drastically changes the tone, adding more treble to the sound of the instrument, albeit in a very good way.

Pacifica two-point tremolo bridge.

Pacifica hardtail bridge.

It’s worth mentioning that tuning a Revstar (or a Pacifica with a hardtail bridge) to an altered tuning will be relatively easy since the bridges of those guitars provide a relatively stable environment across all strings, regardless of which ones you detune down or up.

If you prefer a tremolo bridge, detuning your guitar between songs may be problematic. Even just dropping the low E string to D will cause the other strings to go out of tune, and it may take several moments to get everything back into pitch — something definitely worth considering if you use open tunings during live performance!

Pickups

Electric guitar pickups, of course, play a major role in how the instrument sounds. Humbuckers and P90 pickups produce a fat, warm tone ideal for jazz, rock and blues, while single-coils are brighter and cleaner, but also cover the complete genre spectrum between pop and dirty blues grit.

While various Revstars and Pacificas are available with humbuckers and P90s, only the new Pacifica Professional and Standard Plus models offer the unique sound of the Reflectone humbucker and single-coil pickups designed by Yamaha in collaboration with audio manufacturer Rupert Neve Designs. This innovation really does evolve the Pacifica tonality into new territory, with clarity, definition and balanced delivery across all six strings that is quite remarkable.

The HSS (humbucker/single-coil/single-coil) pickup combination offered by Pacifica Professional, Standard Plus and PAC600 Series guitars may well be the most versatile tonal configuration available in one guitar. If you are using a single guitar to play multiple styles of music — a situation where tonal versatility is crucial — one of these workhorses could be a perfect fit for you.

Tonality

If you’re looking for a great two-pickup guitar that delivers a fat and focused tone for playing rock, blues and jazz, you really can’t go wrong with any of the Revstars. Can the Revstar cover other styles too? It certainly can, and if you want the open “airy” sound of single-coil pickups, the RSS02T and RSP02T with P90s would be a great choice.

Pacificas also cover a lot of ground stylistically, and thanks in part to their three-pickup design, are incredibly versatile instruments. You’ll find the tones brighter and less mid-rangey than a Revstar, and if your style requires chordal shimmers or tremolo effects, you’ll definitely love the smooth-action Gotoh or Wilkinson tremolo found on the new Pacifica models; in addition, their locking tuners will help keep everything buttoned-up nicely in the tuning department.

Playability

Both Revstar and Pacifica guitars are eminently playable, though each has its own signature “feel.”

Revstar guitar necks feel very positive in the hands, with jumbo fret wires that make fretting easy. In addition, their lower string tension is really nice if you like a spongy, more relaxed feel on your six-string.

The new Pacifica Standard Plus and Professional models have a smooth satin finish on the back of their necks that makes it easy to glide between fretboard locations, and their neck joint gives you easy access to the 22 stainless steel frets. In addition, the compound radius on the Professional fretboards allows for clean chordal fretting in open position and choke-free bending in the upper regions of the neck.

The Videos

Here are four videos that demonstrate the tonal differences between various Pacifica and Revstar guitars, as well as the tonal and aesthetic differences between models. You may even notice a difference in how I approach playing each of these guitars!

Pacifica Professional

Pacifica 612VIIFM

Revstar Standard RSS20

Revstar Element RSE20

The Wrap-Up

Over the years, I’ve played multiple Revstar and Pacifica models, and have always found the tones I needed for the gig in all of those instruments. However, when it comes down to specific requirements and tones for a performance, session or video, I’d likely choose one over the other, if I had them both on hand.

If you are a player that likes the straight-ahead rock ’n’ roll Cafe Racer spirit and aesthetic of Revstar guitars, you’ll love the many vibrant finishes and pickup combinations Revstars offer.

On the other hand, if you need the ultimate tonal versatility that comes from the combination of a humbucker, dual single-coils and tremolo system, the rich legacy of Pacifica guitars — and the advanced technologies the new Professional and Standard Plus models offer — should definitely be on your radar.

Ultimately, it comes down to choosing the guitar that best suits your musical needs and also makes you proud to be its owner. Pacifica or Revstar? You can’t go wrong with either.

Explore Yamaha FGDP Finger Drums.

Yamaha Finger Drums 101

Written by Matt Rudin on April 11, 2024. Posted in Electronic Drums.

Some of the first known musical instruments, dating back to prehistoric times, were objects struck by hands and fingers to enhance story-telling through use of rhythm and melody. Since the introduction of castanets (over 3,000 years ago) and finger cymbals (over 1,000 years ago), finger drumming has come a very long way and has taken some huge leaps, most of which happened in the past 40 years.

Acoustic percussive instruments that incorporate some level of finger dexterity, such as congas, djembes, tablas and cajons, have long been a part of music, with electronic hand-controlled drum devices first appearing in the mid-1960s. MIDI drum pad controllers made their debut in the 1980s, but the 1990s and early 2000s saw an explosion of these devices as DJs and musicians began using them extensively in the hip-hop, R&B and Electronic Dance Music (EDM) scenes.

Today, drum pads and other beat-making devices played with the fingers are a part of almost every musical genre. The number of these kinds of products available on the market today is staggering, and for someone looking to get into finger drumming it can be a very daunting world to jump into. Many such devices are either complicated to use or require the purchase of additional products (such as a computer, speakers, and, in some cases, additional sounds), and those that are all-in-one — meaning they have built in speakers and preloaded sounds — tend to cost a lot of money.

Until now.

Enter the FGDP

The recently released Yamaha FGDP finger drum pads includes the FGDP-30 and FGDP-50 models, each of which provides standalone all-in-one solutions in a very affordable package. Let’s take a deep dive into these unique instruments.

Small flat box with speaker grate and buttons on top. — *FGDP-30 Finger Drum Pad.*

Key Features

Both FGDP models are extremely portable and lightweight. Even the larger FGDP-50 measures in at just 8.77″ x 8.77″ x 2″ h (223 × 223 × 51 mm), meaning it can easily fit in a backpack or small bag. Both models have built-in speakers and a headphone jack, so there is no need to purchase an additional sound system. In addition, a rechargeable battery provides up to three hours of nonstop untethered playing, allowing you to take the FGDP anywhere and play it anytime you want, without worrying about where to plug it in.

To make these devices even more self-contained, they come with dozens of preset kits (39 in the FGDP-30 and 48 in the FGDP-50), so you can start playing right out of the box without having to purchase or download any sounds. These kits are configured using the 1,500 Voices (sounds) built into FGDP-50 or 1,212 Voices built into the FGDP-30; the Voices are a mixture of recordings of actual Yamaha acoustic drum sets, electronic sounds developed for Yamaha DTX Series e-drums, and additional sounds created exclusively for the FGDP.

Both the FGDP-50 and FGDP-30 are compatible with the free Yamaha Rec’N’Share app so you can play along with your favorite songs, record your sessions, and share your performance with your friends and/or on your social channels.

Closeup of someone's hands using electronic keyboard while being recorded on phone.

There are also several advanced features that are only available with the FGDP-50. For example, while both offer USB ports, the FGDP-50 also has a Host to micro-USB terminal that allows you to import up to 100 of your own sounds and samples — even stereo ones such as complete musical phrases. Samples can be as long as 600 seconds if mono (300 seconds if stereo). This same port also allows for the transmission and reception of MIDI message to or from a PC or smart device for recording performances in a DAW.

Another feature unique to the FGDP-50 is the ability to assign Note Repeat to pads. This enables more dynamic playing and allows you to loop a sound, either by holding down the pad or by setting the pad to start and stop the loop on each hit. For instance, say you want to set a hi-hat to continue playing every quarter note: simply set it to note repeat and it will continue to play the hi-hat sound (synced to the BPM of the onboard metronome), freeing your fingers to play other pads while the hi-hat continues to play until you press the pad a second time. You can also add Humanize features to this, which creates subtle variations in terms of how quickly the note is played and how loud or soft it is played, making your beats sound more natural and less computer-generated.

The FGDP-50 also allows you to save more user kits and call them up with the touch of a button. These “Registrations” (four on the FGDP-50 vs. two on the FGDP-30) save preferences, pad settings, custom-built kits and any changes you make to voices, such as tuning, adding effects, reverb, chorus and more.

A Better Way to Play

In addition to all these great features, FGDP finger drums are also extremely easy to use, thanks to their unique advanced ergonomic design. Yamaha engineers began by studying what comes naturally to a percussionist’s hands when playing. For example, it was found that most finger drummers place the hi-hat and ride cymbal sounds on the top row, so that they can be accessed by the middle and ring fingers. The snare is commonly played with the pointer finger, so the snare pads were usually placed directly in the middle, and the bass, most often played by the thumb, was placed at the bottom.

Accordingly, all the FGDP pads were configured that way, though breaking from the industry standard grid shape (something that does not feel natural to many users when playing) and instead placed in a more intuitive curved position, enabling more fluidity and less pecking when playing.

The FGDP pads are also ultra-sensitive and highly responsive, allowing you to create more expressive drum beats that include things like flams and ghost notes, and to place accents on notes when desired. Because you can assign any sound to any pad, you can configure the FGDP in a way that works best for you. Some of the default settings even have multiple “mirrored” pads with the same sounds assigned, so you can perform incredibly fast drum rolls and fills without loss of control, and while avoiding something known as “machine gunning” — the term for when a drum roll is played quickly on an electronic drum set and the notes all come out at the same volume, thus sounding like a machine gun.

In short, these great new products have everything you need, bringing the world of finger drumming to established and aspiring musicians alike with a slew of unique, accessible and easy-to-use features … and at a cost that is within reach. Check out the video below for more information.

Teaching Music in High-Need Schools: Retention

Written by Dr. Robert Bryant on April 10, 2024. Posted in Advocacy.

Throughout this series, we have highlighted the important role that music education can play for students in high-need schools. In order to impact as many students as possible, we must discuss the critical tasks of retaining students and fostering program growth. I know this can be a daunting task, particularly in small and rural schools with fewer students to attract. However, by being intentional with our efforts, music programs of various sizes and in diverse settings can become exemplars for student participation on their campuses, leading to more students joining and remaining in the program throughout their matriculation.

choir singing — Photo by Monkey Business / Adobe Stock

Create an Inclusive Curriculum

Music education thrives in environments where students can engage in a variety of music-making experiences. The opportunity is always there to recruit students from diverse backgrounds, create ensembles that include instruments from non-Western influences, and assess student learning styles to personalize instruction. By showcasing students in different ways and celebrating individual progress, our programs can begin the process of building sustainability from the ground up.

In David Pope’s article, “Building a Music Program in a Title I School,” the author offers sound strategies for recruitment, retention and mitigating financial barriers to music education. Fostering a safe and supportive culture within the program is crucial, where students feel valued and encouraged to express themselves freely. In addition to ensemble offerings, we should also explore diverse genres and musical styles that go beyond our traditional repertoire and state music lists as we try to reflect our students’ cultural backgrounds and interests.

Empower Students and Parents

Program expansion begins with students and their families. In his article “Reaching Students by Building Relationship and Community,” Matthew Spradlin shares the importance of building an environment where students feel safe and free to explore a full range of music-making possibilities.

I was a high school band director in the metropolitan Atlanta area, where competition among school marching band programs was fierce. We did not always receive large numbers of students from our middle school feeders to enroll in band, so we made sure to have a beginning band option for any high school student who wanted to be in the band but didn’t know how to play an instrument. Students who had an interest could enroll in either the fall or spring semester. We would pair these students with veteran musicians in their section, and pair the students’ parents or guardians with one of our band parent team leaders. By building strong relationships with students and parents early in the process, we were able to grow our program from within.

We allowed student leaders to organize workshops on instrument care and maintenance, host social events and activities to bring interested students to the band hall, and they planned fun events like family karaoke and game nights. We would also invite parents to observe rehearsals whenever they had a chance. In addition to these activities, my staff and I also worked hard to give ownership of the program to the parents and students. This provided us the opportunity to collectively build a culture for the program that was a shared vision amongst us all. Finding ways to connect with students and their siblings, parents and other family members in numerous ways helped to create a sense of shared ownership.

two females celebrating and hugging at school — Photo by Monkey Business / Adobe Stock

Build Community Through Student Achievement

As my programs grew and began to be recognized as a unit, I started to think of ways to honor and celebrate my students intentionally and publicly for their individual contributions. I regularly organized student performances both within and outside the school so all could witness firsthand how skilled our students were as individual musicians. I highlighted student accomplishments in our monthly school newsletter, through social media and through local media outlets when students were selected for district, state, regional or national-level ensembles. Doing this also helped to raise funds within the local community, which allowed students and their families to be able to travel and participate in these prestigious events. By encouraging and supporting participation in these activities, I was able to showcase the program’s excellence and inspire younger students in the program to strive for the highest.

Delton Brown’s recently published doctoral dissertation, “High Musical Achievement in Underserved High School Band Programs,” examines in great detail the importance of cultural responsiveness, director-student relationships and promoting high music-making expectations in underserved communities. Because I made a consistent effort to highlight our students’ accomplishments to our school administration, community leaders, parents and other stakeholders, advocating for the need for school music programs in our community became a shared vision.

Smiling elementary student smiling and ready to board school bus. — Photo by MD Media / Adobe Stock

Retention is Possible

By implementing these best practices, music programs in high-need schools can become vibrant hubs for high levels of student achievement learning and community engagement. As we innovate our curricula, empower students and their families, and build our programs through highlighting our students’ accomplishments, we must always remember the reasons why we do this important work.

As music educators in high-need schools, not only do we provide an outlet for musical creativity and emotional expression, we also create an environment where we can transform communities and impact students through the power of music education. The positive impact of music-making on academic performance, social-emotional development, access to higher education, future career opportunities and social mobility are well within reach for all our students. Let us continue to seek ways to sustain and expand our programs for generations to come.

Read part 1 of this series on recruitment.

Read part 2 of this series on rapport.

Read part 3 of this series on defining success.

Read part 4 of this series on best practices.

Read part 5 of this series on funding.

Read part 7 of this series on sustainability.

Top photo by Gefo / Adobe Stock

Teaching is Planting Seeds

Written by Jarrett Lipman on April 9, 2024. Posted in Teaching Tips.

As music educators, we realize that we will not see the results of our efforts until years after students leave our care. It’s like someone sitting in the shade of a tree that was planted decades ago. We need patience to instill behaviors that will take time to germinate. This article is about delayed gratification for teachers.

Waiting for the Harvest

Fields of green turn to blue, yellow, orange, red and pink during the spring in Texas. Families and friends make pilgrimages to parks and nature preserves across the state to take family photos and make memories — a part of one of the state’s favorite traditions. Thanks to the vision of Lady Bird Johnson — the namesake of our school — our world is more beautiful today than when she planted her wildflower seeds so many years ago.

Lady Bird Johnson in a field of wildflowers in Texas. Photo from LBJ Library / Robert Knudsen

Spring is also contest season for band programs across the state. UIL Concert and Sight-Reading evaluation is one of the culminating experiences of the year for students and directors. The event can be one of the most magical musical journeys, but it can also be a lonely and very stressful time for directors and a grind for young performers. The quest for that perfect performance and the oh-so-coveted Sweepstakes Rating, complete with photos to share on social media, can weigh heavy on everyone involved — something so beautiful, yet so daunting at the same time.

Lady Bird found her joy and inner peace in the fields of wildflowers and gifted us with her words of wisdom: “Where flowers bloom, so does hope.” She knew wildflowers had the power to inspire smiles, comfort and hope.

Sometimes, when we are in the weeds of UIL season, students can seem disinterested, lethargic, apathetic and even grumpy. Rehearsals, sectionals and pass-offs can overwhelm everyone involved in the process. As directors, we seek that same peace Lady Bird found in her wildflowers, but it can be so elusive. Even experienced directors can find themselves bogged down by the process. Worse, it can feel downright defeating when we perceive that our students don’t appreciate our work, care for and investment in them. I remind my students many times between Christmas and spring break, “We are on the same team” or “I am on your side,” as I challenge and push them toward another level of excellence. It’s not easy, especially with their scowls forever burned into my mind. Still, your work matters even on your worst days. Your students may not appreciate it now, but you profoundly impact their lives. Teaching is planting seeds, seeds that do not reap a harvest overnight.

author as a child on the family cranberry farm — The author as a child on his family’s cranberry farm.

Lessons from the Farm

My family grew cranberries for Ocean Spray for many years. I felt a sense of peace and joy as a child working on the farm — my favorite time of year was harvest. I enjoyed seeing the fruit come out of the bogs before we shipped them off to Ocean Spray. As I grew older, I learned to appreciate the different phases of the growing season a lot more.

In the winter, we flooded the bogs and the plants went dormant. As we drained the bogs in early spring, the plants came back to life from their winter slumber and required plentiful sunshine and fertilizer. From there, we waited for the summer’s bloom. At each phase of the plants’ development, protecting them from dangers like insects, frost, intense heat, flooding and drought was essential. The plants required us to bring in bee hives for pollination in June. Eventually, in late summer, the fruit set and eventually ripened, and then we harvested.

Many of the lessons I learned on the farm relate to my career as a music educator. Much of our time is spent cultivating and nurturing students. The proper growing environment is vital, and we must realize that growth takes time. In some ways, our work teaching students may be more like nurturing a tree that grows to provide shade. If you’ve ever planted a young tree, you know that it can take decades to see the results. When we look at a mighty oak or a tall pine, we know it started as a sapling.

Proper Growing Environment

Too much darkness and plants won’t grow; too much sunshine can kill plants. Too much or too little water, too much or too little fertilizer, too much or too little attention — finding the right balance is everything. When a flower doesn’t bloom, you fix the environment in which it grows, not the flower. The same is true with students — the environment in which they make music is everything.

If your students aren’t growing as musicians and people, consider why. In farming, we discuss how plants can be stressed under extreme conditions. Without care and maintenance, weeds will grow, and the garden will fall into disrepair. I believe students respond the same way. A careful balance between high standards and an environment where students can thrive and still be kids is needed.

As the band director, your tone and approach will determine the growing environment. Not everything is under your control, but because you craft the response to the situations you and your students encounter, you significantly impact their music education.

author with student who is pursuing music education — The author with a student who is planning to become a music educator.

What Do You Want?

When all is said and done, and your students graduate from their program, what do you want for them as people? What values do you hope to instill in your students? Students join your class to enjoy music-making with their peers. But along the way, certain values come from pursuing music at a high level.

Ideally, our students learn:

to add more beauty to the world through their art.
that the best performances inspire joy and tears and sometimes joyful tears.
delayed gratification working through those hot summer days of band camp.
to embrace lessons from the pain of failure and defeat when things do not go their way at a competition or an audition.
conflict resolution, teamwork and how to nurture relationships.
relationships take work; lasting relationships take lasting work.
to view the world as something larger than themselves, learning that they play a role in the team but that the team does not revolve around them.
to take risks and not only to dream but also how to pursue those dreams to make them a reality.
kindness goes a long way in easing the tensions of this sometimes bitter earth.

Our students learn countless lessons by participating in band, but they do not learn these lessons in one class, one day or one season. The best lessons take time to germinate. Sometimes, students are grumpy. Sometimes, they will not understand why you hold them accountable or why you make the decisions you do. Students will often butt heads with their directors and challenge their peers. Sometimes, teenagers make poor choices. Practice patience, keep the faith and keep going.

Teach Self-Reliance, Discipline, Accountability and Gratitude

Everyone is familiar with this saying: If you give a person a fish, they’ll eat for a day. If you teach a person to fish, they’ll eat for a lifetime. Teach students to fish. If you do everything for them, including protecting them from failure, they will never learn self-reliance. Sometimes, they fall off the bike. Be there to help them get back on.

You must teach students the skills necessary to be successful on their instruments when you are not around. Children also need to learn skills essential to manage time and studies when you are not around. Band provides students with an opportunity to learn the pain of discipline or the pain of regret early in life. Learning to work toward a goal when the original motivation has left is a powerful skill. Students who learn to be accountable to themselves and their peers for their actions are equipped with a skill that will enable success for a lifetime.

Other life lessons include teaching students how to keep a calendar and schedule their days, how to say “please” and “thank you,” how to write thank you notes, and how to show their peers that they value them through their interactions.

Help students learn perspective. Teach them to love their neighbor and country, even when they don’t love everything about both. We are so fortunate to be in a place where we can practice our craft and share the love of music-making with one another.

Tough Questions to Ask Yourself

Hope is not a strategy when growing plants or people, but there is a degree to which students will respond to your expectations of them and the high standards you set. Principal John Mehlbrech used to tell the Johnson High School faculty, “Dare to stand above the rest.” At faculty meetings, he often showed a picture of a tree growing higher than the trees around it from a forest near the school. It reminded me of the Hyperion tree, or coast redwoods, the tallest trees in the world that grow in California. This photo led many of us to ask ourselves some tough questions.

Does our environment encourage students to be the best version of themselves? Do we nurture students’ musical talent and encourage them to dream big and take risks? Do students feel ownership in our program? Do they feel empowered, and do they know that we believe in them?

Often, children will exceed expectations if they have a coach who maintains high standards and provides the right environment to grow. Farmers must provide fertilizer and water, pull weeds and bring in bees to pollinate. Missing any of those steps could lead to crop failure. Our students require substantial investment in their well-being to flourish, too. With students, harvest may not happen on a traditional cycle. Some kids may take years to mature before they reflect on their experience with you and find value in your instruction or message.

author with four students who are pursuing music education — The author with three former students who are pursuing careers in music education, and a colleague who instructs future music educators at Texas State University.

Teach Them Well

One of my dad’s favorite songs is Crosby, Stills, Nash & Young’s “Teach Your Children,” and I guess it’s one of mine, too. The song’s basic message is that by teaching your children well, they will grow and thrive; and to teach them better than you were taught. My parents were my best and earliest teachers. I know they did everything they could to prepare me to serve the world better than they have.

I hope that I, too, have passed these important lessons along. As I watch several of my former students from Johnson High School now serving as band directors and one about to embark on the journey to become a music educator, I cannot help but reflect on their growth from 7th grade until now. While we did not see eye to eye on every step of our time together, we remain important figures in one another’s lives. When I see their smiles as teachers and performers, I know that they are thriving. Though my role in their lives has changed, I will still be here to help them navigate challenges and periods of extreme stress and celebrate their successes. With the proper care, our collection of musical wildflowers will continue inspiring hope for generations.

10 Best Board Games Online

Written by Tariq Kamal on April 2, 2024. Posted in Gaming.

Board games have been around since ancient times, but they continue to find new audiences. In the digital age, if a tabletop game is a hit, an online version is sure to follow. Research company GWI reports that interest in online board games has grown by 29% since 2020, and the market for these products grew from about $7 billion in 2017 to an estimated $12 billion in 2023. In the fourth quarter of that year alone, there were some 134 million total views of board game-themed videos on TikTok.

Whether played via web, console or handheld device, online board games connect friends and strangers from around the world with the added bonuses of no setup, no cleanup and no board-flipping.

Here are some of the most popular titles.

1. Dune: Imperium Digital (2024)

Hot on the heels of the theatrical release of Dune: Part Two comes Dune: Imperium Digital. The online version of Dire Wolf’s 2020 tabletop game recently went live on digital distributor Steam^® and in the Microsoft Xbox^®, Google Play (Android) and Apple App (iOS) stores. Imperium takes players to the desert planet of Arrakis, where various factions fight to control the flow of “spice,” a rare and invaluable substance. Players must balance political and military gains to emerge victorious after 10 rounds of solo or multiplayer gameplay. Preview it here.

2. Monopoly Plus (2014)

Monopoly Plus is one of many digital adaptations of Hasbro’s classic board game, but Plus is the latest major cross-platform release in the series, which originally debuted for Windows, Xbox and Sony PlayStation^® in 2014 and was later ported to Nintendo Switch™. The Asobo Studio production offers both online and offline modes and brings the Monopoly board to life with animations depicting the development of acquired properties. It received generally favorable reviews with one oft-cited gripe: In online multiplayer mode, if the host player rage-quits, the game is over. Preview it here.

3. Codenames Online (2020)

In mid-2020, the developer of this title, Czech Games Edition, quietly added a free digital version of its hit party card game, Codenames, to its website. Word spread quickly. Codenames Online attracted more than 1.6 million players in its first six months and remains popular today. As in the original, teams attempt to guess hidden words related to revealed words — but only their team’s words, not their opponents’. It’s more straightforward than it sounds and twice as fun. Play it here.

4. Ticket to Ride: The Computer Game (2023)

Aspiring railroad barons have flocked to the board game Ticket to Ride since was introduced in 2004. Little wonder: Players compete to lay tracks and connect cities, earning points along the way and bonuses for the longest contiguous routes. The franchise has been digitized several times, starting with Ticket to Ride (2008), a video game for Windows and MacOS, Xbox and PlayStation, followed by two iterations of Ticket to Ride: The Computer Game: A 2012 Twin Sails Interactive production was later sunsetted in favor of a 2023 successor developed by Marmalade Game Studio. Preview it here.

5. Gloomhaven (2021)

The original Gloomhaven was an instant classic. Released by Cephalofair Games in 2017 and set in a dark, forbidding fantasy world, the board game combined many of the best aspects of card- and dice-driven play. Flaming Owl Studios rolled out the digital adaptation of Gloomhaven for Windows and MacOS, Xbox, PlayStation and Switch starting in 2021. Players around the world have been forming bands of mercenaries to fulfill quests and vanquish monsters ever since. Preview it here.

6. Clue (2023)

No list of online board games would be complete without Clue, the culmination of a decades-long effort to create a definitive online version of the Hasbro murder mystery puzzler that debuted way back in 1945. Just like the original, the digital rendition gives players the evidence they need to determine which of six suspects did the deed, in what room, and by what means. Developed and produced by Marmalade Game Studio, it’s available on Steam and for Xbox, PlayStation, Switch, Android and iOS. Preview it here.

7. Terraforming Mars (2018)

To make Mars habitable, we have to raise its air temperature and oxygen level and build a self-sustaining ecosystem. Those are the three core objectives to Terraforming Mars, available as 2016 tabletop and 2018 Steam, Android and iOS game published by FryxGames and Twin Sails, respectively. Following the premise established by the board game, players take on the roles of corporations sponsored by a unified Earth government. They must work together to succeed, but only one can claim to have contributed the most to the Red Planet’s cause. Preview it here.

8. Carcassonne – Tiles & Tactics (2017)

Carcassonne is a series of tile-based board and electronic games named for a walled city in Southern France. Two to five players draw and place tiles to complete a medieval landscape filled with cities, fields, roads and rivers and populated with each player’s “followers.” The tabletop game made its debut in 2000, initially published by Rio Grande Games and, since 2012, Z-Man Games. Among the franchise’s digital adaptations is Carcassonne – Tiles & Tactics, a 2017 hit for Frima Studios and Twin Sails on Windows, Switch and Android/iOS. Preview it here.

9. Pandemic: The Board Game (2013)

Inspired by the 2002 SARS outbreak, Matt Leacock created Pandemic, a board game in which players must work together to contain and find cures for four deadly diseases cropping up around the globe. Published by Z-Man Games in 2008, its success would inspire Pandemic: The Board Game, an online version released by Twin Sails for Android/iOS in 2013, followed by versions for Windows and Steam in 2018, then Xbox and Switch in 2019. Pandemic remains playable but was delisted by Twin Sails in 2022, purportedly to clear the digital decks for a new and improved game. Preview the Xbox/Switch version here.

10. Wingspan (2020)

Birdwatcher Elizabeth Hargrave wanted to play a board game based on her hobby, so she designed one. She pitched the concept to Stonemaier Games, which in 2019 released Wingspan, a card-driven, water colored, nature-themed tabletop that stood out — critically and commercially — from its sci-fi and fantasy counterparts. Players manage resources, build sanctuaries, accomplish in-game objectives and learn a lot about birds. Monster Couch released a highly faithful online adaptation for Windows/MacOS, Xbox, Switch and Android/iOS in 2020. Preview it here.

Ready to level up your online board game experience? Check out these Yamaha mixers and headsets designed for gamers and streamers.

Bass Picking-Hand Placement and Technique

Written by E.E. Bradman on March 28, 2024. Posted in Bass.

One of the easiest and most direct ways to modify your bass sound is with your picking hand. Changing its placement and/or exploring alternative picking/plucking techniques can be a fun and productive way to quickly access other tonal worlds without touching your amp or stepping on a pedalboard. In this posting, we’ll show you how.

ZONES OF INTEREST

Start by placing your picking hand as far away from your bass’s neck as possible, right near the bridge. Pluck any note using your index and middle fingers. Notice how tight the string is, how thin-sounding the notes are, and how much rounder the tone becomes as you move toward the neck and onto the fretboard with your plucking hand. You can learn to use these tones strategically: Play near the bridge and bridge pickup for focused tone, near the neck and neck pickup for fuller tone, and directly over the fingerboard for the tubbiest tone.

As you can see in the video below, moving the picking hand and alternating between plucking and playing with the thumb causes significant tonal variation and inspires slightly different E minor choices on a vintage Yamaha BB2000 with old strings and the tone knob halfway up. For this and all following videos, the tone selector switch will remain in the middle, with both the neck and bridge pickups making an equal contribution to the sound.

HEAD ON UP TO THE FRETBOARD

As you’ve undoubtedly noticed, the tension of each string is greatest (tightest) close to the bridge and looser as you move toward the neck. What happens, then, if you move your plucking hand right onto the fretboard? Gooey goodness, of course!

If you’re looking for clarity and definition, this isn’t the tone for you. In conjunction with your fretting hand and tone knob, however, this approach can do a convincing simulation of certain synth bass, fretless and upright tones.

Start by turning your tone knob all the way down so that the highs are completely rolled off and your bass is at its thumpiest. Place your plucking hand near the end of your fretboard and play the A on your E string while pressing down all the strings with your plucking hand. Use your fretting hand to slide into notes, bend strings, and play double-stops and chords.

In the first of the two videos below, playing over the fretboard with the tone knob rolled off all the way results in a warm, fretless-like tone for this B♭ minor part.

In the second video, we revisit the previous E minor flavor, but this time, we turn the tone knob up to restore the high frequencies and move the plucking hand a little closer to the headstock.

Also check out this video for a demonstration of how moving closer to the bridge or neck affects bass tonality when using a pick.

SLING THAT THUMB

Instead of playing with your index and middle fingers, try using your thumb to pick the notes instead. It might be awkward at first, but you’ll notice that playing with your thumb allows you to put weight behind the notes, plus it gives you a more focused tone. If you listen closely, you may find that your index and middle fingers have two subtly different tones, and that your thumb can be consistent. With practice, you can gradually pick up speed with just your thumb. Go easy in the beginning — your thumb may not have the callouses that your other fingers have. In the video below, watch as the thumb and fretting-hand hammer-ons do most of the work on this B♭ minor groove, occasionally joined by the index finger. Other thumb-playing approaches, such as the “chucking” technique pioneered by Bernard Edwards, are pathways to new tones, too.

THE PALM MUTE

Here’s a sure-fire way to old-school bass tone. In the 1950s and ’60s, some electric basses came with flat-wound strings and foam mutes, and the resulting sound — percussive and somewhat staccato — became associated with James Jamerson and other early bassists. (Listen to Marvin Gaye’s “What’s Going On” and then the isolated bassline to hear a great example of the signature Jamerson sound.) This muted approach can also be used to evoke the tone of other bass instruments, such as synth bass, upright bass and electric uprights like the Ampeg Baby Bass.

To add this sound to your vocabulary, start by placing the left side of your hand against the strings and plucking the open E string with your thumb. Notice how fast the note decays, and experiment with palm pressure to hear the variations that are possible. In the video below, notice how the notes of an E minor bassline plucked by the thumb are short and fat. Be sure to explore some of the many YouTube videos on palm-muting such as this one.

FOCUSED VS. FRETLESS

Moving your plucking hand and/or using your thumb can make all the difference to your tone. Alternating between focused and fretless flavors, for example, can be accomplished by simply changing the placement of your plucking hand, as shown in the video below.

It’s great to have tonal options like these at your command without having to use effects. Have fun and experiment!

Check out our other Well-Rounded Keyboardist postings.

Mastering Syncopation

Written by Jerry Kovarsky on March 26, 2024. Posted in Keyboard How-to.

So much of the music we play on piano and keyboards has easy rhythms, allowing for smooth coordination between the hands. But there are times when you will encounter a piece of music, or even just a section within a song, where the rhythm gets a little more complicated and your two hands need to play very different parts at the same time. In those instances, you may stumble a bit and find that you can’t seem to get the parts feeling comfortable. Each hand by itself is easy enough, but when you try to put them together you hit the proverbial wall.

The most common reason for this is that the passage involves what is called syncopation: rhythms that fall between the strong beats of the measure, and where the two hands don’t always play the same beats at the same time. The answer to mastering these phrases is to learn how to count through the section, analyze how the two parts relate to each other, and then combine the two hands slowly while counting. Let’s explore how to do this.

Choose The Lowest Common Denominator Rhythm To Count

When you encounter these kind of problematic phrases, you will want to start by learning each hand separately. Work out your fingerings and practice at a slow tempo until each part feels comfortable. Then look and see what rhythms are being used for each hand; specifically, whether any notes are being played on sixteenth-note subdivisions, or just eighth notes. This will determine how you will approach counting in your head.

Eighth notes are counted by saying “one and two and three and four and,” dividing the quarter note into two equal subdivisions, as shown in the first measure below:

The second measure shows how sixteenth notes are counted by saying “one e and a, two e and a” and so on. The lower staff shows how each eighth note is being divided into two subdivisions, and how each quarter note is being divided into four.

Syncopating the Left Hand

Let’s look at some musical phrases to learn how to approach this task. This first example is a basic rock piano rhythm, with the left hand providing some simple syncopated accents:

Since everything is eighth-note-based, the counting is easy. The next thing to look for is how the hands relate to each other: Identify when the hands play on the same beat, and whether any note occurs only in one hand, and on what beat. In the example above, the right hand is playing on every eighth note, and the left hand plays along with the right hand on select beats. Piece of cake!

A good next step is to try tapping out the rhythms on your leg or a tabletop so you can work on the rhythm and hand coordination without worrying about playing particular notes, as shown in the video below. This is an especially good way to help children learn about rhythm.

Once that feels comfortable, you can go back to your keyboard and work on the passage some more.

Now let’s try a slightly more difficult example. This is a variation of the previous one, but here the left-hand accents have been changed:

Notice that the second left-hand accent has now been placed on a sixteenth-note beat just after the second downbeat. This means you’ll need to count sixteenth notes throughout the example, as shown above. In addition, that second left-hand accent occurs by itself, in-between the steady right-hand part. Work on it first as a tapping exercise, and try it at progressively faster tempos.

Here’s one more variation to help you get comfortable with this type of syncopated rhythm:

Now the third left hand accent is also syncopated, landing on the last sixteenth of beat three. Here’s the hand tapping workout:

Syncopating the Right Hand

Let’s flip the hands now, making the left hand the constant while adding syncopation to the right hand, like this:

Pay attention to how the right hand plays the first chord together with the left, in contrast with the next chord, which occurs between the left-hand beats. The same happens for the next two chords, and the last chord plays with the last eighth in the left hand. Tap it out first to get comfortable before playing the notes on your keyboard:

This next example gets more interesting harmonically and moves the left hand around:

Here, only two chords occur between the left-hand eighth notes: the second chord in each measure, which falls on the last sixteenth of the first beat. Here’s the tapping version:

Playing Two Different Parts At The Same Time

Often when playing keyboards live, you’ll not only be asked to play two different parts, but you’ll be required to play two different sounds at the same time — for example, playing a synth lead line part while also playing piano, or two different synth sounds.

The example below is modeled after a popular dance tune from the early 2000s. The left-hand chords would typically be played with a synth dance piano sound like this:

Notice how only the first chord of each measure is on a downbeat (a “strong” beat). Every other chord occurs on the weaker in-between beats, mostly on the and, or second eighth note of the beat. This gives the part a highly rhythmic and bouncy feel.

Now add the right-hand part to it, which is a steady stream of eighth notes played with a synth sound:

Pay attention to the second chord hit in each measure. This occurs on the last sixteenth of the beat (the “a” in your counting), and is the only time the two hands don’t play together. Practicing tapping the rhythms will help you get the feel of the rhythm.

This last example is modeled after an early ’70s funk classic, and would require you to play chords in your left hand using an electric piano sound, while playing brass lines in your right.

Here’s the left-hand part:

Notice again that most of the chords are played on an offbeat, with only the D9 and the C9 played on a downbeat (beat three).

Here’s what the two hands look and sound like when you add the brass part:

This is a tricky part to coordinate, so it’s important that you pay close attention to when the hands strike together and when notes occur in-between. The illustration below uses red highlights to show the notes that are played on their own, as opposed to when the hands strike together:

Working on tapping out the rhythms will certainly help you to get comfortable with this one!

Follow these suggestions for analyzing the relationship between the hands, finding the right way to count and tapping the rhythms first, and you will master even difficult syncopated phrases much more easily.

ALL PIANO EXAMPLES PLAYED ON A YAMAHA P-515

Click here for more information about Yamaha keyboard instruments.

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Maria Finkelmeier’s Multi-Sensory Music

Written by Sarah Jones on March 15, 2024. Posted in Artists.

Yamaha Artist and percussionist Maria Finkelmeier’s “Superhero Butterfly” is a dazzling fusion of live music performance, visuals and technology. Inspired by her daughter’s Halloween costume, the multidisciplinary piece celebrates the beauty of holding multiple identities as truth.

Finkelmeier, like her work, has many identities: digital media artist, sonic explorer, musician, composer, educator, entrepreneur. A trailblazer in experiential art, she blends music and technology to craft large-scale performative works that provoke reflection and encourage connection.

Whether performing at Carnegie Hall or Fenway Park, Finkelmeier incorporates unconventional sounds and vibrant visuals to transform iconic places into settings for immersive experiences that transcend genres. Through her company, MF Dynamics, and as a professor at Berklee College of Music, she empowers emerging artists, cultivating community and collaboration while providing them with the tools to thrive in their creative pursuits.

We recently caught up with her to discuss her background, work and advice for young artists looking to enter the field.

ESTABLISHING A UNIQUE VOICE

You’ve been a percussionist since grade school. When did you start composing?

I took a couple of composition classes throughout my years at Ohio State University and the Eastman School of Music, but getting out of school and stepping foot in the real world was when I started to say, “I love music, I love making noise, I love percussion, but what am I going to say with this?” I was in my mid-20s when I sought mentorship in composition and improvisation and really started to focus on my voice as an artist and not just as someone who plays music.

Who were your early influences?

When I really got into composition, I was living in northern Sweden. I was on one hand a really big percussion nerd listening to NEXUS Percussion and trying to understand what ragtime music sounded like and why that is important to our industry, but I was also listening to a lot of avant-garde experimental music. There was this really big scene in Sweden where people were using electronics and non-metric ideas.

INVITING ENGAGEMENT

Why is it important for you to bring observers into your performances?

I’m not a songwriter, so a lot of times when I am creating a piece of work it is a bit more abstract. I love that place because it allows an audience member to put themself in the world that we’re creating. But I also feel like it is helpful to invite them to be a part of the process, so they see themselves in what we’re doing.

That’s parallel with how I’ve thought about my work in general: Art should represent the world that we’re living in, so I don’t want to see that differentiation between the person onstage and the person in the video or the person who is creating; I want us to all see it interwoven. I feel that by telling the stories of now, it has a deeper impact. It allows that audience member to have a more emotional connection with that experience.

Do you find that invites engagement beyond a single performance?

That’s the goal. I’ll give you an example. I created this project called “Threads of Assumption” with three other artists: Martha Rettig, Sofie Hodara and U-Meleni Mhlaba-Adebo. Sophie and Martha are designers and U-Meleni is a poet. We came up with this idea together to talk about bias from a multimedia perspective. We had our own stories to tell, but we wanted to invite people to think about bias, to think about their lived experience.

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A post shared by MF Dynamics by Maria Finkelmeier (@mfdynamics)

We sourced 44 conversations, and I used A.I. to turn the data that represented their emotions into music. U-Meleni turned the data into poetry, and Martha and Sofie turned the data into weavings. We built this massive loom and had people choose a color of thread that represents their lived experience and weave them together.

To do this, we brought on a partner that had video conferencing software in which we could record conversations, using an algorithm called LIWC — a language-learning and emotion analysis that allowed us to understand the sentiment of the conversations and see them as datasets. I got a whole bunch of numbers to play with, which was so fascinating as a musician.

The reaction we got from the audience was, “You were telling my story; I heard my story,” except we weren’t telling anybody’s story because it was all generated using artificial intelligence and data. The fact that we could represent so many people in the audience was really important. I hope they left with that and that they think about it in the future.

How did you view music’s role in the project?

The instrumental music was the most abstract expression in that space. Participants could see and feel color and feel the threads and they could weave it. And that was a very tactile experience. Words have weight, but music, where does that fit in? In hindsight, it became the glue that made these different artistic expressions come together.

The data was organized by negative emotion, neutral emotion and positive emotion. I used the positive numbers as melodic information; the neutral emotion became the harmonies; and the negative emotion became the really low bass lines. I essentially let the data tell me what pitches to use. Then I had to organize it all. It was a really interesting realization that the data and the stories really were leading the choices, but it did take the human to make it music.

It sounds almost like the process removes the cultural context from composing.

Totally. I feel like in music, as in math, there’s so many connections there. And I think I still probably hold some weight in cultural context, just in [terms of] my own education and in my own voice. But still, it did eliminate the individuality of the music. It really did make music that was composed by the 44 participants who shared their stories.

BEING ONE OF MANY

What led you to launch your company, MF Dynamics?

MF Dynamics is essentially a group of like-minded curious people coming from different spaces to create performance and public art projects integrating technology, but everything’s grounded in music. I grew up playing in orchestras, and marching band was a huge part of my life, so I have always understood the sense of being one of many and the power that we can create when we’re working together. I also knew I couldn’t be a master in motion tracking and artificial intelligence and digital art, but I can be curious enough to find the right people to join in.

One of your Berklee courses focuses on creative entrepreneurship. What are some ways artistry and creativity inform entrepreneurship?

I think musicians are innate entrepreneurs. For example: How do we listen as musicians? We are used to listening to many layers of music being performed. We’re used to listening and looking at body language to get cues to connect. We’re used to taking the energy of the room to advance it, to move it in different ways. Well, that’s what an entrepreneur does. An entrepreneur looks at the world and says, “Okay, I see that there’s an issue. I want to try to fix it. Here are the skills I have to move forward, to encourage others.”

A NOTE TO A FORMER SELF AND ADVICE FOR A FUTURE GENERATION

What’s next for you?

I am working on a project I’m calling “Former Self.” I am stepping into this part of my life where I’m owning my role as a mother, as a professor, as a business owner, as an artist, as a composer, as a professional. I thought it would be interesting to use all these tools that I’ve built over the years to create a work that’s a note to my former self. It’s starting with music and growing from there.

For example, I’m going to create a process in which an audience can write notes to their former selves and text them to me, and they become part of the performance. I’ll motion-track the performances as I play so we will see the moment visually, and it will hopefully become a really interesting 360-degree look at a group of people’s lives together in that moment.

What advice would you give young artists who aspire to a career like yours?

It’s really important to know that each voice is special and has something to contribute to our society, and to follow and feel empowered by that. I think that we get overwhelmed by digital media, by social media, by this idea that there’s so much out there already, but for young creatives, young entrepreneurs, it’s important to know there’s space for you. We’re making space for you, and we’re inviting you in!

Learn more about Maria Finkelmeier.

Photo credit: Robert Torres

Cellos Rock!

Written by Shelly Peiken on March 14, 2024. Posted in Acoustic Strings.

When you think of cello and its distinctive mournful tone, you probably think of classical music. What many people don’t realize is that it’s equally well-suited for pop music. In fact, many modern (and even some not so modern) record-makers have turned to and rely on this beloved four-stringed instrument for its richness and depth in musical expression.

Don’t believe me? Check out these eight songs. Proof positive that cellos rock!

1. “Mad World” – Seal

This gift from the band Tears for Fears employed a lot of electronic elements when it was first released in 1982. Since then, more introspective versions have emerged, most notably from British singer-songwriter Seal. His cover features a crying cello in the introduction that goes on to complement his vocal delivery in the verse and finally moves into the chorus to heighten the intensity of the message. The addition of the cello’s aesthetic to this passionate tale allows the listener to dive deeper within themself and better appreciate the emotional impact of the lyrics. Listen to it here.

2. “Good Vibrations” – The Beach Boys

Brian Wilson’s use of cello in this iconic song defies the instrument’s somber reputation. Played with rapid-fire staccato bowing technique, the relentless cello line lifts every chorus to new heights (though they are most clearly heard in the outro to the song), creating an unforgettable low-end counterpoint to the laconic legato theremin part layered above it. There’s no understating the contribution these cellos make to what has proven to be one of the most uplifting feel-good songs ever recorded. This scene from the biopic Love and Mercy brings the “Good Vibrations” cello session to life. Listen to it here.

3. “Blue Jay Way” – The Beatles

Although The Beatles, with the help of producer George Martin, used cello on a number of their recordings (“Eleanor Rigby,” “Yesterday” and ”I Am The Walrus,” among them), none feature the instrument more prominently than “Blue Jay Way” — a white cello even makes an appearance several times in the video. George Harrison wrote this plaintive song while waiting in a house on the Laurel Canyon street of the same name for a friend to arrive. Like the “fog upon LA” he sings about, the cello dances in and out of the track several times, almost mournfully laughing at the drone of George’s dry plea for company. Listen to it here.

4. “Wonderwall” – Oasis

This mesmerizing Oasis hit starts with acoustic guitars strumming a four-chord Beatle-esque progression. Verse one is sparse and tasty, but when that cello kicks in on the second verse, the song becomes undeniable. It continues playing throughout the entire rest of the tune, never outstaying its welcome … and why should it leave? It’s too good, the commanding thread that holds the song together. Hard to imagine that this record would have been so successful without that added cello. Listen to it here.

5. “Where Did You Sleep Last Night” – Nirvana

In this haunting and ominous live Nirvana performance of the traditional folk song, the cello (played by Lori Goldston) creates a brooding world that effectively accompanies Kurt Cobain’s brand of moody lament — this time about a cheating lover. It makes its entrance like angry footsteps coming to find her at the start of the second verse, then becomes more severe as the song continues and Cobain’s rage intensifies. Listen to it here.

6. “Taxi” – Harry Chapin

The cello is featured prominently in the bridge of this 1972 classic Harry Chapin tune. Sung by a “cab driver” recounting an old flame to whom he randomly gives a ride, he recalls their young love, their disparate dreams and the separate paths they pursued in their life journey. What better instrument than a cello to take us down that nostalgic road and connect us more emotionally to his story? Listen to it here.

7. “Don’t Lose Your Faith In Me” – Robben Ford

The artist is asking for forgiveness and a second chance, and the cello is sympathetic. Producer Susan Rogers writes about the making of this track in her book This is What It Sounds Like, explaining that although Ford had a good singing voice, it wasn’t his strong suit. She knew she had to compensate with instrumentation that offered a timbre that would shine the light on sincerity in his vocals — a timbre that wouldn’t get in the way. The cello, along with its stringed cousins, did just that, surrounding and embracing Ford’s voice like a warm blanket. It’s as if the strings forgave him within a song that is asking for forgiveness itself. Listen to it here.

8. “A Thousand Years” – Christina Perri

In this romantic confession of love performed by Christina Perri, a gorgeously played cello enters on the introduction and continues to punctuate the song in gentle 3/4 time. Later it joins its other stringed companions (violins, violas), adding texture. All strings are lovely, but you can count on a cello alone to hold up the bottom end and carry the weight of a profound love being expressed in song. Listen to it here.

Explore Yamaha cellos.

Teach Guitar Chords

Written by Bob Habersat on March 13, 2024. Posted in Guitars.

Open position, or cowboy chords as I call them, are one of the most important things that a guitar player should know. They are used in everything from classical guitar literature to Green Day songs, and they work when playing in a group or when playing by yourself. In this article, we will discuss how to teach your students to be to masters of open chords.

Chord Chart

An open position chord shape is a predetermined voicing that uses open strings to express the root and quality of a chord. A chord chart shows the finger locations on the guitar neck to create the corresponding shape for a chord. On a chord chart, the vertical lines represent the strings and the horizontal lines represent the frets. Strings that are not playing in a chord have an X over them and strings that are played open have an O. The number inside of a finger position marker shows which finger in the fretting hand should be used to play the notes of a chord. You can use this guitar worksheet to test students’ understanding of chord charts,

I usually start with having students play chords that use only the top three strings because this allows students to be successful while they are getting their fretting hand dexterity together. Download this PDF of three-string chords. (The ukulele has a similar interval construction, so these shapes work on that instrument as well.) After students have had experience playing basic three-string chords, I move them to chord voicings that use all the strings. Here is a PDF of those chord voicings.

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Getting a Good Sound

I would guess that most guitars end up in closets because someone got frustrated with their sound while playing chords. That’s why scaffolding successful is so important for students when working with chords; you never want to have them feel frustrated and leave the instrument. I have found what works best is to address left-hand technique as soon as students start playing chords. Here are my technique rules:

Thumb on the back of the neck.
Curl fingers.
Use fingertips.
Keep fingers hovering over the frets when they are not being used.

Highlighting these rules and praising students who are demonstrating these techniques will set them up for success when playing chords. It takes mindfulness to build good technique and if you can help the class be mindful and recognize when they do things correctly, they will not develop poor habits. As everyone knows, breaking a bad habit is extremely difficult.

By giving students a pathway to build and check their chords, you allow them to troubleshoot their own problems. Instruct students to build chords one finger at a time starting with the top three strings. Use positive playing pressure by squeezing the string between the thumb on the back of the neck and the fretting finger. Add additional counter force by using the guitar body and neck as a fulcrum against your torso. If all the rules of the technique are followed, the notes should ring out clearly.

Check a chord by playing each note separately, which will point out notes that are unintentionally muted by poorly placed fretting fingers. If you or your students are having trouble getting some notes in a chord to play, try moving the fretting finger closer to the bridge side of the fret, which will allow an easier connection.

Some things to note: Putting too much pressure on the string will cause a note to go sharp, and placing the finger on the fret will result in a dead sound.

Picking

Right-hand technique is often overlooked and overshadowed by the difficulties in the fretting hand, so I introduce picking as early as possible. Holding a pick is a subjective and personal process, so I keep my instructions fairly simple for students. I tell them to grasp the pick between their thumb and index finger with the tip of the pick perpendicular to the thumb. Keep an eye out for students who use too much pick pressure and/or place the pick too far into the strings. This will cause the chords to sound splatty and distorted. As far as sourcing picks, I’ve been getting 600 packs of them from Amazon for less than $30. I also use a pick punch so students can make picks out of old IDs and expired gift cards.

Getting Students to Read a Lead Sheet

The great part about open chords is that everyone uses them and most of the songs that students listen to have been recorded using the same shapes that they will learn. After students have success playing a few chords, they can start playing songs that they know.

There are two main forms of notation that show when chords are played: 1) chord and lyric sheets and 2) lead sheets.

Chord and lyric sheets show when chords change related to words. The issue is that students must know the song in order to play it. If the song needs to be slowed down to assist with playing, it is almost impossible.

In a lead sheet, the harmonic rhythm (when chords change) is shown related to music time either above slashes in a rhythm section chart or above a melody written in standard notation. Work on reading lead sheets with your students away from the guitar by having them identify the beat in which chords change and having them say the letter of the chord change in musical time while listening to the original recording. Try it with this lead sheet library.

Chord Progression

The hardest part about playing chords in a song is changing shapes to follow the progression. I like to have students watch live performances of acoustic guitar players who use open chords in their songs on mute and have them pay attention to what their fretting hand looks like when moving from chord to chord. Often students will sacrifice quality technique to move from chord to chord and their tone will suffer.

Put a progression on the board and give students time to isolate their fretting hand only, making sure that the movements between shapes are efficient and meaningful. Have students identify notes that start the same between chords and for them to make “flight paths” for the other notes to ensure the smallest amount of movement. Another tip is to have students move all their fingers at the same time and place them on their new shape locations together. The goal when practicing should be to make their fretting hand look like that of a pro but played back at a slow speed.

Differentiation

If your beginning guitar class is like mine, you will have some students who have been playing guitar for a long time, others who struggle with basic concepts and everyone in between. It’s important to differentiate to provide enrichment and remediation when teaching chords to keep everyone engaged and challenged at the same time.

One of the ways that I differentiate is to adjust the rhythm in which students play the chords. For students who are struggling, I might have them only play the chord on the change.

G / / / | Em / / / | C / / / | D / / / |

In this example, I might have them only play on beat one of every measure. The chord voicing can also be simplified to use only the top three strings if they are still having trouble. Finally, have students choose one or two chords in the progression as the ones that they are going to play. When the class plays the progression, have them only play those chords.

The rhythm can also be used to address students who have more experience. Instead of playing on the change, students can play on every other beat, on every beat, or they can strum the subdivision. Finally, students can pick or strum the chords using different arpeggiation or strumming patterns.

This level of differentiation allows students to work on the same song at multiple different levels, which makes it easier to have students play together and address issues as an entire class.

Dynamic Charts

Chords are part of a lifelong study as each new shape is added to their “vocabulary” to use for different styles. The traditional way of learning new chord shapes is to learn them from individual chord charts. There are a couple of downsides to this method: 1) it is difficult to recall these shapes and 2) a new chart is needed for each new chord quality.

When I introduce six-string chords, I use what I call dynamic charts, which shows the chord tones located within the shape and highlights the location of the major chord. There are five main shapes, and If you teach students how to apply the formulas to a chord chart, they are able to generate up to seven different chords from each. I use dynamic charts in my Fretboard Fundamentals course.

This style of chord chart takes more prep time for students, but they end up with a much richer vocabulary of chord voicings and a basic understanding of chord theory that can be used for more advanced study. Note: I sequence these types of chords in the middle of my beginning guitar course, when students have already played three-note chords by reading traditional chord charts, learned the notes on the E and A string by playing bass, and applied those notes to learn power chords.

Above is a dynamic chart for a D chord, it can be used to create the shape for a D, Dm, D7, DM7, Dsus2, Dsus4 and Dm7 chords.

Download a PDF of all of the dynamic chord shapes and formulas.

black-and-white photo of student playing the guitar

Tuning a Guitar

Written by Bob Habersat on March 13, 2024. Posted in Guitars.

Tuning is one of the most important things taught in a guitar class. Developing intonation awareness is easier on a fretted string instrument than any instrument in a wind ensemble or orchestra, and it can be taught in a fun way without causing string breakage. Everything played in a guitar class is going to sound better if all students are in tune, which will encourage further practice and growth individually or as a large group.

Develop Tuning Awareness

Tuning awareness should start early on in the learning of guitar. Students must know the parts of the guitar and the open string names first and then they can learn how to tune.

Try this activity to develop tuning awareness. Make sure all the guitars are tuned before the class starts. Have students find the tuning peg that is connected to the low E string. Play an E drone on the classroom speakers (this is the YouTube video I use). Tell students to hum along with the drone so that they hear and feel what it’s like when they are in tune. Have them play the low E string and instruct them to turn the tuning peg clockwise one quarter of a turn to lower the pitch. Turn the drone off and have each student play their flat E string. Turn the drone back on and instruct students to tune up to the E string by going counterclockwise to make the pitch higher. Turn the drone back off and check each student’s pitch by having them play it out loud. There will be some students who are better at this than others, but this gives them the ability to understand how much movement is necessary to make a pitch adjustment.

Take five minutes at the beginning of each class to work on tuning by ear. Repeat the steps for the low E string for the A, D, G, B and high E strings. As you watch students detune and re-tune their instruments, call out students who are doing a good job of being careful with their adjustments to positively reinforce the fact that large movements can result in string breakage.

When students tune a string that is too high, instruct them to go slightly below the pitch and tune it up. This ensures that string windings in the tuning machine don’t slacken up, which could lead to the guitar going out of tune during playing. Some students tend to continually re-attack the string while tuning. Instruct students to play the string first and then make tuning adjustments. If students are re-articulating the string while tuning, it can cause the string to sound sharp which will result in inaccurate tuning.

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Pitch Memory

I teach my students a song so they can memorize the intervals between the open strings. Turn on the E drone and sing the pitches of the open strings from high to low using the words “We Tune GuiTars By Ear.” Students can make up their own words to the tuning song, but the goal is for them to auralize the intervals from the strings from high to low. Have them sing the song against the drone while playing the strings of a tuned guitar so they can reinforce this connection between the pitches they are singing and the open strings.

You can gamify tuning by ear by having students split into groups of two have them detune each other’s guitars. The rule is that they can only de-tune a string by a quarter turn. When students have their guitars back, play an E drone so they can sing the song and check their strings. Have them identify which strings are out of tune and in which direction they are out of tune. Students must work together to get both guitars in tune to present to the class.

You can also model this by having a student come up and de-tune a presentation guitar at the front of the room while you check it and talk through the process of tuning it by ear

Using a Tuner

After guitarists have learned to tune by ear, I introduce them to a tuner. Students must know the letter names of the open strings and how the musical alphabet works before using a tuner. I put examples on the board and ask them which letter is higher or lower than string names to prepare them for strings that register as a different letter on a tuner. I like using Snark Clip-on tuners because they are inexpensive and do not require a microphone to register the pitch. in a large classroom with many players, it can be difficult to have students isolate their own instruments.

To use a clip-on tuner, connect it to the headstock of the guitar and play a string. See what letter is being registered on the tuner compared to the open string name. If the letter is higher or lower than the open string name, make large adjustments to the tuner to get it to the correct letter. You can always sing the tuning song to make sure you are tuning the correct octave. Once the letter that is being registered is the same as the string name, follow the visual cues to get the pitch into the center. Remember to remind students to tune below the pitch and then back up to the correct pitch to ensure tuning stability.

Instruct students to turn off their tuners when they are finished so they do not waste the batteries. I buy a few extra 2032 lithium batteries just in case the tuners die out. Have a location in the room where these tuners are stored. I use a music stand next to my board and have students clip them to the bottom of the stand.

There will be times when students are not able to use a clip-on tuner, in that case I require them to download a tuning app, such as the tuner from Yousician called Guitar Tuna, which can be accessed via a free app or online.

Tuning Mindfulness

Students ask me when they should tune a guitar. My general answer is: “When it’s out of tune!”

Some guitars will go out of tune quicker than others depending on the age of strings, the weather or how well the guitar is set up. Encourage students to develop mindfulness about their intonation while they play. Remind them to check tuning between songs. Model how to talk to each other about tuning in a supportive way and without being adversarial. This will help a class or ensemble stay in tune together without the need for instructor intervention. Give praise to students who are actively monitoring their own tuning or the tuning of the group, which will give these students a boost in confidence and remind the group of the expectations.

Things To Watch For

Some students may have learned tuning techniques using adjacent strings as reference points. The fifth fret of the E string should be the same pitch as the A string, for example. This works to get a guitar in tune with itself, but the guitar might not be in tune with a tuner. If you see students trying to tune like this, encourage them to at least check one of the strings with a tuner so that they can ensure that the guitar will be in tune with the rest of the class.

If a guitar cannot be tuned, change the strings. If you’re still having trouble with the instrument, , take it to your local music shop to get it properly set up. It could be an issue with the nut slots, the truss rod, the bridge saddle height or the bridge saddle intonation.

When I first started teaching classroom guitar, I was deathly afraid of allowing students to tune their guitars. With a scaffolded approach like this, it has offloaded my need to tune guitars, and it makes everything the students play in my classroom sound great!

woman sitting on floor and playing the guitar

Pop Guitar as an Entry Point

Written by Bob Habersat on March 13, 2024. Posted in Guitars.

Pop guitar is incredibly enjoyable and can serve as an excellent entry point for instrumental music programs at the middle and high school levels. It provides opportunities for student choice in selecting music literature and can offer nearly immediate success, even for students with no prior musical experience.

While the advantages of pop guitar are apparent, it’s important to consider potential drawbacks as well. As a professional guitar player, private instructor and classroom guitar teacher, I have witnessed the consequences when students exclusively rely on tutorial videos on YouTube, tabs, lessons from music stores or learning from friends in a product-focused manner. While they may learn how to play songs, there’s often a disconnect from rhythm, chord theory, aural skills and understanding notes on the fretboard.

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It is possible to introduce pop guitar playing as an introduction to guitar with a process-focused, structured curriculum that addresses these vital topics while enabling students to authentically play the songs they know. Here’s the sequence I use for my beginning guitar students. This curriculum, Fretboard Fundamentals, is available through ShedtheMusic.

Step 1: Establishing Good Technique and Playing Simple Chords

Bad habits are easy to form but hard to break. My first step with beginning guitar students is to ensure that they can successfully play something simple with proper technique. We begin by learning the notes of the open strings and how to play basic three-note chords.

Try FRETBOARD FUNDAMENTALS for free! Just sign up as a teacher and get universal student login credentials.

I composed a song called “What You’re Going to Do” that focuses on the fundamentals of good left-hand technique and provides guidance on practicing and performing. The song encourages finger placement close to the fretboard and offers immediate success for beginners. Students learn and perform the song using a recording, a backing track or in pairs for assessment. Extra credit if they sing along while playing! It’s important to normalize singing from the beginning.

Step 2: Understanding the Guitar Fretboard and Notes

The next stage is teaching students how to locate notes on the guitar fretboard using the chromatic scale. Each fret represents a half step, so students can think of the fretboard as a chromatic number line.

I explain that moving up from a fret sharpens the note, and there’s no separate pitch for E sharp and B sharp. We start by identifying all the natural notes on the low E string and then proceed to identify flats. I also introduce landmark frets, such as the 12th fret, the 5th fret (matching the string above) and the 7th fret (matching the string below).

TRBX Electric Bass Guitar: Take Your Jazz Band to the Next Level

Once students can find these notes, we apply them to play the root notes of chords and simulate playing bass lines. I use audio-synced scores (made in a notation software) and lead sheets, allowing students to jam along with their favorite tracks while reinforcing their understanding of the fretboard’s notes. After covering the low E string, we repeat the same process with the A string, teaching students how to cross between the two lowest strings without shifting positions.

Once students have mastered the E and A strings, I proceed to teach them low E and A string riffs by ear. I have a collection of famous riffs recorded at different speeds to facilitate learning. Students can use these riffs to play for friends and begin developing a connection between their ear and the instrument. This unit culminates in a composition task where students create a metal riff using the low E and A strings and record it.

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Step 3: Introducing Power Chords

A smooth transition from notes on the low E and A strings is to introduce power chords. The power chord shape offers students a chance to play chords while reinforcing their understanding of the notes on the low E and A strings. Because power chords have no chord qualities, students do not need to worry about shifting them when reading lead sheets. I incorporate power chords into songs selected for students, often working in small groups where they can play bass and chords together. Again, extra credit if they sing along.

To teach basic rhythms using power chords, I provide lead sheets with augmented rhythmic notation. Students can also challenge themselves by working through lead sheets of well-known songs written with rhythm section notation. Additionally, students can learn famous riffs using power chords with recordings available at different speeds.

This unit culminates in a pop-punk recording project where students create a chord progression, use power chords and bass, and incorporate a drum loop into their own pop-punk songs within small groups. Students enjoy the creative aspect, including writing lyrics and designing album covers and coming up with band names to enhance their experience.

Step 4: Teaching Open Position Chords (Cowboy Chords)

The next phase of instruction involves teaching students open position chords, often referred to as cowboy chords. Traditionally, students learn these chords from chord charts, but I prefer to show them how to alter chord qualities by identifying specific chord tone locations within each chord shape. These dynamic chord charts enable students to find major, minor, major 7, minor 7, dominant 7 and other voicings using a single chart.

The class reads songs that feature cowboy chords together, and I introduce techniques for adding movement to chords through right-hand picking patterns. This unit culminates in a singer-songwriter composition task where students create a verse-chorus pop song using open position chords. Here is a PDF of dynamic chord charts with a chord quality chart to share with students.

Read my article on Teaching Guitar Chords.

Step 5: Introduction to Soloing with Emphasis on Blues Language

The final unit in my introductory class focuses on soloing. If you listen to most guitar solos recorded in the last 70 years, you’ll notice they are often based on the blues language. While the blues scale pattern is traditionally used to teach blues, I’ve found that students often lack intent and phrasing when learning this way. Instead, I guide them in playing blues through call and response activities and provide a lick library for students to learn in a manner similar to how we learn spoken language. Students are provided with listening lists of blues masters and instructional videos on playing bass and chords at various levels of difficulty. This unit culminates in a blues composition or performance where students work in groups of three, taking on the roles of bass player, chord player, and soloist. The 12-bar blues structure is repeated three times, allowing each student to play each role in their small group. I’ve found that teaching blues language in this manner significantly enhances students’ soloing abilities. Following this sequence, students are well-prepared to learn how to read notes in standard notation. They can apply their knowledge of the chromatic scale to each string, making it easier for them to excel in advanced guitar study.

Authentic Instruments

In order to implement this curriculum in an authentic way, you must have authentic instruments for your students to play. For the majority of playing, my students use classical guitars like the Yamaha CG122MSH or the Yamaha C40II because of their ease of use and ability to play without being amplified. We do, however play electrics and basses as much as possible. The Yamaha Pacifica 112V is the perfect classroom electric guitar. It is easy to play and it sounds great with all styles of much. A Yamaha BB434 bass helps round out the electrics by giving students an opportunity to feel what it’s like to play bass lines on a really high quality instrument. Throw in a Yamaha Stage Custom Bop drum set (great sizes for a small room) and you have a band!

It’s important to have a halo guitar in the room as well. The new Yamaha Pacifica Standard Plus is the perfect instrument for that. It’s the guitar that the teacher can play most of the time to demonstrate new concepts and ideas, but it can also be used by students for capstone projects, recording or just as a treat! This instrument is a pro level piece of gear that can be used in a modern band, jazz group or anything in between.

Start a Guitar Program

Written by Bob Habersat on March 13, 2024. Posted in Guitars.

Guitar is one of the most ubiquitous instruments in the world. Chances are there are guitar players in your school and there are definitely students who want to learn guitar. The type of student who is interested in guitar is not usually in the traditional band, choir and orchestra program. They are their own breed; they are guitar players.

Starting a guitar program is a great way to provide a musical opportunity to students who would not usually receive it while broadening their experience and enriching the music department at your school.

In this article we will explore different ways to start a program at your school.

Start with the End in Mind

There are multiple pathways that can be taken to start a guitar program, but the best place to start is to figure out what aligns with your personal educational philosophy and what addresses the needs of the students in your school.

In addition to choosing a pathway, it’s important to consider what type of instruction you want in your classroom. Do you prefer direct instruction, flipped learning, asynchronous or a combination? Some methods are more tailored to specific types of instruction than others. These are the four main categories of guitar pedagogy that are used in schools.

Classical ensemble: A classical guitar ensemble is run like a band or orchestra. There are multiple players assigned to different parts, and they play in large or small ensembles. Here are some resources that will help with the planning and implementation of a classical guitar ensemble program:

Modern band: The modern band movement is fairly recent and it focuses on the study and performance of student-selected songs. In most modern band programs, rhythm section instruments (bass, guitar, drums and keyboards) are taught at the same time where students are put into bands. Here are some resources to help with starting a modern band program:

Music Will (formerly Little Kids Rock)
Modern Band Method

Method Books: The method book style of instruction is similar to beginning orchestra or band. There is a sequenced book for student that scaffolds individual and ensemble playing. Depending on the publication, these examples might be bespoke exercises or licensed music that the student will know:

Hybrid: I choose to combine elements of the above teaching methods to create a comprehensive system that develops the whole guitar player. It is called Fretboard Fundamentals and is available for free through ShedtheMusic. It combines the student choice and enjoyment of playing guitar in a group like modern band while teaching notes on the neck, improvisation, composition and chord theory. This method is student-centered and project-based with video walkthroughs, project prompts, embedded interactive scores and fillable PDF worksheets, making it great for direct instruction and/or flipped learning.

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Getting the Ball Rolling

After you have selected the track that aligns best with you, the next step is to garner interest from the student body, start a club and/or propose a class to the administration. Remember, there are guitar players at your school, and if they were anything like me in high school, they would love to have a class to get better playing their instrument. In order to get these students on board and to figure out what they are interested in, you need to find them.

Here are some strategies that I’ve have successfully used in getting the word out. Find some guitar players in the band, choir or orchestra and have them play in a place at school where there is a lot of foot traffic (for example, the school entrance or the cafeteria). Following these performances, send out a call for a jam hosted at the school. Put the jam in the announcements and post flyers all over school. Ask students to create a post on social media. Set up the jam to be as cool as possible: have snacks, set the mood with lighting, have backline (drums, bass amp, guitar amp, PA) and supply instruments. Be open to anything during the jam and observe. Finally, provide a method of communication after the event, have them sign up with their name and email or have them join a Remind. Turn your jam session into a regular club and offer performance opportunities. While working with these students, test out elements from the different methodologies that you considered and get their feedback.

It is possible to go straight to the administration and propose starting a guitar class, but it helps to get students excited about it first. Either way, the administration will require data, so poll students in and outside of the music department about taking the class. Look at music programs at surrounding schools and make note of what types of guitar classes they offer. Figure out what your short-, mid- and long-term goals are with the program and how it will fit within the current music department. If you have created a club, gather data about the students in the club: what activities are they in, are they in the current music program, do they get in trouble a lot, what are their grades like? It also helps to have an artifact from the guitar club to bring to the administration: if you had a performance, share a video recording of it or invite admin to one. If you lay out an easy-to-follow plan for the administration that is well thought out and is in the best interest of the students and the school, it will be difficult for them to say no.

Where to Get Instruments

It is much easier to source guitars than most other instruments because they are relatively inexpensive and most students already have one in the family. If you do not have a budget, ask staff, students and the community for guitar donations. You will be surprised at how many instruments you can get this way. You can supplement these instruments with guitars that students already have at home. Host a fundraiser with your guitar club and/or set up a Donors Choose for the program. Once you grow the program, you will want to ask the administration for a budget. You should plan on eventually getting a full class set of instruments that are high quality that are all similar.

Once you are ready to make a purchase, the best place to go is your local guitar shop. Not only will they be able to work with you to provide high quality instruments for your program at a good price, a local guitar shop will be able to help with repairs and storage of the instruments. It is also possible to provide a discounted rate for gear from a local shop to your students if you create a relationship with them. Not only will a local guitar shop help with the purchasing and maintenance of new gear, they will be able to help assess and repair donated or existing instruments that the school may already have. A Sound Education in Brookfield IL is the local guitar shop that I use for my school. They have helped the school out in so many ways and they give my students a great deal on new and used instruments.

What Type of Guitar to Get

There are many different types of guitars and each can be used in different scenarios. The majority of instruments that students are familiar with and/or have at home either are steel string acoustic or electric guitars. While these instruments are great for specific uses, I find that a classical guitar is the best for beginners. These guitars are traditionally played fingerstyle, but they also work a pick which will adapt them to most playing styles. The strings are nylon and slightly farther apart than acoustic and electric guitars, making it easier for less experienced hands to get a successful sound. You want students to feel good about sounding good from the beginning! If you are limited to steel string acoustic guitars, you can have them restrung with ball-end nylon strings. These strings have the same benefit of classical guitar strings, but will work on acoustic guitar.

My favorite classical guitar for a beginner is the Yamaha CG122MSH. It has a solid top, and sounds/plays like a much higher priced instrument. A close second would be the Yamaha C40II classical guitar. They are a budget model that will stand up to the daily wear and tear that the instruments will encounter. If you want to give students an authentic experience playing guitar in a pop context, they need to be able to play electric guitars. For electric guitars, I recommend as much of a Yamaha Pacifica or Revstar as you can afford. The quality of these instruments is second to none for the price point, and they will give your students a positive playing experience. It’s good to have at least one bass in the stable, and I recommend a Yamaha BB series. They are very versatile and can be used in everything from a jazz band to a pop punk combo. Get quality amps to use with your electric and bass guitars.

Where to Store Instruments

Once you have instruments in the room, where will they be stored? Acoustic guitars are easily damaged and there are a few things you can do to keep them in good condition to make them last a long time. The most important thing you can do is to provide a simple to follow pathways for students to get guitars during class and put them away that keeps them out of the way from movement within the classroom. I tend to avoid single stands like these because they are easy to trip on. Wall hooks are nice and the ones by Hercules have a locking mechanism that will keep the instrument in place once it has been put in the holder. Hercules also makes a great multi-guitar rack that can be adjusted for different types of guitars. My favorite classroom solution for guitar storage are the classroom guitar racks from guitarstorage.com. They offer a great way to store instruments in the room, but they can roll to different locations in the school.

If you plan on bringing the guitars out of the guitar class, there needs to be a way to safely transport them. All of the guitars should have rigid gig bags or hard-shell cases. Try to avoid super budget gig bags that can be found on Amazon, these will not protect the instrument from most impacts. Yamaha CG-SC soft-case gig bags are amazing for classical guitars because they have backpack straps, are rigid, and they have a pocket at the front to carry music and accessories.

____________________________________________________

Starting a guitar program is a very exciting time for you and your students. In order to personally prepare for it, start playing guitar. Find a private guitar instructor and start taking lessons, access some of the method materials that are outlined in the first section of this article and begin working through the material yourself. Play along to the music that you like, write some tunes, start a band, and most importantly- have fun sounding good!

Author and another person playing acoustic guitars.

What are the Different Acoustic Guitar Body Types?

Written by Robbie Calvo on March 13, 2024. Posted in Acoustic Guitars.

I’ve always been an advocate of choosing a guitar that is the right size for your physical frame, hand size and intended application. If you’re a singer/songwriter, it’s also important to find an acoustic guitar that doesn’t overpower your vocals.

In this posting, I’ll take a look at the various acoustic guitar body types and sizes, and discuss the differences in sound and practical applications for each. To simplify the nomenclature, let’s break it down into four main categories: small, medium, large and extra-large.

Small Body Types: Travel, Junior, Parlor, Classical and Flamenco

Travel / Junior

The smallest acoustic guitars are travel and junior guitars. These instruments are perfect for the young beginner who’s learning to navigate the fretboard for the first time. Their short scale length (the string distance between the nut and bridge) allows for lower string tensions, while their compact size allows the guitar to sit closer to the player’s body, and for the picking hand to easily transverse the body bout (the curved areas at the top and bottom ends of the instrument).

These are also a great option for semi-pro and professional players who want a guitar to travel with on airplanes or a tour bus. These instruments often have a reduced bass response due to their compact size, but they generally project well for fun practice sessions.

Yamaha guitars in this category include the 3/4 size JR2, APXT2 and APXT2EW models.

Parlor

Parlor guitars provide a great blend of portability, playability and tonal excellence. Again, their shorter scale length (in this case, 23-5/8″) allows for lower string tension, making them ideal for beginners, and the smaller body size works well for fingerstyles and acoustic blues.

These guitars will project well when strummed too, but I’d recommend taking a gentler approach to retain the clarity the body shape provides. Their reduced bass and accentuated treble response allows them to stand out well in a mix when recording multiple guitars, making them perfect for studio musicians.

Yamaha parlor guitars include the CSF1M and CSF-TA models. The latter even has built-in reverb and chorus effects due to its use of TransAcoustic technology.

Classical/Flamenco (Nylon-String)

These nylon-string guitars come in several distinct sizes. There are three types of “school” classical guitars: 1/2 scale (smallest), 3/4 scale and 4/4 scale (full size). They enable students of all ages to take up guitar, then graduate to the next body size as they grow in stature and performance levels … all while retaining the same familiarity to the instrument.

The body size in standard classical and flamenco nylon-string models remains constant, but their tonewoods will vary between solid cedar and solid spruce tops, and mahogany versus rosewood back and sides. Rosewood and cedar provide rich, warm tones with lots of bass, while the mahogany and spruce variations enhance the treble, and at the same time add clarity to the low end.

Yamaha classical guitars include CG/CGX Series instruments and the CG-TA TransAcoustic model.

Medium Body Types: Concert and Grand Auditorium

Medium-size steel-string guitars include those with concert and “grand auditorium” bodies. Both have wider shoulders and a lower body bout than those instruments in the small guitar category.

In my opinion, these are the best guitars for those who want to be able to articulate fingerstyle and chordal strumming on the same instrument. Tonally, they are very balanced across the low, mid and high frequencies, and their manageable size and shape works well for players of any age. Some medium-body guitars are also available with a cutaway, which allows for further access to the upper frets. These cutaway options don’t reduce the size of the guitar in the lower body bout or instrument depth, but due to the diminished sound chamber, may speak softer in terms of volume and bass response.

Yamaha concert-body guitars include STORIA, AC Series and APX Series instruments, as well as the URBAN Guitar by Yamaha (designed by country music star Keith Urban). These instruments also feature a shorter scale length for lower string tensions. Couple that with a narrower body depth than most other medium-body guitars, and you have a comfortable instrument for just about any style of music.

Other Yamaha steel-string models with medium-size bodies include the FSX3 Red Label and LS-TA TransAcoustic guitars.

Some nylon-string guitars may also fall into this mid-size category — in particular, instruments that come fully equipped with preamp and pickup systems like Yamaha NCX and NTX Series instruments. These guitars will appeal to both accomplished nylon-string players and electric and steel-string players looking for the tonal beauty of a classical-style instrument. Both models have cutaways, but the NCX is wider in the upper shoulders than its smaller sibling, the NTX.

NTX Series guitars also feature a slimmer non-traditional neck profile and nut width, with an oval sound hole and thin line body depth that provides a more contemporary sound and overall feel. NCX guitars feature a traditional neck and body depth, with a circular sound hole. The fuller body depth results in more richness in the low end than the narrower NTX model.

Large Body Types: Dreadnought and Western

Dreadnought guitars, which are full in both the upper and lower bouts of the body, are always steel-string. Singer-songwriters and bluegrass musicians in particular favor these bold instruments for their powerful, articulate sound, where projection within the context of an acoustic combo is paramount. Yamaha flagship FG9 and FG-TA TransAcoustic guitars are the perfect representation of this type of instrument.

Western body-style guitars (again, always steel-string) are very similar to dreadnoughts and sometimes have a cutaway for easy access to the upper region of the fretboard. Yamaha guitars with Western bodies include the LL-TA and FGC-TA TransAcoustic models; the latter has a cutaway.

Extra-Large Body Type: Jumbo

The largest of acoustic guitar types are called jumbo guitars. Projection, low-end response and fat, warm tones emanate from these performance workhorses, which you can think of as being the Clydesdales of guitars.

It’s quite common to see female country singers playing jumbos. Their low-end response and midrange warmth offers a nice balance to the vocal frequencies. Guitar instrumentalists also like performing with jumbos due to the fullness of the sound they offer. When it’s the only instrument onstage, you need all the bandwidth you can get!

Some jumbo guitars (such as Yamaha CPX Series instruments) also have a cutaway body for easy access to the higher frets.

The Videos

Here are a series of videos that demonstrate various small, medium and large body size Yamaha guitars, including both steel-string and nylon-string instruments.

Small Steel-String (Parlor Body): CSF3M

Small Nylon-String (Classical Body): CG-TA

Medium Steel-String (Concert Body): AC5R

Medium Nylon-String (Cutaway Body): NTX5

Large Steel-String (Dreadnought Body): FG9

Large Steel-String (Western Body): LL-TA

The Wrap-Up

The body type, style, scale length and general proportions of a guitar all contribute to the tone, playability and functionality of the instrument. These factors should all play a major role in the decision-making when it comes to finding the perfect guitar for you, your hands, and ultimately your musical progression.

Here’s a graphic that shows the various body sizes employed by Yamaha acoustic guitars:

Graphic showing differences in sizes for a variety of Yamaha acoustic guitars.

Choose the right one and both your playing ability and your enjoyment of the instrument will undoubtedly be enhanced!

How to Rehearse More Productively with Your Band

Written by Mike Levine on March 12, 2024. Posted in Creativity.

Most musicians spend a lot more time rehearsing than they do performing. But outside of structured ensembles like orchestras or marching bands, rehearsals are often unscripted and disorganized and don’t accomplish nearly as much as they could. It’s too bad because, with a bit of forethought and organization, your group can rehearse much more effectively. Here are five tips for improving efficiency.

1. Have a Plan

Every musical situation is different, but the goal of virtually any rehearsal is either to learn new material or to tighten existing repertoire through repetition. Often, it’s a little of both.

Whatever you aim to do, planning an agenda for what you want to accomplish in a given day is useful. The responsibility for organizing a rehearsal to-do list will depend on the band’s structure. If you’re being hired as a side player or background vocalist by a singer or band leader, that person will usually run the rehearsal or have a musical director (MD) who does.

But if you’re in a band where everyone is on an equal footing, you might want to appoint one of you to be MD to help your rehearsals stay on point. That person should take the lead in planning. This will entail reaching out to the other musicians and singers to discuss what new songs to learn, as well as creating set lists for upcoming shows.

If you’re learning a new song and there are existing recordings, the MD should send everyone an MP3 or link so they can listen to the music before the rehearsal. The MD should also create a basic lead sheet for each new song with the chords and lyrics included.

Sheet music, a pencil and a guitar neck. — *Lead sheets are helpful when learning new songs.*

These charts can feature written-out parts if the band members are comfortable reading music. If not, a simple chord chart or even just lyric sheets with the chords written above the words can be effective as a reference for the band members at rehearsal.

Give everyone at least a week to listen and start figuring out and learning parts before trying to rehearse a new song. Hopefully, every band member will commit to spending enough time in advance to familiarize themselves with the material. At this early juncture, it’s essential to ascertain if the lead vocalist is comfortable with the key. Changing it before the full band starts rehearsing will be less disruptive than if you wait until everyone’s learned their parts.

2. Be Ready for the Downbeat

Especially in a part-time band where most musicians work or attend school during the day, your rehearsal time may be limited to a few hours in the evening or on weekends. To maximize productivity, you don’t want to waste that relatively narrow window.

To help things move along at an efficient pace, set a start time for the “downbeat,” the first note of the first song. Assuming you’re rehearsing in someone’s house rather than a paid rehearsal space, band members should arrive before the downbeat to get set up, tuned up, warmed up and ready to go.

Musicians collaborating. — *Finish your setup before the downbeat.*

Otherwise, even if all of you arrive punctually, you may lose 10 or 15 minutes of valuable time until everyone is ready. If you’re renting a rehearsal studio, you likely can’t get in early, but make sure everyone is there and waiting before the start of the time you’ve reserved.

3. Polish the Groove

When working on a new song, you’d typically start by playing a recording of it (assuming one exists) and then trying a run-through. This initial attempt will show which song parts need the most work and allow band members to voice ideas about specific aspects of their parts or the arrangement.

For listening to these recordings, it’s helpful if someone brings a Bluetooth^® speaker like the Yamaha WS-B1A so you can play the reference songs from your phone. Trust me, it will sound much better than putting your phone up to a microphone!

Small speaker. — *The Yamaha WS-B1A Bluetooth speaker.*

After all the band members work their way through the initial attempt at the song, try temporarily breaking it down into component parts to clearly hear what’s going on. For example, focus first on the rhythm section grooves for the various song parts.

Listening to just the bass and drums, or the bass, drums and rhythm instruments (typically keyboard and guitar) can often be quite revealing. Is the bass part locking in with the kick drum? Are the rhythm guitars accentuating or fighting the bass and drums, or perhaps they’re too busy? You can hear the song’s foundation more clearly by temporarily playing it through without the vocals or lead instruments. Then bring those parts back and see if that made a difference.

Musicians on stage. — *Ensure that the bass and drums are locked in.*

Vocalists can implement a similar process by running through their harmonies without the instruments. Some common problems to look for are parts that overlap on specific notes or create intervals that don’t match the chords in the song (for example, a harmony part that adds a major third to a minor chord).

The vocal parts will also sound a lot tighter if the singers release their notes — especially held notes — at the end of a line, at the same time. This can take quite a bit of practice and generally requires that the singers watch each other’s lips or hand gestures carefully.

Often there will be disagreements over arrangement issues, whether instrumental or vocal. For example, say one person wants to add a stop at the end of the bridge, and someone else wants it to transition smoothly into the next section. The best way to resolve such disputes is to play the section both ways to compare. Usually, the issue will resolve itself because one way will sound better in comparison. If you still need to, you can vote on it or devise another conflict-resolution method.

4. Hit That Record Button

Frequently, song arrangements and individual parts get changed during rehearsal. If you have an MD, they can keep track of those changes so they’re not forgotten before the next rehearsal. Another way to ensure that changes get remembered is to record your rehearsals. Even if it’s just a mono recording made on a mobile phone, it will help you all remember the ideas and arrangement changes you came up with during the rehearsal.

The other advantage of recording rehearsals is that band members can practice with the recordings at home between rehearsals. You don’t necessarily have to record the entire rehearsal, but once you’ve worked out the arrangement on a song, record yourselves playing it all the way through. Whoever makes the recordings should share them with the other band members the next day so that everyone has them to practice with before the next rehearsal.

5. Take a Break!

Just like at a gig, musicians do better when they get occasional breaks. Plan on one or two short breaks — five minutes or so — during each rehearsal. That will allow everyone to relax briefly, return calls or texts, refill their water bottles or hit the bathroom.

Band members should also be encouraged to stay off their phones at rehearsals except during the breaks, as it’s distracting for everyone. That said, unless you’re hiring musicians to rehearse with you, it’s unlikely you’ll be able to enforce a 100-percent phone ban. Still, if everyone knows that phone use is frowned upon, you should be able to keep it to a minimum.

Finally, remember that guidelines such as these will only work if they have buy-in from the band members … though it’s hard to imagine why anyone would object to adding structure to the rehearsal process. If a group member doesn’t want to make that commitment, perhaps they’re not the right person for the gig. In any musical group, attitude can be important as ability. Time to start rehearsing!

silhouette of person with fist in the air -- success

Give Up Control

Written by Cody Newman on March 7, 2024. Posted in Teaching Tips.

A list of possibilities was listed on the whiteboard. An array of pieces ranging from “conservative” to “otherworldly” for the directors to consider as possible challenges for the high school wind ensemble this year. We’re looking 10 months into the future trying to predict the strengths, areas for growth, and what would create the most incredible musical experience for students who have dedicated so much to be part of this ensemble.

Like most music educators I know, my job is on my mind all the time. The successes, the challenges, the “what ifs” — they’re always swirling around in our brains. The main difference from our profession and that of others is that our decisions will impact the experiences, faces and lives of young people on a daily basis.

So, with that in mind, I took one last look at the whiteboard in my office and walked out in front of my students to discuss the upcoming year. I don’t know what word best describes it best — faith or, perhaps more accurately, trust? — but when given the opportunity, students continually reach farther and achieve more than I imagine. Could it be that I have been the ceiling for their achievement? Are the limitations I placed on them hindering what they can truly accomplish?

man studying what's written on white board

A New Path

Why do we create boundaries for our students? We naturally do this with the best intentions in mind. As a parent who sets out rules and expectations for my own children to protect them and keep them safe, I do the same for my students. This is not a bad thing, but it’s something that we must be aware of at all times. The decisions we make send messages to students, and therefore, they must be well thought out and deliberately planned to maximize students’ educational experience.

So, on my daily, continuing journey in this life of education, I decided last year to give away the reins to those who should be in charge. We sat down as an ensemble, laughed, joked and talked about expectations, and then I asked them what they wanted to achieve. It was illuminating to hear what they really wanted from the experience — words like fun, family, ownership, dedication and loud (there were trombone players present) kept coming up.

After establishing what they wanted, we talked about the options and the commitment required for each. This commitment took the form of a massive spreadsheet that outlined the timeline for each student that delineated which measures needed to be learned at accompanying tempos by week. The expectation for what had to be ready for each sectional was laid out for the first eight weeks of the learning period.

I rolled this out more as a question: “Is this what you really want?” They overwhelmingly approved. They were excited to be able to see what was on the horizon and to have the autonomy to shape this experience around their already busy lives. My students are involved in just about every club and organization at Forney High School, nearly all are taking advanced classes, and many of them work in the evenings. The last thing these hard-working students want is for me to drop unexpected work on them because I have no idea when their big tests are, when the busy season in their jobs might be, or when major family events are occurring. Giving them the “control” not only empowers them, but it shows a new level of trust and collaboration between each member and the directors.

What Does it Cost You

Preparation, plain and simple. Coming with a well-thought-out educational and pedagogical plan is essential. As we all know, students can see through when you “wing it,” and the message they receive when there is a lack of preparation is a lack of respect.

The key to success is building trust with students that allows them to communicate if they did not meet the goal set out in the agreed-upon plan. This also promotes honesty about their reality, which they can relay in a conversation with you. Sometimes their work or school life became overwhelming, big projects were due, unforeseen family circumstances, or even procrastination. Addressing these situations with grace and honesty is essential. Together, you can focus on recovering from whatever has happened by creating an actionable plan to get back on track today. This is a learning experience for them, and the important lessons from this — modify and adjust (on top of being honest and accountable) — will serve them throughout their lives.

Micromanagers beware. If you’re anything like me, this will feel like you’re giving away the control you perceived you had and putting it in the hands of teenagers. Well, that’s exactly what you’re doing.

Remember the whole “ceiling” talk above? This is where the rubber meets the road. It has been a major point of growth in my own teaching to see this project develop and see a new and improved form of educational leadership.

Give It Away

As often as possible, acknowledge the work and preparation of those who are staying on course. They are the ones tasked with executing the plan so when they do, let them know that their efforts are noted and appreciated. Remind them of the first conversations and the goals they set for themselves. Look at the students with this mindset: Own anything that doesn’t go well as “your fault or miscalculation” and for anything that does go well, give them 100% of the credit.

One of my favorite TED Talks is Israeli conductor Itay Talgum, who discusses how you can lead like the great conductors. Talgum deeply impacted my leadership style with students, and I took to heart his final message in his presentation: “If you love something, give it away,” which was his take on the famous Richard Bach quote.

instructor and student speaking at a panel

Berklee’s Outreach Program Celebrates 30 Years of Success

Written by Savy Leiser on March 6, 2024. Posted in Case Studies.

For the past 30 years, Berklee City Music — a part of the world-renowned Berklee College of Music in Boston — has been providing educational opportunities to a diverse range of elementary, middle and high school students with one thing in common: a strong passion for music. It was launched in response to Boston schools cutting music programs due to funding shortages.

“[The program] started to address a need,” says Dr. Krystal Banfield, Vice President of Education Outreach & Social Entrepreneurship for Berklee City Music. “There was a loss in music educational opportunities for young people in Boston in the early 1990s. The then-president and namesake of the school, Lee Berk, wanted to have some kind of program for local kids that would give them a leg up.”

Since its local beginnings, Berklee City Music has grown to include after-school and summer programs, a variety of ensembles in multiple music genres, and partner programs outside of Boston. To date, Berklee City Music has awarded more than 280 college scholarships for music students and 2,000 scholarships for high school students to attend its summer programs. The program also has 46 partner organizations around the world as part of the Berklee City Music Network, which creates a total reach of more than 60,000 students annually.

Despite these impressive numbers and association with such a prestigious music college, Berklee City Music doesn’t solely focus on the academics of music education. The program also emphasizes the development of the whole student: preparing them for college, a future career and a life of independence. “Music lends itself so much to helping our young people find their voices,” Banfield says.

Arin Canbolat, Krystal Banfield, Misael Martinez — Berklee City Music’s Arin Canbolat, Krystal Banfield, and Misael Martinez.

Starting Local

During its beginnings in 1993, Berklee City Music aimed to provide music opportunities for students in Boston public schools, especially those impacted by budget cuts. “There was a removal of music programs within the public schools. This was Berklee’s way of responding to that call,” says Misael Martinez, Assistant Vice President of Social Entrepreneurship and Creative Youth Development. “[Berklee saw that] a lot of reinforcement was needed to make up the gap between the students who had resources and those who didn’t. We wanted to catch them up, so they weren’t behind when competing for admission to an institution such as Berklee.”

The program’s top priority was to create an educational environment filled with college-caliber teachers, classes and equipment. “Berklee did an amazing job bringing practitioners to allow students to experience what it would be like to have theory classes and ensemble classes,” Martinez says. “It started creating the roots of the work that we do. Not only did students have the music and the instruction, but they were also exposed to the environment, culture and people.”

Currently, Berklee City Music offers two academies for its after-school programs: the Preparatory Academy for 3rd through 8th grade, and the High School Academy for students in 9th to 12th grade. Both academies provide students with music theory classes, ensemble performance opportunities and one-on-one lessons with an instructor.

A College Experience

To participate in Berklee City Music, prospective students must first audition. “Prior to students getting onboarded, they must go through a whole application process that is similar to applying to a performing arts school,” Martinez says. “Every student who enters the program is proctored through Berklee College faculty and looked at for their musicianship.”

However, it’s not just the caliber of instruction that helps prepare students for college; the entire recruitment and onboarding process is designed to mimic college admissions. “If they’re selected to participate … it’s like they’re matriculated into a college experience,” Martinez says. “Students must be autonomous on campus, so we make sure it’s a realistic match. They get a Berklee ID and sit down with an advisor and get a class schedule.”

A typical schedule will include three weekly classes for each student: a one-on-one lesson, a music theory class and an ensemble rehearsal.

students playing saxophone and trombone — Jazz ensemble performance at Berklee City Music’s Scholarship Concert in 2022.

A Contemporary Curriculum

Much of the music repertoire is student-selected and includes contemporary and popular music rather than classical. “It’s contemporary music, so it’s their music,” says Banfield. “It’s meeting the kids where they are [with] what they love about whatever the music is of the day.”

To choose contemporary music selections, the program’s artistic director selects a theme, and then educators allow students to choose music within that theme to perform. “When it comes time for music selection, a lot of the music is student-selected through a process that allows them to have agency and voice,” Martinez says.

For example, Martinez explains, one past theme was 1990s R&B. The artistic director chose artists such as Janet Jackson and Prince, and then teachers presented those artists to their students and asked them for specific song suggestions for their ensembles to perform. Some of the songs selected included “I Get So Lonely,” “Scream” and “Runaway” by Jackson, and “Nothing Compares 2 U,” “Purple Rain” and “Thieves in the Temple” by Prince. “Students have the ability to take all these different genres and create their own version of it,” Martinez says. “It allows everyone to shape where the curriculum is going.”

Berklee City Music includes multiple ensembles, including groups for rock, jazz and R&B specifically.

guitarist performing — Berklee City Music student performing at 2022 HSA Winter Showcase.

Beyond Beantown

During the past three decades, Berklee City Music has expanded its reach beyond Boston schools through two main avenues: 1) affiliated “clubhouse” programs and 2) a five-week summer music camp on Berklee’s campus.

As the program grew, Banfield and staff decided to expand Berklee City Music’s network to serve more students, even those outside of Boston. It began partnering with other youth development organizations, such as Boys & Girls Clubs, to create satellite clubhouses with the same educational mission.

“We knew that we wouldn’t be able to serve everyone, so we wanted to help these after-school programs,” Martinez says. “They started looking at a national model using the same design, then offering those programs we partnered with similar resources to what we offer the Boston public schools. We want to support the work that they’re doing.”

Berklee City Music also offers a five-week summer program in July and August on the Berklee College campus. This program is open to all students, even those outside of Boston schools. When students enroll in an after-school program — either through Berklee City Music or through one of its affiliated “clubhouse” organizations — they become eligible to win a scholarship to the summer program.

Much like the after-school program, the five-week summer program emphasizes the importance of preparing students for life in college. But outside of gaining independence on a college campus for the first time, some students experience other “firsts” through Berklee City Music.

Arin Canbolat, Associate Dean of Education, Outreach and Social Entrepreneurship, recalls one student who was awarded a scholarship to Berklee’s summer program. To get to Boston, he had to ride in an airplane for the first time in his life. “He got the five-week scholarship, and during his first-ever flight, he had his head between his legs the whole time,” Canbolat says. “It’s life-changing in every sense.”

drummer performing — Drummer performing at Berklee City Music’s 2022 HSA Winter Showcase

A Holistic Approach

Because children and teenagers are still developing mentally and emotionally, a truly transformative education must span beyond the academic. “You can’t separate the culture and the practice from what music is intended to do — which is to reach hearts — without considering what it means to develop young people as well,” says Banfield.

As a result, Berklee City Music staff includes specialists in the areas of youth development, social and emotional learning, and mental health.

Berklee faculty members use this holistic approach to education when evaluating student performance. When they assess students, they’re looking at their development as whole people, not just as musicians. “At the end of the program, they get a report card,” Martinez says. “Not only are they being assessed for their musicianship, but also for their leadership, and how they are engaged and involved. We want to make sure they know that we’re looking at how they can go and be citizens of the world.”

Berklee City Music aims to prepare students for the next stage of their life — which, for many of them, will be college — whether they continue studying music or move into a different field. Martinez explains that many students in the program choose to apply to Berklee College of Music. “We prepare them for wherever they decide to go, whatever the field is. What they learn with us can be part of their toolkit,” he says. “While we’re working specifically in music, our goal is to prepare them for life.”

The numbers point to educational programs like Berklee City Music helping high school students prepare for a successful life post-graduation. According to Canbolat, City Music students who received the Berklee City Music full-tuition scholarship to attend Berklee for college, “have an average GPA of 3.34, credit completion of 93% and graduation is 15% to 25% higher than the rest of the college.”

These success statistics help pre-college programs continue to thrive. “That’s a testament to what happens at the pre-college levels,” Canbolat says. “We have all these facts that say the way we do things at Berklee City Music is really working!”

Berklee College of Music is one of 10 distinguished colleges and universities selected to be part of the inaugural Yamaha Institution of Excellence program, which recognizes extraordinary commitment to innovation in the study of music. The Yamaha Institutions of Excellence were chosen for their dedication to providing unique and challenging experiences to music students through diversity of thought and curriculum. They are also recognized for exposing students to a wider variety of voices and opportunities and preparing them for the modern world of music.

The Benefits of Learning Another Instrument

Written by Aleah Fitzwater on March 5, 2024. Posted in Teaching Tips.

I remember when I began taking flute lessons when I was 11 or 12 years old. I met my teacher in the small back room of our local music store, and I told her how excited I was to take flute lessons. She asked me to tell her about myself, so I proudly said, “I play the piano by ear, the Irish whistle, and now the flute, and I sometimes strum on the guitar with my dad!”

“Whoa, whoa, whoa,” she said. “Hold on. For now, no more Irish whistle, no guitar, and a lot less piano. This is way too many instruments. You are just going to play the flute.”

I remember feeling confused and sad. The sign on her door said she taught saxophone, piano, and the flute. Why was she allowed to play three instruments, but I couldn’t?!

She told my mom that I shouldn’t play the Irish whistle again so I could focus on the flute. I was devastated. I used to play the penny whistle for hours every weekend, and now I wasn’t allowed to pick it up.

After getting my degree in instrumental music, I realized the big mistake my first music teacher made. While I know she was trying to keep me focused, sometimes it is in our best interests to explore or become a multi-instrumentalist.

Benefits for Students and Teachers

It makes it easier to compose and arrange.
Exposure to more repertoire and music history.
You gain a better overall musical perspective.

Whether you are a music student or a music teacher, learning an instrument from another instrument family will help you better understand how to compose and arrange. I found that after I went through all the music education curricula for the brass, woodwind, percussion, and string families, it was much easier to see how a full score would come together. When I only played the flute, composing for a full orchestra felt nearly impossible because I was constantly wondering what was the range of this instrument again? What does that technique symbol mean?

The new perspectives gleaned from learning one or two more instruments are amazing. And interestingly enough, I found that I can enjoy playing an instrument I don’t like listening to. Another benefit of learning a new instrument is that it exposes you to more repertoire and can increase your knowledge of music history and different composers.

The Power of Exploration

Students can discover their own personal favorites.
Experimenting with harmony instruments can help musical analysis (later down the line).
Percussion instruments help lock in rhythms in a way that one-line instruments can’t.

Having access to multiple instruments provides students with more musical exposure, and the chance to explore and decide what feels best for them. However, you must make sure that you don’t start students on a secondary instrument too early or too late. For example, I believe that the best time to expose students to both harmony/two-line instruments and single-line instruments is before they reach late junior high. Students who have been exposed to both tend to understand the bigger picture (in the context of musical analysis) a bit easier.

During my undergrad years, I struggled with rhythm, but eventually, something clicked. I believe that the combination of studying the drum set and piano helped me with rhythm because different instruments give us different skills.

The Science of Musicians and Motor Skills

The brains of musicians have more neuroplasticity, and it’s been shown that different types of musicians have different connections and pathways in their brains. Each instrument requires a slightly different type of coordination than the next.

A study published in Neuroscience found that the brains of woodwind players were quite different from the brains of string players. Specifically, musicians had different hand/face/brain regions in their motor cortex. This study (done at UCL Queen Square Institute of Neurology in London) showed that pianists and string players had a similar type of fine motor movement. However, woodwind players had greater control of the facial area of the brain, suggesting that woodwind players are better at controlling their lower faces than strings and piano players.

It may be similar for percussionists as well, although we may have to wait a while for scientific studies to be conducted. Percussionists might have more control of their whole body, or at least, their limbs. Gross motor movement reinforces rhythm better than smaller movements do, according to Dalcroze Education.

It Can Boost Your Career

Become a doubler/play in a pit.
Be a band director or orchestra director.
Boost your resume.

If you learn another instrument or two, you can take on more roles, such as being a doubler in an orchestra or a professional player in a pit for an opera or musical. If you only play the flute, you can’t play for many musicals. However, if you triple on clarinet, saxophone and flute — or add a piccolo — you can fulfill nearly every standard woodwind book. If you’re a winds player who becomes adept at playing a bowed string instrument, you can take on a job as an orchestra director if you want to, and vice versa for string players learning winds.

It Gets Easier

The first time you learn an instrument is extremely time-consuming, but the second and third instruments you pick up will be easier — learning gets faster each time. This is how people like me with degrees in instrumental music education can learn the basics of several instruments inside an instrument family in just a semester of college. Sure, there will always be difficult instruments (for me, the trombone was my weak point), but it’ll still be faster than the years it took the learn your first instrument.

It’s Freeing

One of the most gratifying parts of being a multi-instrumentalist is that it makes you feel free. I can jump from working on Oasis’s “Wonderwall” on the guitar to a Bach fugue on the piano to a pop song on the flute. Being able to play a variety of instruments makes me happy. All studies and technicalities aside, it often seems that multi-genre multi-instrumentalists feel more content and confident in their art.

There are many composers and musicians who were multi-instrumentalists. German composer Paul Hindemith could play an impressive number of instruments. It’s rumored that he played all of the instruments he wrote parts for. While his main two instruments were violin and viola, he also could play the clarinet and piano.

Russian composer Alexander Glazunov played violin, cello and woodwinds. While he was classically trained, he also became enamored with jazz. Glazunov loved learning different instruments because he felt each had distinct characteristics that were important to learn.

Multi-instrumentalists are all around us, even today. Pop-rock multi-instrumentalist Cassidy Mackenzie has made a name for herself by playing all the parts of famous pop-rock tunes, like “Dear Maria Count Me In.”

In 2024, the music world is making it easier and easier to multi-track and produce music yourself, so why not learn something new?

Jack of All Trades

The full quote about being a jack of all trades purportedly comes from the bard himself, William Shakespeare: “Jack of all trades is a master of none, but oftentimes better than a master of one.” Go learn a new instrument, which can offer years of renewed creativity, better motor skills, and a new source of enjoyment.

Eight Iconic Vinyl Records By Women

Written by Sarah Jones on March 5, 2024. Posted in Vinyl.

In celebration of Women’s History Month, here are eight iconic albums by female artists, all with one thing in common: enduring appeal.

From seminal releases to modern classics, these records are best appreciated when experienced on vinyl. So fire up your turntable and immerse yourself in the warmth and depth of music that puts women at the center of the story!

1. Back to Black – Amy Winehouse

Amy Winehouse always seemed like an artist born decades too late. Her deep contralto and distinctive blend of jazz, soul and R&B alchemized into a neo-retro sound that’s drawn comparisons to the likes of Sarah Vaughan and Billie Holiday. So it’s no surprise that Back to Black, produced by Mark Ronson and Salaam Remi and featuring Daptone Records’ funky house band, the Dap-Kings, exudes vintage vibes that practically beg to be enjoyed on vinyl. Seek out the half-speed Abbey Road master, a deluxe 2-LP set.

2. Jagged Little Pill – Alanis Morissette

Before there was Taylor Swift, there was Alanis Morissette. In 1995, the 19-year-old singer-songwriter had had enough with her label’s efforts to groom her into a pop princess, so together with producer Glen Ballard, she took her art in a radical new direction. Jagged Little Pill’s fusion of pop sensibility with uncut anger was bold for its time, but it clearly hit a nerve, with songs like “You Oughta Know” and “Ironic” becoming anthems of identity and angst that have inspired artists across generations. Look for vinyl pressings dated 2012 and later, which have been mastered and cut from the original master tapes by Chris Bellman.

3. Body Talk – Robyn

“Fembots have feelings, too,” dance-pop diva Robyn croons on this 2010 release. The Swedish superstar’s immaculately produced seventh album, originally issued as three EPs, mines all the feels, infusing buoyant club bangers with quirky lyrics and synthy Europop charm. Collaborations with Snoop Dog, Diplo, Röyksopp and Klas Åhlund, along with tracks like the shimmering Max Martin-produced breakup anthem “Dancing On My Own” prove that dance music can have a heart. Body Talk was re-issued as a compilation for Record Store Day in 2019; the white 180-gram limited edition features a bonus acoustic recording of “Stars 4-Ever.”

4. Blue – Joni Mitchell

Critically acclaimed and deeply personal, this landmark album is a masterpiece of introspection, exploring themes of love and sacrifice in 10 intimate songs that showcase Joni Mitchell’s unparalleled talent as a writer and musician. Minimal accompaniment (from sidemen including James Taylor and Stephen Stills) keeps the spotlight on Mitchell’s plaintive vocals and intricate guitar and dulcimer work, which are simply stunning. Many stellar vinyl pressings of Blue exist; the most coveted are those mastered by Bernie Grundman, Kevin Gray and Steve Hoffman.

5. I Never Loved a Man the Way I Love You – Aretha Franklin

Aretha Franklin’s 1967 Atlantic Records debut, helmed by legendary producer Jerry Wexler, ushered in a new era for the then-24-year-old singer, and for R&B. Recorded by Arif Mardin and Tom Dowd and featuring the crack Muscle Shoals rhythm section, the album showcases Franklin at the height of her powers, set free from the confines of overproduced pop and revealing her truth as the Queen of Soul. From the title track to the iconic “Respect,” these are arguably the strongest performances of Franklin’s six-decade career. Purists often seek out mono versions of this album, such as the 2019 purple-and-white 180-gram version made from lacquers cut from the original mono tapes.

6. Jolene – Dolly Parton

In the 1970s, country music was in a period of transition as traditional country sounds began incorporating elements of folk, rock and pop. For Dolly Parton, the decade was a time of tremendous personal and professional growth. Jolene, her 13th album, debuted in 1974 following the singer’s departure from country star Porter Wagoner’s variety show. (The album’s biggest single, “I Will Always Love You,” was a goodbye letter to Wagoner following their professional parting of ways.) A rich sonic tapestry that perfectly complements Parton’s emotive vocals and mature storytelling, Jolene captivates with its authenticity and ageless appeal. While the original pressing is considered one of the best, audiophiles are already lining up for the summer 2024 release of the 50th anniversary pressing on 180-gram purple and blue galaxy vinyl.

7. What a Diff’rence a Day Makes – Dinah Washington

Celebrated as one of America’s finest vocalists, Dinah Washington effortlessly navigated genres from blues to gospel to jazz. What a Diff’rence a Day Makes marked a shift toward pop, featuring lush orchestral arrangements and smooth melodies that extended Washington’s appeal to wider audiences — ultimately earning Washington a Grammy^® Award and a Top Ten hit with the title track — while preserving her inimitable vocal delivery and emotional depth. Although the album initially drew criticism from purists for its “mainstream” stylings, this sweeping, brooding vocal jazz masterpiece still bewitches, more than half-century after its release.

8. Tracy Chapman – Tracy Chapman

Tracy Chapman has been having a renaissance moment ever since she joined country singer Luke Combs to deliver a heartfelt rendition of her 1988 hit “Fast Car” at the recent Grammy Awards show. For many Millennials and Gen Z-ers watching, the performance was an introduction to the singer-songwriter, but for those who came of age with Chapman, it was a reminder that her music is as relevant and moving today as when she emerged on the scene nearly four decades ago. Her self-titled debut album tackles themes of social justice with poignancy and grace, and a vinyl listen reveals the many ways the sparse arrangements keep the focus on the warm timbre and quiet power of Chapman’s voice.

Check out these turntables from Yamaha.

Closeup of a woman playing a bass guitar.

Dynamic Bass Playing

Written by E.E. Bradman on February 29, 2024. Posted in Bass.

Consider the importance of volume. When you whisper, people can ignore you or lean in closer. If you shout, you get attention, both wanted and unwanted. Our volume dramatically influences how listeners receive our statements, reactions, questions and answers. How loudly you speak can be just as important as what you say.

Music is conversation, and playing in a band is a real-time group discussion with instruments. Sometimes everyone talks at once; other times, there’s a clearly defined hierarchy that makes room for each voice. In normal conversation, of course, everyone is free to contribute or stay silent, but in music, bass players and drummers are usually expected to provide continuous rhythmic and harmonic support for guitarists, keyboardists and other soloists. We are the backbone of the ensemble, and we do our jobs better when we play with conviction. But understanding group dynamics (that is, the interplay between musicians) and musical dynamics (the strategic use of volume) can bring nuance and sophistication to our performances.

Let’s take a closer look at how this works specifically for bassists.

PHRASING AND PACING

Start by simply listening to yourself. In your head, re-read the first couple of paragraphs above. Notice where you pause, what you emphasize, and which sentences you sew together or stumble over.

Now read it once more, but this time, be silly. Stretch phrases. Skip words. Read it like an auctioneer. Pretend you’re singing an opera, doing a play-by-play at a football game, or telling a spooky story at a campfire.

Becoming familiar with your own phrasing, pacing and preferences helps you notice other musicians’ sonic signatures and develop your own. Just as your voice changes depending on who you’re talking to, you can tailor your playing to conjure certain emotions or fit specific situations.

Here’s an example of two bass parts for the same chord progression. As you can hear, the first audio clip is busy and interactive compared to the second one’s sparser line and longer notes. Both tracks are recorded with the same Yamaha BBP35, but they feel different and have different intentions. Put your own spin on this track by playing along to it on YouTube.

LOUDER AND SOFTER

A truly dynamic bassline changes throughout a song, spotlighting each section and responding to other instruments (as well as the vocalist, if there is one). In the two audio clips below, we hear the Yamaha BBP35 holding down the low end on a demo of a song called “Let Me Sleep On It” (not the Meat Loaf version.) Positioning my picking hand close to the neck gave me a tone reminiscent of synth bass, which blended well with the track.

In the first of these clips, the bass part keeps time, but it doesn’t distinguish much between verses and choruses. There’s very little variation in volume.

In the second audio clip, however, the bass part begins the song by staying out of the singer’s way. (It’s always good to leave yourself lots of room to get busier later on!) At the first chorus, around the 0:51 mark, the bass interacts with a new drum part, returning to its previous level for the verse at 1:15 and getting bigger again for the chorus at 1:39. Notice how it drops out altogether before returning for the bridge and the last verse. Finally, at 2:56, there’s a fill followed by a final verse with big bass before an ending that’s coordinated with the keys.

EBB AND FLOW

When you talk to a friend or send text messages, notice the conversation’s dynamics. Do you interrupt each other? Is one of you a better listener? Do you finish each other’s sentences? Perhaps you change roles depending on who you’re talking to and what you’re talking about. Next time you’re on stage or watch a band, pay attention to how the musical conversations ebb and flow within a song and over the course of an evening.

It’s fun to watch how masterful musicians adapt in a group context, too. Most classical music pieces, such as this excerpt from the 4th movement of Anton Bruckner’s Symphony No. 4 (“Romantic”) are capable of extreme dynamics, from a whisper to a roar. James Brown masterfully directed musicians to step up, accent or lay out, with devastating effect. Anyone who’s ever played with a singer knows about staying out of the way — taking a solo and then melting back into the ensemble. Most jazz musicians learn to flow within the context of a song’s arrangement, staying open to whatever might occur. In this live Pat Metheny Group performance, for example, you can hear bassist Steve Rodby expertly shepherding each section of “Phase Dance” as it unfolds, taking just enough space.

Many of us instinctively lay back on a ballad and step on the gas for high-energy choruses. Lean into those inclinations and notice when the opposite might be true. Just as an ALL-CAPS COMMENT on social media “sounds” loud and rude, a performance without variation can be tough for listeners and tiresome for musicians.

FAST, BUT QUIET

A teacher once told me how his use of dynamics got him a high-profile bass gig — by accident. He was jamming with a band that already had a great bassist, but when he played an uptempo bass part without getting louder, it made such an impression that the band offered him a tour and recording dates on the spot.

It can feel natural to play harder (and therefore, louder) at fast tempos. Many of us tense up and dig in when we’re feeling heightened emotions, which can be intensified by the pressure of going for the perfect studio take or playing in front of an audience. But technique and preparation give you more options.

To become aware of tension in your body, set a metronome to a comfortable BPM and gradually increase the tempo. Notice when your picking-hand wrist gets stiffer, your forearms tense up and your grip on the pick gets tighter, or your alternating index and middle fingers have trouble keeping up. When you reach your limit, stop, note the tempo, slow the metronome down a little and try again while taking deep breaths. You may be surprised at what’s possible when you are not breathing at the same BPM as the music.

DYNAMICS DO’S AND DON’TS

Here are a few additional do’s and don’ts when it comes to playing bass dynamically:

Playing hard/digging in shouldn’t be your default setting. Instead, consider it to be a particular type of tone for the toolbox.
Don’t always have the bass super loud (unless you’re playing a genre that demands it, like reggae). Come in and out at the right times, and leave them wanting more!
At live gigs, turn down your bass and turn up your amp. Let the amp do the heavy lifting.
To increase your dynamics, try not to use too much compression, which evens out volume by making soft sounds louder and loud sounds softer. Check out this posting for more information about how to use compression on bass.
EQ also makes a big difference when it comes to dynamics. With the right mids, for example, you can turn down and still be articulate; too much low end/muddy tone is a no-no.

IT’S A TEAM SPORT

Music is a team sport. Awareness and good technique help you to be efficient and stay relaxed, and knowing the music inside and out will help you maintain control, even at fast tempos. Everyone in the band benefits when we are all on the same page, engaging in a conversation that can go anywhere the music wants to take us.

Explore Yamaha trombones.

Closeup of strings section of an orchestra playing.

The 10 Best Pop/Rock Orchestrations

Written by Rich Tozzoli on February 28, 2024. Posted in Music and Streaming.

What can make a great pop/rock tune even better? How about some masterful orchestration? From a full-blown classical orchestra to just a string and brass section and beyond, the art of orchestration can lift a song to a whole new level. Here are ten of the best ones ever released.

1. KASHMIR – LED ZEPPELIN

Most people consider this to be one of Led Zeppelin’s best musical works, and a lot of the appeal has to do with the orchestration that swirls around the hypnotic Middle Eastern-influenced guitar riff, powerful drums and mystical vocal delivery. The record actually started as a demo played by just guitarist Jimmy Page and drummer John Bonham. Singer Robert Plant then added lyrics and bassist/keyboardist John Paul Jones later added a Mellotron part and wrote the orchestration, bringing in session players for the horn and string parts, making this one of the few Zeppelin songs to use outside musicians. A classic that will rock any system! Listen to it here.

2. ELEANOR RIGBY – THE BEATLES

Producer George Martin has often been referred to as the “Fifth Beatle,” and this track, featured on the group’s 1966 Revolver album, provides a strong argument for the title. Martin composed the memorable string line, which he later said was influenced by Bernard Hermann’s score of the film Psycho. It was recorded by engineer Geoff Emerick, who was apparently berated by the string players for putting the microphones too close to them in order to get an edgier sound. Even though Martin had previously scored the group’s hit song “Yesterday” for a string quartet, here it was written for an octet consisting of four violins, two violas and two cellos. Logs indicate that the string overdub session for this track, recorded at EMI Studios in London, lasted for just three hours. Without question, those were some of the most important 180 minutes in pop/rock history. Listen to it here. (For an even greater appreciation of Martin’s masterful score, listen to the isolated strings here.)

3. GOD ONLY KNOWS – THE BEACH BOYS

Orchestration doesn’t have to consist of traditional symphonic instrumentation. “God Only Knows” breaks the mold by including not just strings, clarinets, flutes and a very prominent French horn, but also accordion, sleigh bells, harpsichord, tack piano and plastic orange juice jugs for percussion. Composed and orchestrated by the incomparable Brian Wilson (with lyrics by Tony Asher), the track features Brian’s brother Carl on lead vocals. In an homage to Phil Spector’s legendary Wall of Sound production approach (Wilson idolized Spector), the 20-plus musicians on the backing track all played live in one room — Studio 3 at Western Studios in Hollywood — and it took no less than 22 takes before Brian was satisfied. Listen to it here … or check out the backing track on its own here.

4. I DON’T WANT TO MISS A THING – AEROSMITH

Written not by the usual Aerosmith composing duo of Steven Tyer and Joe Perry but by Grammy^® Award-winning songwriter Dianne Warren, this track provides a great example of how orchestration can enhance the work of even the hardest rockers. It was presented to the band as a simple demo with just piano and vocals … and with help from producer Matt Serletic, they turned it into a number one hit single. The soaring string orchestration, written by cellist/conductor/arranger Susie Katayama, helped it to serve perfectly as the title track to the 1998 film Armageddon, which featured Steven Tyler’s daughter Liv. Listen to it here.

5. STRANGE MAGIC – ELECTRIC LIGHT ORCHESTRA

Well, they do have the word “orchestra” in the band name! Written by Jeff Lynne, this up-tempo pop track first appeared on ELO’s 1975 Face The Music album and later became a massive hit single. The intro is swimming in strings right from the start. The full orchestra makes its first appearance at the chorus hook and then darts in and out of the rest of the tune. Note that the track was released as a single in 1976 in two versions: one full mix and one for the U.S. market with more edits and no orchestral into. Listen to it here.

6. BETH – KISS

KISS and a symphony orchestra? Yes, and the orchestration helped turn this ballad into the rock ensemble’s biggest commercial hit in the United States. Included on the 1976 Destroyer album as a last minute addition, the track features the raspy singing of drummer Peter Criss, but what really carries the song is the power and might of the New York Philharmonic. All 25 members recorded their parts with producer Bob Ezrin at A&R Studios in New York City. The violins, violas and cellos are accompanied by tubas, trombones and French horns. Definitely not your average KISS song! Listen to it here.

7. PHILADELPHIA FREEDOM – ELTON JOHN

Written by the longtime partnership of Elton John and Bernie Taupin, this was released as a single in 1975 and quickly rose to the top of the charts. The song was recorded the summer previously, in-between sessions for John’s Captain Fantastic and Brown Dirt Cowboy albums, and was conceived as a tribute to tennis star Billie Jean King, with orchestration by American conductor, composer and arranger Gene Page. The string arrangement features soulful melodic lines that have become an integral part of the piece, along with lower brass lines and flutes that weave throughout the tune. Listen to it here.

8. NIGHTS IN WHITE SATIN – MOODY BLUES

When singing the timeless hook to “Nights In White Satin,” how can you not hear those soaring strings right underneath it? This Moody Blues track was first released in 1967 before being reissued in 1972, which is when it reached number 2 on the Billboard charts … and, incredibly, continued chart reentry for another decade. The intro to the song, as well as the end chorus and what is referred to as the “final lament” section all feature the London Festival Orchestra, with additional flute and string sounds courtesy of keyboardist Mike Pinder’s Mellotron, which add even more passion to this already emotion-laden track. Listen to it here.

9. SPACE ODDITY – DAVID BOWIE

David Bowie’s “Space Oddity” was first released as a single in 1969, literally days before the first moon landing (no coincidence, to be sure) and also served as the opening track of his eponymous second album, David Bowie. A tale about a fictional astronaut named Major Tom, the lyric is partly inspired by the classic 1968 Kubrick film 2001:A Space Odyssey. The track was recorded at Trident Studios in London and features not only a stunning string arrangement by British cellist/arranger Paul Buckmaster, but additional flutes and woodwinds orchestrated by longtime Bowie producer Tony Visconti, augmented by Mellotron work from Rick Wakeman. A full-blown five minute fifteen second masterpiece! Listen to it here.

10. YOU CAN’T ALWAYS GET WHAT YOU WANT – ROLLING STONES

Take Mick Jagger, Keith Richards and the other Rolling Stones, then add in the London Bach Choir, Al Kooper on piano, organ and French horn, Rocky Dijon on congas, maracas and tambourine, and a variety of background singers. What do you get? A track considered by many to be one of the greatest recordings of all time. The choir (arranged by Jack Nitzsche) delivers an understated intro before Richard’s gentle acoustic guitar and Jagger’s plaintive vocal make their entrance, later reappearing both mid-song and in the long, kick-out-the-jams outro, climbing higher, ever higher as the excitement builds. Turn this one up! Listen to it here.

Eight Awesome Trombone Solos

Written by Marc Hopkins on February 23, 2024. Posted in Brass.

The trombone has been around since the 15th century and continues to play a vibrant role in many different genres of music. Uniquely, it’s outfitted with a slide, used to alter the pitch as it is extended and shortened, thus facilitating smooth glissandos between notes.

The sheer versatility of the trombone sets it apart from other musical instruments. In the hands of a deft practitioner its sound can rival the nuance of a guitar or a singer’s voice. “My greatest teacher was not a vocal coach, not the work of other singers,” Frank Sinatra once said, “but the way [bandleader] Tommy Dorsey breathed and phrased on the trombone.”

Here are eight of the most memorable trombone solos ever recorded.

1. TOMMY DORSEY – “I’M GETTING SENTIMENTAL OVER YOU”

Initially recorded by the Tommy Dorsey Orchestra in 1935, this piece eventually became known as Dorsey’s theme song. The track begins with Tommy playing the melody softly so the trombone doesn’t compromise the guitar gently strumming underneath. The song became a standard and has been revisited for decades by numerous artists such as Jack Johnson and his Orchestra, Ella Fitzgerald with Count Basie and his Orchestra, and Joey DeFrancesco. Listen to it here.

2. CHRISTIAN LINDBERG – “FLIGHT OF THE BUMBLEBEE”

Performed with the sensibilities of an Olympic sprinter, Lindberg’s agile and frenetic pace creates an aural picture of a bee in flight. Unlike many other solos, it doesn’t build in intensity over time — it starts with a crescendo and stays there for over a minute. The composition was written by Nikolai Rimsky-Korsakov as an interlude for The Tale of Tsar Saltan, an opera he composed in 1899. It’s played during a moment in the story where Prince Gvidon is turned into bee by a magical swan. Listen to it here.

3. J.J. JOHNSON – “A NIGHT IN TUNISIA”

In the 1940’s Johnson played with Benny Carter’s Big Band and the Count Basie Orchestra. With the support of Dizzy Gillespie and Charlie Parker, he eventually evolved into one of the most pivotal musicians of the bebop era. He’s also credited with resurrecting the relevance of the trombone, which was seen at the time as an awkward instrument that couldn’t match the dexterity of the saxophone or trumpet. In this standard, written by Gillespie, Johnson’s unique precision and style — which led many listeners and reviewers to believe that he was playing a valve trombone instead of the standard slide version of the instrument — is on display throughout, but especially during his extraordinary solo and outro. Listen to it here.

4. RUSSELL SHARP – “BLUE BELLS OF SCOTLAND”

In this 2021 performance with the United States Marine Band, trombonist Staff Sgt. Russell Sharp offers a nimble rendition of this Scottish folk song (arranged for trombone by Arthur Pryor), easily shifting between rapid passages and lazy interludes as if putting the lyrics on display. (“Oh where, tell me where, has your Highland laddie gone?”) Bluebells are wildflowers native to the United Kingdom; in Scotland, they symbolize everlasting love. The song is usually played in a breezy flowing style, without pausing between notes, making it exceptionally difficult to play on trombone. Listen to it here.

5. AL GREY – “DON’T GET AROUND MUCH ANYMORE”

Trombonist Al Grey of the Count Basie Orchestra turns in a spirited rendition of this Duke Ellington standard in this performance. By using a mute to tailor the sound of the notes, he creates an aural experience that goes beyond what the original score intended. Much like the way a wah-wah pedal alters the sound of electric guitars, horn mutes produce a different quality in the music to evoke a desired effect on the listener. Grey continues the tradition by truncating some notes and extending others, while effortlessly manipulating the slide and the mute simultaneously. Listen to it here.

6. PHIL WILSON – “LONESOME OLD TOWN”

During a 1964 live performance with the Woody Herman Orchestra in England, trombonist Phil Wilson distinguished himself with this delicate, though at times aggressive, solo. He opens with a bluesy moan that rises above the steady flow of the horn section around him, then expands the theme by adding shorter, sharper, phrases but concludes the way he started, with a high-pitched moan. Listen to it here.

7. RANDY PURCELL – “FEELINGS”

In this live performance of the 1974 soft rock ballad “Feelings,” Purcell and trumpeter Maynard Ferguson pair up in an arrangement created by the trombonist. Once they establish the original melody, the duo breaks free with expressive phrasing that reaches beyond the original sheet music. During his solos, Purcell flutters during some passages while lengthening others. When the full orchestra kicks in, this melancholy staple is transformed into something greater than its radio-friendly beginnings. Listen to it here.

8. WILLIAM BILAL – “BLACK & BLUES”

Historically Black colleges and universities, also known as H.B.C.U.s, have created environments where African-American students and other nationalities can thrive in academics and athletics. Over time, they have also developed talented marching bands admired for their musicianship and choreography. In this example, the trombone section of the Benedict Marching Band transforms Al Jarreau’s mild-mannered R&B track into a fight song. The intensity of the call-and-response between the lead trombonist and his bandmates builds throughout the piece, causing endorphin levels to reach their peak. Listen to it here.

Spotlight on the Yamaha HA-L7A Headphone Amplifier

Written by Yamaha Corporation of America on February 20, 2024. Posted in Gearguide.

Yamaha has been scaling new sonic heights for over 30 years, introducing some of the most revolutionary Hi-Fi components the audio world has ever seen. The new flagship Yamaha HA-L7A audiophile-grade headphone amplifier is one such product. Let’s take a closer look at some of its key features.

AUTHENTIC SOUND

Electronics unit on desk next to laptop.

When listening on headphones, it’s easy to hear all the components of sound, including some that may not be audible when listening through speakers. The HA-L7A has an extremely high slew rate — something that’s essential for ultra-high resolution — ensuring that even the most delicate signals are handled with precision. As a result, every sound, from instruments to vocals and dialogue, is reproduced authentically without any unnatural coloration or timbral changes.

THREE FRONT PANEL HEADPHONE JACKS

The front panel of the HA-L7A features two balanced headphone jacks that allow you to fully enjoy the detailed high quality of balanced circuitry, as well as an unbalanced headphone jack that reduces contact loss thanks to gold-plated connectors. NEUTRIK jacks are used for the XLR balanced headphone jacks, and Pentaconn terminals are utilized for the 4.4 mm 5-pole terminals, allowing you to connect your preferred headphones and unleash their full potential.

CONNECTIVITY WITHOUT COMPROMISE

Rear panel view of electronics showing where cables etc. plug in.

The HA-7A offers a comprehensive set of input terminals, including USB (type B), coaxial and optical, allowing you to connect a variety of devices, such as high-resolution DAPs (digital audio players), PCs and CD players. Because it is compatible with such a wide variety of music, video and entertainment sources, you can immerse yourself in your favorite listening content with unparalleled sonic performance.

It also features built-in XLR and RCA pre-out/line-out output terminals, allowing the HA-L7A to serve as a standalone D/A converter (see below) or preamplifier, providing exceptional connectivity and expandability options when using an external amplifier.

SIX SOUND FIELD MODES

The HA-L7A utilizes the unique signal processing and multi-channel expansion technologies Yamaha has developed over its many years of designing AV components, including the same Yamaha CINEMA DSP Sound Field creation technology incorporated into many of our AV receivers.

The supplied remote allows you to choose from six convenient options that create optimal sound for music, video and other specific sources, allowing you to enjoy all kinds of entertainment content with a full sense of realism and immersion that takes headphone listening into uncharted sonic territories.

OLED DISPLAY WITH HIGH VIEWABILITY

The top panel of the HA-L7A features a large OLED display that provides a variety of information, including the input source, its sampling frequency, volume, and the name of the current Sound Field mode — all in an exceptionally easy-to-read manner. The display automatically turns off after being operated, eliminating any distraction to the sound.

ELEGANT ROTARY DIALS

The robust chassis is comprised of thick aluminum, as are the master volume and mode selector rotary dials. A sandblasting process provides a luxurious textural feel, contributing to the elegance of high-end audio right down to the smallest detail — delivering a supremely satisfying tactile experience.

ADVANCED DESIGN AND COMPONENTRY

The HA-L7A adopts a low-noise design that isolates the three circuit boards: the main board, the amplifier board and the power supply board. The main board eliminates any undesirable cross effects between the digital and analog signals by utilizing a multilayer design that thoroughly eradicates ground loops.

Following traditional audio principles and maintaining a low center of gravity, the two toroidal transformers employed by the HA-7A (see below) are mounted on the main frame and are prominent in the unique external design, evocative of fine modern architecture. The main transformer is located immediately above the power supply board, minimizing the power supply path for both high sound quality and a very cool cosmetic.

By using only the highest quality parts meticulously selected through repeated listening tests, the HA-7A delivers the most natural sound reproduction possible. For example, a MUSES72323, famed for its exceptionally low distortion and low-noise output, is used for the volume IC, while the power supply IC made by Analog Devices boasts low output noise with high ripple rejection. The converter section features the ES9842QPRO, made by ESS Technology.

DUAL TOROIDAL TRANSFORMERS

Two small transformers wrapped in copper wire.

The power supply section employs independent transformers for the minute-signal circuitry in the front stage and the amplifier section in the second stage, all designed to minimize noise due to mutual signal interference. The usage of toroidal transformers also significantly reduces magnetic flux leakage. In addition, the employment of bifilar winding minimizes voltage variations, which in turn enhances the stability of the power supply and imparts extraordinary spaciousness to the sound, with powerful low-frequency reproduction.

UNIQUE PATENTED AND BALANCED POWER AMPLIFIER TECHNOLOGY

Yamaha has optimized its patented Floating and Balanced Power Amplifier technology for the HA-L7A. A total of four sets of power amplifier circuits on the plus and minus sides of the left and right channels of the output stage are floated from the ground, resulting in thoroughly symmetrical push-pull operation of the output stage. Connected headphones can be driven without altering the amplifier configuration between balanced and unbalanced, minimizing any sound quality discrepancies due to different output terminals.

In addition, all circuitry, including the power supply, is completely independent of the ground, and all effects of minute voltage fluctuations and external noise surrounding the ground are thoroughly eliminated. This design allows the HA-L7A to deliver a natural and fatigue-free sound, even when listening for long periods of time.

ELITE ULTRA-HIGH PERFORMANCE 32-BIT D/A CONVERTER

Sparing no expense to realize superior sonic quality, an ESS Technology ES9038PRO D/A converter is incorporated, renowned in the DAC industry for top-quality reproduction of even the softest audio signals. Its dedicated master clock utilizes a crystal oscillator with ultra-low phase noise to attain highly precise D/A conversion and features an eight-channel D/A converter housed inside the chip that applies four-channel conversion to the left and right sides respectively. Utilizing this four-channel bundle delivers exceptionally high-quality audio output with broad dynamic range and superior signal-to-noise ratio. This unlocks a greater sense of enjoyment in headphone listening so you can intimately experience even the background noises of the concert hall and the most minute details in the sounds of the instruments.

The DAC processing employs two dedicated clocks: a 44.1 kHz system and a 48 kHz system that uses a high-precision crystal oscillator with low phase noise. The entire DAC section is designed to be less susceptible to external clock jitter through placement of the clock with the crystal oscillator as the master clock near the device.

BALANCED TRANSMISSION

All major stages after the DAC are unified with balanced circuitry and discrete configuration, achieving a fully balanced transmission from the D/A converter output to the headphone jack. This same type of conversion is also performed internally for unbalanced inputs, delivering the unique advantages of balanced transmission and amplification such as minimizing external noise and sound quality deterioration, while applying them to a wide range of input sources.

Additionally, when combined with headphones that support balanced drive, the common impedance of the transmission system is suppressed, further enhancing the signal separation that is crucial for quality headphone listening.

PURE DIRECT

A Pure Direct function, selectable from either the remote or the top panel, reduces noise by bypassing all circuitry that is not present in the original input source, such as DSP processing and analog-to-digital converters for analog audio. It ensures purity of the signal and enhances the sound, letting you fully enjoy the subtlest nuances in the music.

USB DAC FUNCTIONALITY

The HA-L7A’s USB DAC functionality allows DSD (Direct Stream Digital) files of up to an 11.2 MHz sample rate or 32-bit PCM files with sampling rates of up to 384 kHz to be played with asynchronous transfer under the control of the HA-7A’s high-precision clock. This greatly reduces jitter and allows accurate reproduction of even the most demanding high-resolution sound sources.

HEAVY-DUTY CONSTRUCTION

To eliminate any detrimental impact of external and internal vibrations on the audio signals, the HA-L7A has a rugged construction that combines an original design concept with parts of high rigidity. An 8 mm extruded aluminum panel forms the L-shaped top surface, while the naturally vibrating toroidal transformer is mounted firmly onto a 2 mm steel plate. Even stronger support is provided by a thick front panel, a double rear panel, and a unique housing design that features a bottom cover at the end. Through this heavy-duty housing, unnecessary vibrations are suppressed, enabling powerful yet supple low-frequency reproduction, and allowing you to completely feel the energy and realism in the music.

SOLID METAL FEET FOR STABILITY

Small cone shaped metal leg on electronics unit.

The HA-L7A’s distinct L shape is supported by five conical steel feet at each corner of the chassis, with dampers cushioned between each foot and the bottom panel that effectively suppress any vibration, allowing firm and stable support on just about any surface. Combined with the massive 11.7 lb body, all elements work together to effectively eliminate unwanted vibrations while achieving focused and realistic sound reproduction.

Check out the video:

The HA-L7A is the perfect partner for the Yamaha flagship YH-5000SE headphones. Learn more here.

Explore the HA-L7A.

Sustainable Excellence

Written by Don Stinson and Justin Antos on February 15, 2024. Posted in Self-Care.

We had a clear picture and script in our minds of what being an impactful music educator would look like. We’d enter these programs and elevate these kids to new heights: district, state and national events. Our programs’ names would be in the spotlight, and our students would be a part of one of those renowned programs.

We finally landed the job, got our keys and settled in. We set up everything, planned our concerts for the next year or so, but really focused on that first performance. We were ready to burst onto the scene like a rocket and show everyone how it’s done.

However, that’s not what happened. Sure, our concerts may have been successful, but we never quite gained the traction we thought we would, nor the momentum that the programs we idolized had. In fact, it turned out that our goals as directors didn’t exactly align with our school and community.

As directors of our programs, we spent countless hours and money honing our craft. We are experts in our field! Naturally, we should set the vision for our program, right? Not exactly. We learned that others had visions, too. Not just our school, but every group involved with it. The students had a vision. So did the parents, administration, alumni, community and even the guys who hung around the fence after football games.

But what about us? Are we going to abandon what we wanted? Or, even worse, will we have to give up our goals?

The word “compromise” can be polarizing. On one hand, it’s a way to unite everyone and achieve a common goal; everyone gets a bit of what they want or need. On the flip side, it might mean that no one gets what they want; instead, we just have to settle.

We love our roles, yet these positions, like many teaching jobs, come with significant challenges. Many music teachers start their careers with high aspirations: conducting concerts, participating in state events and aiming for national recognition. However, reality is different due to various factors, such as a lack of awareness or differing priorities within the school or community. Shifts, ranging from new opportunities to rebuilding post-pandemic, may alter our paths. However, viewing these discrepancies as chances to redefine success and set realistic goals can be enlightening. They may actually be opportunities to understand our community and ourselves better.

Redefine Success

In music education, there is no single definition of success. When we see outstanding performances by nationally renowned schools at professional conferences, we see a snapshot of what can result when effective systems are put in place that allow these schools to become nationally renowned in the first place. What we do not see are how these programs’ frameworks were conceptualized, the longitudinal growth these ensembles (and directors) experienced throughout the years, or what these schools’ novice groups sound like.

It is therefore important not to view success exclusively as a checkbox of high-profile achievements, but more of a SUCCESS-ion of little victories. Where we find ourselves along our success continuum is not as important as the journey itself. Especially in programs with limited resources, success should be more about the lasting, positive impact on students’ lives, and not just reaching for prestigious recognition. This means embracing creativity and resilience, even when faced with challenges like outdated instruments or tight budgets. We know — it’s easy to say when you have everything you need.

Mariachi Case Study: In such scenarios, success could be about innovatively engaging students with what’s available, focusing on music theory and appreciation, or fostering community involvement for support. I (Justin) teach at Dwight D. Eisenhower High School in Blue Island, Illinois, which has a high Mexican student population. In fact, many of my students grew up with mariachi music in their households. Even though I did not, I thought it would be foolish to cast this rich musical tradition aside in favor of playing classic band literature. After all, I wanted my students to be curators of their musical education, not just consumers.

After a year or so on the job, I created a mariachi band that was open to anyone who was interested in performing or learning mariachi music. As the program grew, I raised funds to purchase authentic instruments like the guitarrón and vihuela. Every year since, my students have collaborated to teach each other the artform, arrange popular songs, develop rehearsal strategies and perform throughout the community. Just last spring, our final project involved creating a mariachi-style arrangement of our school’s fight song from 1961. Students translated the lyrics into Spanish, wrote and taught each other their own parts using a modern band approach, and then they created a studio recording of the song. The entire process was a huge success and was one of the most memorable experiences of last year’s senior class. Even though this success did not come in the form of straight Division Is at a state or national festival, it wasn’t about that, nor was it supposed to be. Instead, it was more about the joy and growth in students as they mastered new concepts, reflecting the true essence of music education.

Ultimately, redefining success in music education is about shifting focus from limitations to possibilities. It’s about the small yet significant impacts — the growth, the “aha” moments and the joy of learning. Drawing inspiration from other subjects, like the collaborative spirit in science or the engagement focus in math, can enrich music teaching. It’s about creating a music class that’s more than just notes and rhythms; it’s a space for growth, connection and enjoyment. Music is about harmony after all, and that should be reflected in how it’s taught.

man holding an hourglass — Photo by ARAMYAN / Adobe Stock

Play The Long(er) Game

I (Don) have a friend who is in their 12th year of teaching. A couple of years ago, they wanted to leave their position. They felt they had accomplished what they could in their current role and believed a new job would offer new opportunities. I wholeheartedly disagreed. As a good friend, I had to be honest with them.

While a new job can present new opportunities and a fresh start, moving to a new school means leaving behind not only past mistakes but also your credibility, relationships and progress within your school and community. We’re not suggesting that people should never pursue a new job; we absolutely encourage doing what’s best for you. But in this case, I felt this educator was on the brink of a breakthrough. We discussed their current position and aspirations. It turned out their concerns were more about personal professional growth than about the school or community. Feeling professionally stunted, they struggled to find ways to improve, a common challenge for music teachers who often work in isolation.

After further discussion, they decided to stay another year or two. They embraced their weaknesses and sought help from retired teachers and current colleagues. They revamped their warm-up and technique methods, moving from what they did as a student to techniques that better served their students. They discarded limiting beliefs like: “Kids at this age can only focus on notes and rhythms” and “I can’t connect with Title I kids because I wasn’t one.”

The job became harder, but also more rewarding. The music groups improved, enrollment increased and non-music students expressed interest in joining. Open dialogues emerged, with students sharing their interests in pieces and festivals. The instructor, too, became more open about discussing students’ goals and aspirations. Together, they decided on their objectives, where to perform and how to conduct rehearsals. Within two years, the culture transformed.

The group enjoyed success, receiving festival invitations and working with visiting composers, who the students eagerly sought autographs from. The change extended to the community: home concerts became packed events with audiences respectfully silent during performances and giving standing ovations afterward. When asked about the key to sustainable excellence, the instructor pointed to the day-to-day rehearsals. These sessions, regardless of upcoming events, have turned into environments where students explore advanced concepts and, like the instructor, push through fear and apprehension. While recognition and performances are rewarding, the program’s greatest achievement is thriving within the community they created.

Patience and commitment are indispensable virtues in the journey of an educator, especially in the field of music education. Success in this realm is rarely immediate; it’s often the result of years of diligent work, continuous learning and gradual improvement. It’s crucial for music teachers to understand and embrace this “long game.”

The journey will inevitably include setbacks and periods of slow progress, but these challenges are not indicators of failure. Instead, they’re opportunities for growth and learning. Perseverance and resilience become key, allowing teachers to steadily build a program that is both robust and impactful. It’s about setting a long-term vision and taking consistent, small steps toward it, understanding that each day’s effort contributes to a larger goal. This approach helps in creating a sustainable and enriching music program that leaves a lasting impression on students.

man sitting at desk in front of laptop and other papers slumped over and looking overwhelmed

Self-Care

We love our programs and community, but they will absolutely take all the time that we give to them. We must reserve time and energy for ourselves and others in our lives. Look at it this way: You can’t miss something if you’re always around it.

To avoid burnout — a state of emotional, physical and mental exhaustion caused by prolonged stress — music educators must adopt strategies to sustain their enthusiasm and energy. One effective method is maintaining a healthy work-life balance, ensuring that time is set aside for personal well-being and leisure. This balance is crucial in preventing exhaustion and keeping one’s passion for teaching alive.

Additionally, seek ongoing professional development. Attending workshops, collaborating with other music educators or even pursuing further education can provide fresh ideas and renewed inspiration.

Perhaps most importantly, it’s essential to celebrate small victories along the way. Whether it’s a student mastering a difficult piece, a successful small performance or a breakthrough in class engagement, acknowledging and celebrating these moments can provide a sense of accomplishment and motivation to continue. These practices not only help in avoiding burnout but also contribute to building a fulfilling and sustainable career in music education.

silhouette of a group of students jumping up in celebration

Community and Culture

Integrating the cultural and community context into a music program involves specific actions like incorporating local music genres or community songs into the curriculum, inviting local musicians for guest performances or workshops, and organizing performances at community events. These steps make the music program not just an academic exercise, but a living part of the community’s cultural tapestry. For example, if a school is located in an area with a rich jazz history, include jazz pieces in the repertoire, explore the genre’s history in the region and connect with local jazz musicians for interactive sessions with the students.

Communication with students, parents and the wider community should be specific and ongoing. This might involve regular meetings or newsletters detailing the program’s progress, challenges and ways the community can contribute. For instance, if a school’s music program is planning a concert, communicate specific needs for the event, like volunteers for setup or donations for costumes, while also setting clear expectations about the students’ performance level and the concert’s theme.

Focus on cultivating a unique and authentic music program that reflects the strengths and interests of the students, rather than getting entangled in comparisons with other programs or rigid expectations of what a band program should embody. This emphasis on commitment manifests in recognizing and valuing the distinct characteristics of your school and student body. For example, if a school has a burgeoning interest in electronic music or a group of students is passionate about songwriting, the music program could pivot to support these interests, rather than strictly adhering to conventional band or choir formats. This approach not only caters to the students’ existing skills and passions but also encourages a more profound and personal engagement with music.

Moreover, it’s vital for educators to avoid getting too caught up in what other programs are doing. While it’s useful to stay informed and seek inspiration from other schools, each music program should be allowed to grow organically, based on its unique context and resources. Many schools have successfully focused on their unique attributes, such as a school that doesn’t have a full orchestra but has developed an outstanding jazz ensemble that plays at community events and local festivals, reflecting the community’s musical heritage.

Finally, set realistic and specific goals for your program that are aligned with your school’s unique environment. Instead of striving for an elusive ideal, focus on achievable objectives that resonate with your students’ interests and capabilities. This might mean prioritizing the development of a diverse music repertoire, focusing on technical skill improvement, or fostering a culture of creativity and collaboration. Celebrating these milestones, no matter how small, contributes to a sense of accomplishment and encourages continued growth and development in both the students and the program.

This commitment to the current environment underscores the notion that success in music education is not about mimicking others but about nurturing a program that is authentic, responsive and meaningful to the specific community it serves.

dart board with a dart in the bull's eye

Realistic Goal Setting

Aligning professional goals with the realities of the teaching environment is crucial for educators, particularly in music. Often, music teachers enter the field with visions of grand concerts and high-level performances, but the reality in many schools, especially those with limited resources, can be quite different. This disparity can lead to feelings of imposter syndrome, where teachers feel that they’re not living up to their own or others’ expectations. It’s important to recognize that success isn’t about replicating the achievements of well-funded programs, but about setting realistic goals that acknowledge the unique challenges and strengths of your program.

This mismatch between vision and reality can lead to burnout, which often arises when teachers feel overwhelmed by the gap between their aspirations and their day-to-day experiences. To combat this, adopt an adaptive approach to goal setting. This means crafting goals that are achievable given the specific circumstances and resources available. Focus on what can be done rather than what can’t. Because every situation is unique, we need to approach our programs with an asset-based mindset. For instance, if a school can’t afford a full range of instruments, a teacher might focus on building a strong vocal program or a percussion ensemble using affordable materials.

In low-income educational settings, adaptive goal setting involves being creative and resourceful. It might mean looking for community partnerships, applying for grants or finding innovative ways to use technology. Teachers can set goals around student engagement, musical literacy or performance skills that are suited to their particular environment.

It’s important to celebrate small victories and progress, rather than striving only for large, often unattainable, successes. By setting tailored, challenging yet achievable goals, teachers can find fulfillment and avoid the pitfalls of imposter syndrome and burnout, ultimately creating a more positive and productive learning environment for their students. Our intention is not to think about what we cannot do; rather, it’s to focus on the methods and processes by which we can achieve the goals that are important to those in our charge.

Top photo by XTOCK / Adobe Stock

Best Jazz Piano Solos

Written by Jerry Kovarsky on February 15, 2024. Posted in Acoustic Pianos.

Piano has been central to the development of jazz since the early days of ragtime up to modern times. Highly responsive and able to play multiple notes at the same time, it’s an instrument that encompasses all the elements of music: melody, harmony, rhythm, texture and dynamics. The list below presents seven of the most influential and exciting jazz piano solos ever recorded.

Of course, no list of this type can encompass all the great players who are masters of the keys, but each of these artists has provided listeners with dozens if not hundreds of stunning performances over the course of their long careers. Enjoy the selections and let them lead you into the wonderful world of jazz piano!

1. OSCAR PETERSON – “SOMETIMES I’M HAPPY”

Oscar Peterson had a formidable technique that incorporated all the jazz styles of his era, from stride piano to boogie-woogie, the blues and swing. Some of the most impressive performances he ever gave were captured in a series of recordings in the mid and late 1960s called Exclusively For My Friends. Recorded on a stunning Bosendörfer grand piano in a private studio with a small audience to help Peterson’s trio feel comfortable, the song “Sometimes I’m Happy” showcases all the best attributes of his playing. He opens with a deeply swinging single-note reading of the melody, then keeps things sparse as the bass joins in and propels the tune forward. Peterson’s solo starts at 0:48, and he turns to his mastery of the blues to draw us in. As the solo develops, listen to his exquisite touch, his perfect laid-back time and the inventive lines he spins. By 2:38, he begins to introduce block chords that emulate those of a big-band sax section. The intensity keeps building until 4:09 when Oscar calms things down and reintroduces the opening melody, buttressed by Ray Brown’s inventive bass playing. Sheer perfection! Listen to it here.

2. BILL EVANS – “SOLAR”

Bill Evans brought a lot of new sensibilities to jazz piano when he first appeared in the late ’50s. Known for his sublime touch and distinctive piano sound, he explored rich and often dense harmonies that seemed to draw from the impressionistic classical composers like Debussy and Ravel, but combined with swinging bop lines in the style of Bud Powell. When he formed a trio with drummer Paul Motian and bassist Scott LaFaro, he found his perfect partners, and the four albums they recorded together are considered milestones in the progression of the piano trio. Their performance of “Solar” from the Live At The Village Vanguard sessions shows why. What you hear is not just a pianist being accompanied by other players; instead, the musicians are in a constant dialog, with LaFaro right up front with Evans the whole time, interacting and spurring him on. Evans’ solo starts at 0:38 and it is almost a duet between Evans’ two-handed lines and LaFaro. This continues for many choruses until 2:20, when Evans begins to punctuate his right hand lines with left hand chords, breaking the tune open into a more traditional and swinging context. This interactive style had a profound effect on players to follow, and a direct lineage can me made from this to the famous Second Quintet of Miles Davis, where drummer Tony Williams and bassist Ron Carter often spurred on pianist Herbie Hancock and the other members to change up their playing and feel at a moment’s notice. Listen to it here.

3. KEITH JARRETT – “FOREST FLOWER”

It is difficult, if not impossible to encapsulate pianist Keith Jarrett’s career or style of playing in just a few sentences, as he has covered so much musical ground during his 60+ years in the public eye. The performance that first brought him to the attention of the jazz community at large was his playing on the title tune from Forest Flower: Charles Lloyd at Monterey. Jarrett was a member of saxophonist Charles Lloyd’s innovative quartet from 1966-68 — a highly successful ensemble that eventually broke out from the jazz world into rock concerts and more. Take special note when Jarrett’s solo starts at 1:16. The tune alternates between straight-eighth and swing sections and Jarrett enters with a flowing torrent of notes, easily navigating the changes in feel. His lines and motivic development are stellar, and you can hear swing, folk and near avant-garde playing all blend into a performance that is one of the all-time great piano solos. Listen to it here.

4. CHICK COREA – “STEPS”

Another hugely influential piano trio was launched when 27-year old Chick Corea went into the studio in 1968 with bassist Miroslav Vitous and drummer Roy Haynes to record the now legendary Now He Sings, Now He Sobs album. No pianist before sounded like he did, and no trio was so advanced and interactive. Chick opens with an unconventional free-form performance and the main melodic figure starts at 0:47. Yes, this is jazz, but it is not coming directly from swing, or be-bop. It is fresh, modern and pointing to the future. When the solo proper starts at 1:06, the band breaks into a jagged “not quite a blues” form, played at break-neck speed. Listen to Chick’s crisp touch and articulation as he plays the quartal voicings (chords based on fourths rather than thirds that McCoy Tyner first innovated with the John Coltrane Quartet) and employs the modal language that was becoming popular at the time, often sliding in and out of the key center. But where Tyner was heavy and dense, Corea is light and deft, bobbing and weaving in and out of the music. By the time his solo concludes at 4:33, jazz piano had been forever changed. (Read Chick’s recollections of making the album.) Listen to it here.

5. HERBIE HANCOCK – “NEW YORK MINUTE”

Herbie Hancock was one of the many players who built on the harmonic innovations of Bill Evans, but he has a deeper sense of the blues, and developed a rich, probing style of playing that could vary from soft and lyrical to aggressive and highly rhythmic. His highly abstract reworking of the Don Henley hit “New York Minute” on his 1996 album The New Standard is a case in point. Herbie’s solo starts at 1:20, and he comes out swinging for the fences. His commanding style of playing alternates between very modern right hand lines supported by strong, insistent chording in the left hand, accented by rhythmic figures where he is playing off the bass and drums in a percussive fashion. A master at work, who continues to inspire and innovate to this day. Listen to it here.

6. KENNY KIRKLAND – “WHEN THE WORLD IS RUNNING DOWN”

When bassist Sting left the Police, his first project was a band comprised of young players that he drew from to help him create a new style of music, blending the power of rock with the advanced musical language and interactive playing that could only come from jazz musicians. Kenny Kirkland’s highly rhythmic tour-de-force solo on the Police tune “When The World Is Running Down” from Sting’s Bring On The Night Live 1986 recording (it starts at around 4:25) is frequently cited as one of the most impressive and exciting piano solos ever captured — and only a musician with the jazz vocabulary and rhythmic chops of Kirkland could have pulled it off. Though playing against only a three-chord vamp, Kenny takes it so many places, spinning out complex right hand lines while constantly hammering out insistent rhythms and figures with his left hand. No wonder the crowd goes wild at the conclusion! Listen to it here.

7. LYLE MAYS – “FICTIONARY”

Pianist Lyle Mays is most well known for his time in the Pat Metheny Group, where his writing and playing was a significant part of the group’s sound and success. However, his innovative two-handed technique may be best enjoyed in his rarer recordings and live performances as a leader, where he was most prominent. “Fictionary” was first featured on the trio record of the same name released in 1992, but my favorite version of it comes from a live recording of a concert from 1993 (The Ludwigsburg Concert), released in 2015. The traditional “solo” starts at the 10:00 mark, but also of note is Lyle’s almost six-minute intro that kicks off the tune. In both, ideas spill out effortlessly and develop with a logic that is astounding, making for one of the most impressive piano performances in the history of jazz. Listen to it here.

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Prepare for Spring Concerts

Written by Brandon J. Duras on February 14, 2024. Posted in Teaching Tips.

Spring is a very busy time for music programs with concerts, large group festivals, honor bands, all-town performances, and musicals. It seems like the list is endless! A lot of music to learn and so little time. First thing you must consider is what you are programming for. This Spring, I have to prepare for everything I listed above, so where do I begin? Like any other performance, programming is the first step.

Before the Performance

What are you programming for? Choosing appropriate repertoire for your event is the most important thing for a successful performance. How many pieces, what styles and genres, duration, rehearsal time, etc. will all influence your programming. Music for each of these events will vary. For example, when I take my band to New York City for a competition, I will not have all my students there and much less preparation time compared to a regular concert cycle. The music I choose for this performance will not be the same as the music that I prepare for our concert in May. The music for our All-Town Band concert in April will include a pop tune as a way to inspire the elementary and junior high students (and entertain their parents) in the crowd. Because of where this concert lands in our schedule, we will also perform a more standard band piece that we have already done before, and that’s okay! We will have a new audience, so no harm in getting another performance on something the students enjoyed playing! Whatever performances you have, plan to be efficient and trust that you know your audience!

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How many concerts are you doing? Everyone’s performance schedule is different. I used to put on two concerts a year — one in December and one in late May/early June. In between, we prepare for our state festival with a completely different program, but we never played for a “home crowd.” Now, my Symphonic Band performs three concerts a year and my Honors Wind Ensemble performs four. That means this Spring we will perform two concerts — one in March and another in May. Your schedule may be different but consider what you want to present to an audience in your Spring concert(s). Will your concert be a pops concert? Will it be a concert of standard repertoire? Will you have a guest composer and do a full program of their works? You know your audience the best, so make sure you give them a concert they will want to hear!

Implement Chamber Music

I always have my students study chamber music. You’re probably thinking, “Why are you spending time on chamber music when there is so much more to do in the Spring than the Fall?” Trust me, this small unit will have a positive impact.

Why do I do it? Because I know the benefits of chamber music. Additionally, it is something students can do alone. Each December, after our Winter concerts, I go to the Midwest Clinic for the most rejuvenating and inspiring time of my year. However, this means that I will be out my classroom and must create hours of sub plans. You might have the same question that my students have: “Why don’t you just give us a study hall?” My answer is an emphatic no. Do you get a study hall until winter break after your math exam? You might think I’m a mean teacher, but we keep working until the very end of the year!

While I’m away, students work in chamber groups, created by me, to prepare for a small performance for their midterm exam just a few weeks later. This gives students a great opportunity to collaborate, make musical decisions and rehearse on their own. Having played in a brass quintet throughout my undergrad (shout out to The Ambrassadors), I know the immense benefits that come with playing in a chamber ensemble. Independence of parts, listening, internal pulse, tuning, balance, etc., the possibilities for growth are endless, and they will transfer to your large ensemble!

True story: One day, my students came in and asked if we were going to have chamber ensembles, and when I said yes, one of them yelled, “Yay!” Trust me, you need to consider implementing chamber music into your program, even if you think you don’t have time.

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Types of Spring Performances

Music in Our Schools Month: March is Music in Our Schools Month, and it’s a great opportunity to emphasize the importance of music education in your school. Consider having a concert to highlight the importance of music education and the experience it gives your students every day. Remember to invite administration and ask if they will welcome the audience as an introduction for the concert. Maybe you can even have them participate in or conduct a piece! For my groups, it is an opportunity to give a performance before we bring it to a large group adjudication.

male music educator with four students in concert black

State Contest: Speaking of adjudication, Spring is a busy time for state contests. Like any performance, you want to put your best foot forward for your state contest. Some states require that you program from a prescribed list. Make sure you are aware of and follow the rules set in place by your state’s contest.

Here’s a suggestion that may be controversial — If you can select your own repertoire, it’s okay to program music for a festival that the adjudicators might not know! Don’t be afraid to select a newer piece by a lesser-known composer. Of course, check your state’s requirements for programming before making this decision. It doesn’t matter what the piece is or who it is by — what matters is how your group sounds while playing it. Bonus: The adjudicators and the audience of other band directors will hear a new piece.

The Rehearsal Process

How long do you have? For my Honors Wind Ensemble, this concert cycle has 10 weeks to prepare our next performance — the longest we have had so far this year! Phew, I can breathe, right? No, because there’s more than just that one performance that we must prepare for! But I can’t complain. As I mentioned before, I did this to myself. All educators will have different schedules and timing for their concerts. As you begin your rehearsal process, consider how long you have until the performance so you can effectively plan your rehearsals.

Planning Rehearsals: With about 10 weeks before our next performance, I know when I can schedule things like spot checks, sectionals, etc. I rely on students to have ownership in rehearsal preparation all year, but more so during the Spring. Students have more sectionals to schedule outside of rehearsal to be prepared for performances and recordings. By knowing the schedule and calendar, they can plan their sectionals accordingly. Create a weekly rehearsal calendar so students know which pieces you will work on, in what order and which measure numbers. This will keep your students on top of what to work on, and it will keep you honest!

Students also must understand the amount of time until the next performance so they can plan their individual practice schedule. I typically give students a deadline to learn their parts, more specifically the notes and rhythms. After that time, they know that I may or may not do a spot check on their individual parts. Does this mean I ignore notes and rhythms during rehearsals? No, but those will get worked out most easily with time, and I want to get into the music itself. You can learn more about some of my rehearsal techniques in my article, “8 Unconventional Rehearsal Tips.”

Bring in a Guest: Any time you have a performance coming up, especially a state contest, it’s helpful to bring in someone to work with your group. They will probably say the same things you’ve been saying, but this time your students will hear it. If time is tight, send a recording of your group to a trusted colleague to provide feedback. If you can’t find anyone, reach out to me, I’m happy to help! Even better, bring me out to work with your group so I can reach my goal of going to all 50 states.

Record Rehearsals: Record your rehearsals frequently, if not every day, because you may miss hearing some things from the podium. When you listen back, the recording may reveal a lot of issues that you were unaware of! I have often posted recordings of rehearsals and full run-throughs for students to listen to as an assignment. They can’t argue with the truth of a recording. I have also used recordings to make a list of glaring problem spots and give them to students to mark in their parts. And on the rare occurrence when a student is missing from rehearsal (never happens, right?), you now have a way for them to make up for missing rehearsal. Nothing is better than sitting in rehearsals, but at least this way students aren’t lying on a practice log.

Project Your Score: I recently started doing this using my iPad. This could also work with a document camera if you have one available. I had heard and seen others doing this, but it wasn’t until I noticed two students looking at my score that I thought, “Hmm, this might be something they’re interested in seeing.” Actually, they weren’t that curious about the music; they liked making fun of my markings. “I like the big crescendo you drew,” one smirked. No, they didn’t.

However, now students can see my marks in my scores by projecting it on the screen behind me. Bonus: The lowered screen blocks the clock, so students can’t try packing up five minutes before the bell. By seeing the score, they can pick up on melodic motifs, harmonic progression, form and even see silly little comments I write to myself (some I never intended for people to see because they can be ridiculous) about what is going on musically. Students might make fun of me (what’s new?), but they’re understanding music at a deeper level. Who’s laughing now?

During the Performance

What to wear: This seems to be a hot-topic debate for programs around the country. What is your concert attire? Do you consider black leggings to be black pants? What is the right length for dresses or skirts? Long tie or bow tie? Jacket or no jacket? All black or black and white? You can go on forever about this with your colleagues and answers will vary. It all comes back to the kind of performance you are planning.

In my program, students have different concert attire for various occasions. Our most formal concert attire for most of our concerts and state contests includes tuxedos and full-length dresses. Do students like it? I don’t know because they complain about any attire that has buttons on it. My students have all black clothing that we wear on some occasions, but mostly for recorded videos.

There are times where students can wear whatever they like (what?!), but my one rule is that they must “look nice.” I found that “Sunday best” doesn’t mean anything to many students. To give them a clearer idea of what to wear to “look nice,” I give them different scenarios, such as going out to dinner for your grandparent’s birthday, a casual wedding, family photos, etc. We have used this dress code for a few more casual performances, mostly at graduation. A lot of students want to hang out afterward to take pictures and celebrate with their classmates who have just graduated. Now think of how weird they might feel if they were taking those pictures in a tuxedo.

One more note on concert attire. We all know that students feel more comfortable in clothing that fits their gender identity. Any concert attire you choose, avoid assigning gender to clothing. We give our students two options. We don’t say, “Boys wear this, and girls wear this”; instead, we say, “You will wear option 1 or option 2.” This very small act of changing our language around concert attire may seem insignificant, but it is greatly significant. Some students have both concert attires. We want to have the look of a formal tuxedo and gown, but we don’t care who is wearing what, just as long as it’s all the same.

Deportment: Anywhere I go with students I give the same speech: “We are about to walk into [wherever] and I expect you to be on your best behavior. You are not only representing yourselves, but you are representing your school, your town, your state and, most importantly, my reputation. Be respectful, follow the rules and be kind.” Now, you might not agree that the most important thing is my reputation; that statement sounds selfish. You’re right. The thing I care about most is how they represent themselves, but they’re young and might not think, “This looks bad for me,” because they know they may never see these people again. However, they will think twice about doing something if they think, “This will look bad for Mr. Duras,” because I will see those people again.

Our reputation as a group is something I emphasize and something we take pride in. The most important advice I can give you is to teach your students to treat others with kindness. This goes a long way with the people you see the most in your school, and the ones who work behind the scenes to make sure your students have good experiences. That’s right, I mean folks like the custodians and the bus drivers — the people who your students might not realize have such a large and positive impact on the experiences they get to have.

hand holding phone with QR code on screen

Programs: Depending on where you are in your career, you may have already made up your mind about what to do about programs that are handed out to the audience. There are a lot of differing opinions on this. And while I have your attention, I’m going to give you mine. You understand your audience better than anyone, so do what works for you. QR-code programs are a great way to save time and paper. Additionally, if you make a mistake, it’s much easier to update a digital file than reprint 100 programs.

Personally — and you can call me old-fashioned being born in 1995 and all — I prefer having a physical copy of a program. Depending on the performance, we might do a QR code, for example at our All-Town Band Concert that has all students 5–12 perform. That’s a lot of paper if we printed programs. However, when our audience is in a concert setting, I prefer them to not have the opportunity to click on that text message that came in while they were looking at the digital program, or open their social media app and accidentally click on a video with the volume on max. Anyone else get second-hand embarrassment when that happens? We’ve all been there.

Transitions: If you have a concert with more than one group or with significant set changes, plan ahead and get students involved to make things go smoothly. At a recent concert, we had a pretty big set change, and when we practiced it — even after telling the students exactly what to do — it took us 15 minutes in rehearsal! Ugh, how will we ever pull this off? We had a very constructive discussion about what went wrong and where we could save time. During the concert, we did it in a third of the time — I was so proud of them. Teamwork makes the dream work! Although it’s great to have a lot of students willing to help out, too many cooks in the kitchen will spoil the soup.

Talking to the Audience: The amount you say to the audience also varies from person to person. For me, it depends on what needs to be said. I won’t talk between pieces unless I feel the need to say something. Sometimes it will be elaborating on the music beyond the program notes or talking about the experience we had by working with a composer or an activity that enhanced our experience with the piece. It also depends on how my jokes are received. Where else am I going to get an audience that is forced to listen to my jokes?

Sometimes you need to give the audience a break to digest the music. For example, a couple years ago, we performed Steve Danyew’s “Into the Silent Land,” an incredibly powerful and emotional piece written in response to the tragedy at Sandy Hook Elementary School in Newtown, Connecticut. Before the performance, I spoke about what this piece meant to me. Afterward, I decided to take a moment before moving on to our next piece. I didn’t address the audience, which needed time to process what they had heard and to sit with it for a moment without hearing from me.

Before our last piece at every performance, I always take a moment to thank the audience for joining us and anyone else who has been important in the preparation of the concert. I also use that time to do a short PSA encouraging the audience that if they liked what they heard tonight to share their excitement and praise with members of the school board and school administrators like principals, curriculum coordinators, superintendents, etc. — because these people can’t make every concert (there might be another school activity that night), but they deserve to hear how the concert made the audience feel.

Other Things to Consider

Titling your concert: For the past couple years, I’ve given titles to my concerts; instead of calling them “Winter Concert” or “Spring Concert,” I’ve come up with names like “New Americana,” “MARCH,” “Connections” and “Voices.” Are they incredibly creative? No, not really, but it gives a theme for the music being performed, and it makes me more intentional with my programming. I believe it enhances the experience for the audience as they learn about and make their own connections to the music.

four students and music teacher on stage

Pre-Concert Talk: Inspired by some major orchestras, last year I decided to try something new for our final concert. I gave a pre-concert talk on the music that was going to be performed that night. I didn’t really know what to expect, and when people asked me what I planned to do during this talk, my answer was, “I have no clue.” All kidding aside, I wanted to discuss some of the music in a more in-depth and personal way with the audience — a way to bring the program notes to life. I was joined by four student soloists, and I asked them questions that I gave them in advance. It was interesting to hear their perspective on the music and share with the audience what the rehearsal process was like. Despite people having no idea what to expect (me included), it was well-received and proved to be a unique way to educate the audience. I plan on doing it again, and I encourage you to give it a shot, too!

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I hope some of these chaotic thoughts can help you get ready for your Spring performances, or at least recognize that you are not alone! Take what you like (feel free to reach out if you have any questions), leave what you don’t like (feel free to not reach out if you’re going to argue with me — I’m sensitive), but trust yourself and best of luck on your performances!

Top photo by KUDOSSTUDIO / Adobe Stock

Woman sitting on living room floor eating popcorn and watching movie.

The Best Romantic Comedies of All Time

Written by Rich Tozzoli on February 14, 2024. Posted in TV & Movies.

Romantic comedy movies (better known as RomComs) can bring warmth to the spirit even in the depths of winter — and of course are required viewing for Valentine’s Day! Here are the top RomComs of all time.

1. WHEN HARRY MET SALLY (1989)

This classic was directed by Rob Reiner and stars Billy Crystal and Meg Ryan as Harry Burns and Sally Albright. The two first meet in Chicago after college graduation and then share a ride to New York City. Through a series of chance encounters over the years, they eventually start to fall in love. The lunch scene, filmed at the Big Apple’s famed Katz’s Delicatessen, is one for the ages! Find out where to stream it here.

2. MOONSTRUCK (1987)

What would Valentine’s Day be without this flick? It stars Cher as Loretta Castorini, a 37-year-old widow living at home with her parents and grandfather in Brooklyn, who accepts a proposal from her boyfriend but finds herself falling for his younger brother. Plot twists, pasts, futures and romance all perfectly enmesh, thanks to Cher’s stunning performance, along with that of a great supporting cast that includes Nicholas Cage, Danny Aiello and Olympia Dukakis. The film received six nominations at the 60th Academy Awards^®, with Cher bringing home the Best Actress Award. Find out where to stream it here.

3. YOU’VE GOT MAIL (1998)

Tom Hanks and Meg Ryan star in this tale of an online romance where the two parties share no information about their personal lives. The twist is that the burgeoning couple are actually business rivals. They eventually meet but don’t discover their real connection until it finally reveals itself through an email exchange. You have to watch it to find out the rest! Find out where to stream it here.

4. SLEEPLESS IN SEATTLE (1993)

Yes, it’s another RomCom with Tom Hanks and Meg Ryan but the resemblance ends there. In this uplifting story, Annie Reed (Ryan) is a journalist who, although engaged, becomes interested in recently widowed architect Sam Baldwin, played by Hanks. Having just moved to Seattle with his son, Baldwin gets on a talk radio show to discuss his feelings, which leads Reed to fall for him. Find out where to stream it here.

5. PRETTY WOMAN (1990)

This big budget film centers on escort Vivian Ward, played by Julia Roberts, as she crosses paths with Edward Lewis, a powerful corporate raider from New York, played by Richard Gere. One night during a business trip, Lewis mistakenly drives into Hollywood’s red-light district, where he meets Ward, who shows him how to operate the manual transmission shift of his sports car. Despite the differences in their lifestyles, the two end up together. Find out where to stream it here.

6. COMING TO AMERICA (1988)

Directed by John Landis, Coming to America showcases the many talents of Eddie Murphy, who created the story and also stars as crown prince Akeem Joffer of the fictional African nation of Zamunda. Seeking an escape from his upper-class life and upcoming arranged marriage, he and his best friend/personal aide Semmi, played by Arsenio Hall, travel to Queens, New York where they take jobs in a fast food restaurant and rent a tenement apartment. In search of an independent woman, Joffer eventually finds love with Lisa McDowell (Shari Headly), with whom sparks begin to ignite. Find out where to stream it here.

7. ROMAN HOLIDAY (1953)

This black and white classic stars Audrey Hepburn and Gregory Peck, and would net Hepburn an Academy Award for Best Actress. She plays Crown Princess Ann, who while touring Rome away from her duties, takes a sedative from her doctor and falls asleep on a bench. American reporter Joe Bradley, played by Peck, finds her and takes her back to his apartment for safety. Needless to say, romance ensues! Find out where to stream it here.

8. IT HAPPENED ONE NIGHT (1934)

Yes, it may have been filmed 90 years ago (!), but this endearing film, directed by Frank Capra (who also gave us the holiday chestnut It’s A Wonderful Life), still delivers romance and laughs aplenty. Here, Clark Gable plays Peter Warne, a rough reporter who runs across spoiled heiress Ellen “Ellie” Andrews on a Greyhound bus to New York City, who is running away from her tycoon father in Florida. Warne recognizes who she is and offers to help reunite her with her new husband in exchange for a story. Snappy patter, adventure and, of course, love follows. Find out where to stream it here.

9. ANNIE HALL (1977)

Woody Allen stars as comedian Alvy Singer as we follow the ups and downs of his romantic relationship with quirky nightclub singer Annie Hall (Diane Keaton). The film brilliantly challenges stereotypes, contrasting the cities of New York and Los Angeles while exploring Jewish identity and other elements of psychology. It won four Academy Awards, including two for Allen as Best Director and Best Original Screenplay, and one for Keaton as Best Actress. Find out where to stream it here.

10. BULL DURHAM (1988)

Mixing sports with romance? It may seem improbable, but Bull Durham manages to pull it off. Based on the real-life minor league baseball experiences of writer/director Ron Shelton, Kevin Costner stars as “Crash” Davis, a seasoned AAA catcher who is tasked with teaching and guiding pitcher Ebby Calvin Laloosh (Tim Robbins). Baseball groupie Annie Savoy, played by Susan Sarandon, eventually finds herself being romantically drawn away from Laloosh to Davis — and the story of that journey is both hilarious and heartwarming. Find out where to stream it here.

Hands with dollar sign bag and light bulb over blue background

Teaching Music in High-Need Schools: Funding

Written by Dr. Robert Bryant on February 13, 2024. Posted in Advocacy.

The acquisition and fiduciary stewardship of funds for music programs is one of the most discussed topics in our field today. Because many high-need schools throughout the country qualify for Title I and Title IV-A funds under The Elementary and Secondary Education Act, knowing how to access and deploy these resources can play a pivotal role in addressing student and program needs.

Music programs in high-need schools face unique challenges due to limits on how these allocations can be used. However, there are ways that we can advocate for our programs, demonstrate our fundraising capacity and secure funds for the improvement of student outcomes. This article explores the importance of accessing Title I and Title IV-A funds alongside traditional fundraising, business partnerships and nonprofit collaborations to ensure the sustainability of music education in high-need schools.

Accessing Title I and Title IV-A Funds

Title I funds are crucial for supporting high-need schools, however, the process of accessing these funds for music programs can be complex. Similarly, Title IV-A funds, designed to promote a well-rounded education and first authorized through the Every Student Succeeds Act of 2015, offer opportunities specifically for financing music education.

Navigating these federal funds requires strategic planning to overcome challenges, ensuring that they are utilized effectively to meet the unique needs of Title I schools. One resource that I strongly recommend to help music teachers in securing these funds is the National Association for Music Education’s Title IV-A Success Stories. It will supply you with the data and examples you need to start a dialogue with your administration and advocate for your program to receive a portion of the funds.

Fundraising and Business Partnerships

Supplementing federal funds, fundraising becomes a cornerstone for sustaining music programs in high-need schools. Creative initiatives, such as community-based events, alumni contributions and instrument drives, are essential in bridging financial gaps. Through successful fundraising efforts, schools can cultivate a sense of community ownership and engagement in their music programs, which fosters more sustainability.

Local businesses can be vital allies in supporting music education. Beyond financial contributions, partnerships with businesses bring additional benefits, including access to resources, expertise and community engagement. Successful collaborations demonstrate how active a role our business community can play in supporting music programs, establishing a mutually beneficial scenario for both parties.

Nonprofit Partnerships for Music Programs

Nonprofit organizations contribute significantly to the enhancement of music education in Title I schools. These partnerships offer diverse benefits, ranging from additional funding sources to professional development opportunities for educators. Some examples of potential nonprofit partnerships include college music programs, grant funding agencies, local government, museums and other arts organizations. These partnerships not only can showcase the positive impact on music programs, they can also serve as a vehicle to show students the myriad of ways in which music can be a viable career option for them.

Challenges and Solutions

Despite the potential benefits of federal funds, fundraising and partnerships, we know that challenges persist. Limited awareness, bureaucratic hurdles and unpredictable economic conditions can impede sustained progress. Collaborative solutions, such as community advocacy, administrative support and increased public funding can become strategies to address these challenges and ensure the longevity of music programs.

A comprehensive approach that combines federal funds, fundraising initiatives, business partnerships and nonprofit collaborations is essential for the success of music programs in high-needschools. By actively engaging with administrators, educators, community members and policymakers, we can create a harmonious environment that empowers students through the transformative power of music, regardless of their socioeconomic backgrounds. I believe that as a society, we have the collective responsibility to prioritize and support music education in high-need schools to ensure that every student has the opportunity to benefit from an exceptional music education.

Read part 1 of this series on recruitment.

Read part 2 of this series on rapport.

Read part 3 of this series on defining success.

Read part 4 of this series on best practices.

Read part 6 of this series on retention.

Read part 7 of this series on sustainability.

Top photo by PROSTOCK-STUDIOS / Adobe Stock.

First Look: New Yamaha Pacificas

Written by Robbie Calvo on February 13, 2024. Posted in Electric Guitars.

My first experience playing a Pacifica guitar was at the 2018 summer NAMM show, when Yamaha launched a limited edition PAC612VIIFM in stunning Indigo Blue and Translucent Black finishes. That model eventually became part of the current Pacifica roster, along with an added “Root Beer” color option.

Up until recently, those 600 Series guitars led the pack (no pun intended) with flame maple tops, Seymour Duncan pickups, Gotoh locking tuners and a Wilkinson tremolo system. You may have seen demos of me playing the 612VIIFM in previous blog postings and on my YouTube channel. These guitars were (and are) eminently worthy of the semi-pro and professional musician looking for an extremely versatile, top-quality guitar at an incredible price.

Enter 2024 and the recent winter NAMM show in Anaheim, California. Media Day traditionally occurs on the day before the show officially opens to the trade and public. The Yamaha guitar team were especially revved up this year as they eagerly awaited the official launch of something very special.

That something special was, of course, the all-new Pacifica Standard Plus and Professional models, which have been completely redesigned from the ground up. I had the privilege of demoing both at the show. Here are my first impressions of these extraordinary new instruments.

Shared Features

Construction

Both the Standard Plus and Professional have a uniquely contoured alder body with a bolt-on neck joint. The maple necks are satin-finished polyurethane, with an extremely comfortable slim “C” profile. The fretboards offer 22 medium stainless-steel frets and are available in maple or rosewood. The nut material is Graph Tech TUSQ, and the Gotoh locking tuners are extremely stable; in addition, a Gotoh tremolo bridge offers smooth action for chordal shimmers, pull-ups and dive-bombs alike.

Pink and white electric guitar. — *Pacifica Standard Plus in Ash Pink with rosewood fingerboard.*

As you can see in the images above, the pickguard has also been redesigned for these Pacificas, and now claims its own identity on this type of double-cut guitar. I love its shape, and think it really helps define the contours, visual appeal and upper-echelon status within the Pacifica lineup.

Pickups

Yamaha collaborated with Rupert Neve Designs, a renowned British studio audio company, to create the new Reflectone humbucker and single-coil pickups featured on the new Pacificas.

Closeup of the body of the electric guitar. — *Reflectone pickups.*

The pickup configuration for both the Standard Plus and Professional models is HSS (humbucker/single-coil/single-coil), with a humbucker in the bridge and single-coils in the middle and neck positions. The humbucker can be coil-tapped using the pull-pot on the tone control, making for a total of seven pickup configurations using the standard five-way switch. All three of these unique pickups elicit a balanced tonality across all of the strings in every register of the fretboard and remain constant in volume when switching through the various pickup combinations — no mean feat!

The tonal balance between the bass and treble frequencies is exceptional, even when using higher-gain settings. Complex chords retain clarity in the harmonics, while single-note lines seem to have what I would describe as “melodic air” around them.

Acoustic Design Technology

The Yamaha Acoustic Design technology employed in both of these guitars utilizes scientific processes such as 3D modeling to devise wood-routing techniques that increase body resonance and improve the transfer of vibrations between neck and body. While you may not initially hear the difference that this advanced chambered design makes, you definitely feel the resonance in your hands, along with the increased sustain of the note vibrations.

Unfinished electric guitar body. — *The chambered design of the new Pacificas.*

Differentiating Features

In addition to the features common to both models listed above, Pacifica Professional guitars also sport a custom-tinted maple neck stain as well as a 10″ – 14″ compound-radius fretboard for relaxed chordal fretting and smooth, choke-free bending in the upper regions of the neck. You’ll also notice that the Pacifica script logo on the headstock has a classy, raised liquid metallic look and feel to it.

The alder bodies on Professional models receive the exclusive Yamaha I.R.A. (Initial Response Acceleration) treatment process. This essentially maximizes resonance and sustain within a new instrument for a more “played-in” feel and sound.

All Professional models are meticulously crafted in Japan and come complete with a hardshell case and certificate of authenticity. Standard Plus models are crafted in Indonesia and travel in style with a padded gig bag.

There are some exciting new colors for these two guitars, too. Regardless of fingerboard choice, Standard Plus models are available in Sparkle Blue Metallic, Ash Pink and Black finishes; in addition, those with rosewood fingerboards are available in Shell White. Professional models with maple fingerboards are available in Beach Blue Burst and Black Metallic finishes, while those with rosewood fingerboards are available in Sparkle Blue Metallic and Desert Burst.

Diagram of a variety of guitars in the line.

The Videos

I had the pleasure of auditioning these two gorgeous guitars in my studio prior to launch. In the two videos below, I wanted to demonstrate all the unique qualities these instruments possess, as well as allowing the viewer to hear the sound of the seven pickup selections, using both clean and overdriven tones.

Both models were easy to capture sonically and needed zero EQ to sit in the mix. I literally used just the pickup selections to adjust tonal balance between the treble and bass response for each of the guitar parts. The sound is augmented with some custom presets I created for my Line 6 Helix processor.

Pacifica Standard Plus Demo

The opening chord sequence demonstrates how complex chord voicings retain clarity in the mix, while the softly overdriven lead tones sustain perfectly over the harmonic structures, even when harmonized with a diatonic third above the melody.

Pacifica Professional Demo

Here, open chords with overdrive are contrasted with upper chord arpeggios that have a nice clean sound. The single-note riffs demonstrate tones in the lower register, funky, muted lead lines in the middle of the fretboard, and some additional lead lines and tasty string bends in the upper regions of the compound-radius fretboard.

The Wrap-Up

I get to play a lot of different guitars. Some speak to me in a way that inspires my creativity in the short-term, while others are excellent over the long-term, suitable for most of the recording or live performance applications I’d use them for. The new Pacificas do both.

These guitars cover a lot of musical ground!

The redesigned Pacifica Professional and Standard Plus bring both versatility and world-class tones to the equation, combined with stunning color options, practical design, playability and high-quality components. You owe it to yourself to check them out.

Photographs courtesy of the author

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Helpful Tips spelled out next to a light bulb (photo by Patpitchaya/Adobe Stock)

Essential Tips for First-Year Music Educators

Written by Yamaha Staff on February 11, 2024. Posted in Teaching Tips.

Are you just embarking on your career as a music educator? It’s an exciting time, but you’re undoubtedly stressed and nervous at the prospect of establishing your own program and connecting with your students. We asked some top music educators — the Yamaha “40 Under 40” class of 2024 — for their top three tips for new music teachers.

Below are over 115 tips that will help you navigate your first year of teaching.

Dr. Angela Ammerman
Adjunct Professor of Music Education
George Mason University
Fairfax, Virginia

1. Assume that all your students already like you. Don’t spend another minute worrying about whether students like you, or whether you should do more to make them like you. They do like you!

2. Stop talking so much! Students join your class to make music. As much as they love hearing about you, we want them to love making music together even more!

3. Make sure every student gets to perform in a concert at least once a year. Even if you do an “informance,” get those kids on a stage, praise their progress and let them show off the hard work that they have been doing!

Dr. Tigran Arakelyan
Music Director, Tacoma Music Collaborative
Executive Director, Music Works Northwest
Washington

1. Show students that you care about them and how passionate you are about the music you are working on. Music is beyond the notes. What makes you excited about that measure? What is special about a phrase or a theme? What are the conversations happening between the winds, strings and percussion? Who is the composer and why did they compose the piece? How does it relate to them today? You won’t excite every single student but if you are passionate, they will at least consider going on that journey with you.

2. Get to know your students. It won’t happen over night, but know their names, ask them to share, try to remember something that they are passionate about.

3. Think about the teachers who were most inspiring to you, and the colleagues who do exceptional work. What excited you when you were a music student in band, orchestra or choir? What inspired you when observing a colleague or a mentor teach? Plans and curriculum are great, but you must be flexible and learn to adapt.

Jeremy Bartunek
Music Teacher and Children’s Choir Director
Greenbriar School, Northbrook District 28
Northbrook, Illinois

1. Everything takes longer than you think. Make contingency plans. It’s better if you are fully prepared for the concert two weeks early because something always comes up.

2. Don’t get an advanced degree until you have a few years of experience. You don’t know what you don’t know.

3. Teaching music is a very public-facing role and involves a lot of public leadership. You will be looked to for answers (even non-music related ones) more often than you think. Improve your leadership and public-speaking skills.

Dr. Benjamin Bergey
Assistant Professor of Music
Eastern Mennonite University
Harrisonburg, Virginia

1. Ask questions, seek help/guidance and know that you’re not alone. We don’t do this work alone, so find and reach out to mentors, others through professional memberships, etc.

2. Write out your desires for classroom culture along with your educational/pedagogical philosophy. Making music is a vulnerable act, so students need to feel safe and valued in a music classroom to be able to fully engage.

3. Breathe. It can be stressful to start a new job, and it’s easy to get sucked into everything and lose perspective (or one’s health). I am a big proponent of mindfulness; find practices that help you remain grounded and healthy so that you can do this for the long haul. Remember, it’s OK if you don’t get it right the first year. Progress over perfection.

Adam Bodony
Assistant Professor and Director of Orchestras, Purdue University
Artistic Director, Indianapolis Youth Orchestra
Indiana

1. This is so cliché, but never give up. If you know that this is what you’re supposed to do, you’re bound to encounter obstacles that make you think, “Should I give up?” Never give up. Keep fighting, not just for yourself, but for all those who stand to learn from you in the future. The future of our profession depends on its future leaders loving what they do. If you love music and people, you will continue on this amazing journey of music and love, and you will pass it on to the next generation.

2. Knowledge is power. Read, learn, seek out more. Get into the nitty-gritty of your profession.

3. Cultivate positive relationships with other people in your profession. Always be kind, respectful and supportive. Don’t hold grudges, don’t get offended and don’t needlessly judge everything. Be endlessly positive. All these things can co-exist while maintaining high standards. It’s hard to do but will serve you well as your career grows.

Tony Boldt
Director of Bands
Kasson-Mantorville High School
Kasson, Minnesota

1. Seek out awesome mentors in your area and ask them so many questions!

2. Make connections through your state and regional music organizations.

3. Join a local community band or chamber group and keep playing as much as you can. You will pick up so much from those groups that you can instantly bring back to your students.

Douglas Brown
Director of Bands, Jazz Ensembles, Hip Hop and Digital Music
Middleton High School
Middleton, Wisconsin

1. Seek out a mentor and embrace their guidance wholeheartedly. In the early years of your career, you can learn immensely from replicating models established by successful educators. Find someone who can offer valuable insights and act as a sounding board for your ideas and challenges.

2. Conduct an impact assessment of your school’s course offerings. Examine which student populations are being served and identify any groups that may be inadvertently overlooked. Ask yourself how you can continue to adapt and evolve to ensure that all students are included and engaged in your school’s educational offerings.

3. Establish a partnership with a collaborator or a like-minded colleague. Remember, we achieve more when we work together than when we work separately. Collaborate with your peers to create a range of diverse, unique and meaningful educational experiences for your students. This collaborative approach not only enriches the learning environment but also fosters a sense of community and shared purpose among educators.

Charlene Cannon
Band Director
Horizon High School
Winter Garden, Florida

1. Stay organized.

2. Be positive with students, parents, colleagues and administrators.

3. Don’t be afraid to ask for help!

Raymond William Cannon
Director of Beginning Band
Addison School District 4
Addison, Illinois

1. Don’t be afraid to ask for help. There are many tricks and tips that other teachers are always willing to share to help you.

2. Build on a good foundation. Sometimes this means going back to square one. It may take some time, but the results speak volumes.

3. Be open to change. Real life and textbooks don’t always line up. You will learn a lot in your first year. Continue to listen and look for better ways to teach.

Jena Combs
Director of Musical Activities
Flora High School
Flora, Illinois

1. Believe in every student’s potential for success to foster a thriving music program. It’s OK to have big, grandiose ideas and goals — believing in students is how you achieve them. Be realistic, but always believe greatness is achievable for your students.

2. Love your job and your family. Establish a work-life balance from the beginning to prevent burnout especially during busy periods.

3. Build strong relationships with students and parents by showing genuine interest, maintaining regular communication and fostering a sense of community and support. These things all contribute to the long-term success of a music program.

Jessica Corry
Band Director
Plank Junior High School
Oswego, Illinois

1. Be consistent. Band directors are notorious for trying to reinvent the wheel, but in my opinion, there isn’t much innovation to be done in the band directing world. However, the path to get to the end result is what matters. So, find out what works for your students and stick with it. See how the “best” directors get their groups to sound fantastic, play the right notes and the right time, in tune, and with a good tone.

2. Give yourself time, be patient. Our job is a daily grind. It has rewarding moments, but there are a lot of monotonous moments behind them. I was once told, “Every overnight success was at least 10 years in the making.” It’s true, I’ve lived it.

3. Find your village. There are a lot of fantastic music educators out there, and there are a lot who should not be educators. Find people who will help and build you up. Surround yourself with people who will be honest with you, while also making sure to keep you focused on the right things: the students.

Mallory A. Dekker
Executive Director and Instructor
Black Hills Studios of the Arts
Rapid City, South Dakota

1. Know that at some point you will have to advocate for your program, and you might be surprised to whom, so be ready and be prepared. Choose your advocacy argument wisely. Your program and your students’ music education are worth it.

2. You hear about mental health all the time — take precautions and set up a routine now. You, your family, your students will thank you later.

3. Try something new. Do so with support (family and/or friends) and a lot of research.

Gillian Desmarais
K-12 Music Technology and Engineering
Harmony Learning Center
Maplewood, Minnesota

1. Building relationships with your students is key. Take time to listen to them and find ways to relate to music they like. Connection is essential to learning, and building trust and respect in the classroom should start there, too.

2. You can learn so much from the teachers in your school. Take time to observe them, or if that’s too much, try and catch up with them at the end of the day. I received some of the best teaching advice from my peers.

3. Be yourself! If your personality isn’t reflected in your teaching, you’re doing yourself a disservice. Find ways to let students know who you are, and they won’t be afraid to be themselves in front of you. You can show this through how you decorate your classroom, use jokes to engage students during lectures, wear fun and cheery colors, do dance brain breaks or come up with handshakes for every student. Let your classroom mirror your true self. It’ll be the kind of place where students will want to see their own reflections in, too!

Jeff Driscoll
Music Teacher
Monroe Elementary School
Bartonville, Illinois

1. Be open to things the first year.

2. Don’t try to change the world, just get a sense of how the community and school are open to supporting your program and slowly morph that into what you want to see.

3. Remember, it’s never really your program until years down the line.

Nicholas A. Fields
Band Director
Edgewood City Schools
Trenton, Ohio

1. Remember it takes a while to build momentum.

2. As much as you have learned from everyone else, remember you will have your own unique teaching style, embrace it.

3. Always stay consistent and fair with your expectations.

Allison Figueroa
Assistant Band and Choral Director
Parkland High School
Allentown, Pennsylvania

1. You won’t be perfect, ever. Just keep learning and adjusting.

2. Students will respond much better if they know you truly care about them.

3. Let your personality come through in your teaching.

Dennis Giotta
Music Teacher
Southeast Local School District
Apple Creek, Ohio

1. Never underestimate your students — they are capable of more than you think if you find ways to connect with them and learn from them.

2. Do what is best for your students at all times. You don’t need to do what everyone else is doing. There are plenty of ways to make music meaningful and educational.

3. With so much to learn and do as a new teacher, it is easy to isolate yourself. Find time to meet with friends, talk to colleagues or find a network of people who you can talk to about work or personal things.

Brad Hart
Instrumental Music Teacher
Peter Johansen High School
Modesto, California

1. Have a vision that expands your musical community. For your students, include a wider array of offerings to bring more students into musical learning, and make sure that your musical selections are intentionally diverse. For yourself, find your own personal musical community so that you can develop relationships that will allow you to grow as a person, musician and educator.

2. Every student deserves the best teacher. Work to make sure you are their best teacher, not just a good director.

3. Work to create an environment driven by the music and the people who are making it. Engage your students with composers, with engineers, with stage crews, professionals and amateurs, community bands, honor groups and every way they can continue with music throughout their lives.

Miguel Hidalgo
Music Teacher and Music Director
Esperanza Academy Charter School
Philadelphia, Pennsylvania

1. Never stop playing your primary instrument.

2. Always pull your instrument out and play alongside your students.

3. Create space for your students to explore their own musical preferences.

Dr. Richard Hutton
Assistant Professor of Choral Music Education and Assistant Director of Choral Activities
Boise State University
Boise, Idaho

1. There is so much to do — take the time to build positive relationships with your students and their families.

2. Err on the side of accessible rather than overly challenging literature. Ambitious first-year music educators notoriously over-program.

3. Collaborate! Form a “brain trust” with the choral colleagues in your area and through our professional organizations.

Lily Ianaconi
9-12 Instrumental Music Teacher
Franklin Academy High School
Malone, New York

1. Have courage to try something new. It can be scary and daunting to take on a new opportunity or to try and create a new experience for your students when you only have the idea and vision.

2. Don’t hesitate to ask questions! I have had the wonderful opportunity to meet so many terrific and knowledgeable colleagues across New York state and the country who are always willing to share their ideas, expertise and experiences with me.

3. Find a healthy work-life balance. It’s important to strike a healthy balance between school and everything else.

Dr. Jacquelyn Lankford
Assistant Professor of Trumpet
Mississippi State University
Starkville Mississippi

1. Collaborate! It is the most inspiring way to create and do things that nobody has done before. It is so easy to get stuck in your own little bubble, but when you combine your talents with those of others, you can truly do some extraordinary things with your career.

2. Leave your school! What I mean by this is go to conferences, competitions and anything else that puts you and your students into an environment where you get to be around people who do what you do. This is the best way to network, hear new music, and add to that inspiration by hearing new ideas and meeting new people.

3. Don’t be afraid to rattle some cages! There is too much of “this is the way it has always been done, and this is the way it always needs to be done” mentality. Though there is beauty in tradition, evolution must happen for us to remain relevant and to keep things interesting. We are so lucky to do what we do, and it is so important to not slip into the monotony of doing the exact same thing every day. Don’t be afraid to voice your ideas or to try something a little new or different.

Christopher Lape
Orchestra Director
Upper Arlington High School
Upper Arlington, Ohio

1. Be flexible and give yourself grace. You won’t always get through everything you want to and sometimes you will have to improvise.

2. Take time to get to know your students. They have a lot to contribute to the community. When you invest in them, they’re more likely to invest in you and their learning.

3. Find opportunities to observe other music and non-music teachers. There’s a lot of great teaching and wisdom out in the universe.

Kevin Longwill
Music Industry Teacher, Director of Modern Music Makers (M3)
Abington School District
Abington, Pennsylvania

1. Authenticity is key. Students want to make music, and our job is to help them make music in whatever way makes the most sense.

2. Let the kids steer and have a voice and choice in what and how they pursue making music.

3. Don’t try to do too much too fast.

Kimberly Kraft McLemore
Vice President of Education and Community Engagement
Nashville Symphony
Nashville, Tennessee

1. Give yourself a lot of grace. No educator had everything figured out during their first year of teaching.

2. Seek out veteran educators to help guide you and mentor you throughout your early years. These relationships are invaluable!

3. Network and collaborate with partner organizations in your city to connect your students to learning opportunities. These organizations often have the staff or capacity to help plan and coordinate programming or experiences for educators and students.

Adam Murray
Orchestra Director, Music Department Chair
Port Clinton City Schools
Port Clinton, Ohio

1. Demonstrating a skill requires proficiency, teaching a skill demonstrates mastery. Teach students to teach.

2. You can’t control events, but you can control your reaction.

3. When you’re in front of kids, you don’t have the luxury to panic. When serious problems happen in the classroom, take a deep breath and solve the problem. You’re the adult in the room now — congrats!

Andrew Muth
Director of Bands and Director of Performing Arts
Westfield High School
Westfield, Indiana

1. It’s going to take time to get to where you want to be. Set attainable goals and celebrate when you achieve them.

2. Relationships are the most important part. Invest in knowing your staff, parents and students. Let them know that you care about their experience.

3. It is not about you! Take “I’ and “my” out of your vocabulary and focus on the “we.” Believe in the power of what can be achieved together.

Alex Mutz
Director of Bands
Sam L. Martin Middle School
Austin, Texas

1. Never be afraid to ask for help. There is always room to grow and learn, so don’t be afraid to say, “I need help.”

2. Be kind to others and be social. Go out and meet other people in the field and make friendships with them. They can turn out to be some of the best decisions you’ve made.

3. Prioritize yourself. Take time off when you need to, focus on what you need as a person and make sure you are not letting yourself get overwhelmed.

Christopher Noce
Director of Bands and Orchestras
Concord-Carlisle High School
Concord, Massachusetts

1. Be Open: Try new things. Invite mentors and colleagues into your rehearsals. Seek feedback from your peers and your students. Learn to take constructive criticism, accept help and be candid with your students. Allow students into the process.

2. Be Kind: To students, colleagues, families and yourself. You rarely know how much of an impact you are making at the moment, and kindness is a great place to start. Communicate clearly (“Clear is kind,” as Brené Brown writes in “Dare to Lead”). Be flexible when possible. Remember, we are always learning and growing — this is rewarding work, but it is hard work, and mistakes are part of the process.

3. Be There: So many of the folks I looked up to early in my career (and still do!) started their work in positions with struggling numbers and low achievement. It takes time to build something great, and most opportunities are not turn-key. You need to stick around to see things come to fruition.

Allison Paetz
Vocal Music Teacher
Rocky River High School
Rocky River, Ohio

1. Expect a lot of yourself and from your students, and remember to be kind to both.

2. Sleep, drink water and take a sick day if you need it.

3. Don’t forget that you’re the one who decides if you’re going to have fun in the classroom. If you go into a class determined to enjoy yourself while you teach, your students will see that and will want to join in the fun.

Dr. Stephen C. Page
Associate Professor of Saxophone and Director of Undergraduate Studies
The University of Texas at Austin Butler School of Music
Austin, Texas

1. Engage with the community around you. Teachers, administrators, parents, students and beyond, will all help you.

2. Love the process of what you do as you aim toward your goals. Work at them, and work toward them, but don’t force it. Everything comes in due time.

3. Have/start a hobby and make time to regularly enjoy it. We are whole individuals, and interests outside our work will help us find balance and enhance what we can give to all areas of our life.

Cale Patton
Music Teacher
Gillespie Technology Magnet Cluster School
Chicago, Illinois

1. Creativity is about going where the spirit takes you and not always knowing the outcome. Today’s academia, even within the arts, is all about end goals, which can undermine true creativity. I challenge a first-year music educator to trust their instincts and to jump right in, even if they aren’t sure where it might lead. Listen to your heart, listen to your students and, most importantly, have fun and dance.

2. The hopes and dreams of students don’t always look like the music education we learned about in college. Don’t be afraid to admit your mistakes and failures to the kids. Be you! Your students will respond best to your authenticity.

3. Listen for what activities and things your students like, but don’t pretend that’s your life, too. Don’t shy away from sharing your own musical tastes, interests and endeavors. It inspires students to think outside the box, try new things and take creative risks in every avenue of life.

Ben Pedersen
Director of Bands
Foreman College and Career Academy
Chicago, Illinois

1. Be your authentic self and don’t head into the classroom with a preconceived notion of what a music educator should sound like.

2. Never stop honing your musical skills, including arranging, which is a vital skill for differentiation in music ensembles.

3. Model great practice habits, they will inspire your students.

Kyle D. Phillips
Band Director
Princeton High School
Cincinnati, Ohio

1. Take every opportunity to grow and learn. Lessons can come from anywhere — from your students, your colleagues, former educators, etc.

2. Don’t give up! It does get easier.

3. Be your students’ biggest fan. Go to their athletic events, learn who they are outside of the music room and celebrate every success.

Matthew Rupert
Co-Founder, Clarinet/Piano Faculty, Little Mission Studio
Co-Founder, President of the Board, Make More Music Foundation
San Francisco, California

1. Be giving of your time and always support your colleagues. I have kept in touch with a number of my colleagues from school, and we have a supportive network where we share teaching tips, challenges and solutions, and generally support and cheer on one another in all of our endeavors.

2. Never stop learning and being curious. Be eager to explore new teaching methods, new repertoire or composers you never learned about in school, and new technology to help you become better at your craft.

3. Teach more than music. Remember that learning music is so much more than learning notes on a page. Music students learn how to problem-solve, collaborate and communicate, as well as how to show creative expression, individuality, acceptance and more! Create a musical space where students can grow into great humans, who also happen to be good at music.

Julie Anne Russell
Orchestra Director
Blythewood High School
Blythewood, South Carolina

1. Stick with it — yes, there are hard times and weeks, but to see students go from Twinkle to St. Paul is pretty amazing.

2. Surround yourself with people who are smarter than you — ask questions and be receptive. I’m here because of the people who helped and encouraged me.

3. Just go for it. Send the email asking about a crazy idea, get together and dream of big projects, and don’t be scared to pursue big dreams because people may say no … because, a lot of times, they say yes.

Kacee Sanders
Band Director, DuPont Hadley Middle School
Executive Director, Southeastern Women In Music Symposium
Tennessee

1. If you don’t know the answer, ask someone. The network of music educators I have found in Metro Nashville Public Schools is a resource I wish I had during my first year of teaching. Speaking for all educators, we want to see you succeed. While everyone’s school situation may be different, having a community of colleagues to collaborate with is comforting and humbling. If you do not teach in a large district where you have many music peers to collaborate with, then join and connect with your regional music organization.

2. Find something that brings you joy outside of music. As musicians and teachers, we pour so much of our identity into music. While this is a huge part of what we do, be sure to allow yourself to explore other things. Personally, I have found maintaining a collection of house plants to be a great escape.

3. Give yourself some grace. You will make mistakes. The most important thing you can do is learn from that experience. Grant yourself the ability to forgive yourself, learn the correct answer and do better. No one walks into the classroom for the first time with all the answers (see tip #1).

Dr. Jessie M. Vallejo
Associate Professor of Ethnomusicology
California State Polytechnic University, Pomona
Pomona, California

1. Even if the first few years might be the hardest in terms of teaching or classroom management, it is often the time you remember the most. Your first classes of students will change you as a teacher. Don’t let the early challenges discourage you.

2. Find ways to share your enthusiasm for what you teach with your students and colleagues. Something that is fun can still be important, challenging and meaningful.

3. Naps are essential! Stay hydrated and take care of your health.

Dr. Jessica Vaughan-Marra
Associate Professor of Music and Coordinator of Music Education
Seton Hill University
Greensburg, Pennsylvania

Instead of THREE tips I have a three-word tip: Find content-specific mentors. School districts will often provide a mentor for new teachers. This point person can be helpful for navigating the day-to-day questions about the school routines and culture. However, music education majors enter the profession with a breadth of pedagogical understanding while also needing continued professional development and support. Many organizations like state-level MEAs and national organizations such as ASTA have content-specific mentoring options for new music teachers. Continued professional development through participating in workshops, conference attendance and pursuing advanced degrees moves the mentoring a step further and helps new music teachers find a community of learners and build upon their professional social connections across the greater music education community.

Dr. Paulina Villarreal
Assistant Professor of Voice
University of Memphis, Rudi E. Scheidt School of Music
Memphis, Tennessee
Founder and Artistic Director, Cantos Para El Mundo

1. Be a student for life. As music educators, we can’t afford the luxury of being complacent. We must remain curious and continue learning.

2. Videotape your teaching as often as possible. Take time to look back at those videos and make improvements!

3. Inspire but also challenge your students, regardless of their technical development.

Check out tips for first-year music teachers from the 2023 “40 Under 40,” 2022 “40 Under 40” and 2021 “40 Under 40” educators for more invaluable advice!

Top photo by: PATPITCHAYA / Adobe Stock

Dr. Jessica Vaughan-Marra

Written by jkikuchi@yamaha.com on February 1, 2024. Posted in 2024.

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Dr. Jessica Vaughan-Marra

Associate Professor of Music and Coordinator of Music Education
Seton Hill University
Greensburg, Pennsylvania

When Dr. Jessica Vaughan-Marra started her undergraduate degree in music education at Duquesne University in 2002, she envisioned teaching beginning instrumentalists for her whole career. As she journeyed into music teacher education, her view changed. She is now the Coordinator of Music Education and Associate Professor of Music at Seton Hill University where she oversees music teacher licensure and degree completion. She also coordinates fieldwork placements, student teaching internships and music teacher education curriculum and content.

“Seeing undergraduate music education majors begin their journey into the profession, work their way through coursework and fieldwork where they explore teaching practices, and then evolve into novice music educators with excitement and interest in seeking more information is what I find most rewarding,” she says.

Though she doesn’t conduct ensembles as part of her teaching responsibilities, Vaughan-Marra hosts as many as 10 local vocal and instrumental ensembles at Seton Hill as an on-campus fieldwork and clinic opportunity for her students. “These ‘fieldwork Fridays’ help our music education majors by providing longer rehearsal time blocks for micro-teaching as well as opportunities to sit in with the ensembles performing on secondary instruments.,” she explains.

One of Vaughan-Marra’s goals with her transition into higher education was to expand her impact on the lives of student musicians. Prior to her Ph.D., she was a middle school band and orchestra director in the Silicon Valley of California. Through volunteer efforts and active membership in music education organizations, she has developed and maintained relationships with pre-K-12 music educators across the country, which “helps me stay connected to the classroom,” she says. She often invites colleagues and peers in the profession to present or work with her students at Seton Hill.

Students who graduate from Seton Hill’s music education program often represent the university motto of being “fit for the world.” According to Vaughan-Marra, “Our students are prepared for not only the music teaching experiences that parallel their education but also adaptability to the ever-evolving landscape of music education.

Vaughan-Marra co-authored a chapter (with Dr. Scott Edgar) about music teacher preparation for teaching beginning instrumental band ensembles in “The Oxford Handbook of Preservice Music Teacher Education.” She included proven practices and methods that she employed with her ensembles in the Cupertino Union School District.

“When working with large ensembles, I emphasized musicianship skill development, which moves beyond assessing the accuracy of student performances,” she explains. “Instead, engage students in opportunities to sing, move, chant and explore their aural and oral skill development through improvisation activities throughout rehearsals. Balancing between teaching technical skills and musicianship skills will result in the individual and collective motivation of the ensemble.”

Kyle D. Phillips

Written by jkikuchi@yamaha.com on February 1, 2024. Posted in 2024.

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Kyle D. Phillips

Band Director
Princeton High School
Cincinnati, Ohio

During the 2020 season, Princeton High School Band Director Kyle D. Phillips saw half of his students every other week, which made it extremely difficult to rehearse marching band and it also limited performance opportunities. Because of the pandemic, the already abbreviated season was made that much more challenging because the Pride of Princeton (PoP) marching band could not travel, and there were only three performances for the entire season.

“Knowing how hard they were working and how much they love performing together, my team and I developed the Senior Showcase,” Phillips explains. “It began — and continues to be — a marching band exclusive performance, where we perform our halftime show for an audience of our fans without having to share the field with the football team.”

Senior members are celebrated that night, and together, they selected an additional set of songs to perform from each of the previous halftime shows. The event is capped off with a fireworks display, provided by the Princeton Music Boosters.

In 2017, a new event in Cincinnati — the BLINK festival, a light, art and projection-mapping event and parade — provided a huge opportunity for PoP to perform in downtown Cincinnati. The first event drew in more than 100,000 spectators. “Since then, we have performed at every BLINK parade,” Phillips says. “In 2022, we were invited to participate in the parade’s Grand Finale, an honor reserved for only a few groups — and we were the only marching band. For my students to be recognized by an outside organization for their talents was a dream come true!”

In his eight years as the head director, Phillips has grown the band program by more than 40% — from 139 members in 2015 to over 200 in 2023. Some of his best recruitment and retention efforts include:

Individual meetings with each 8th grade band member in the Spring to discuss their plans for high school band and to encourage them to at least try marching band.
Middle school band night every year, where all 7th and 8th graders perform with the PoP on a Friday night
Finding extra opportunities beyond football games to add to the allure of playing in the band, such as travel and special community/city events.
Empower the band’s student leadership team to take ownership with regimented student-led instruction, goal setting and regular check-ins throughout the season.

“We celebrate our successes, but we also share in our struggles,” Phillips says. “If a rehearsal isn’t going well, I encourage the band to reflect on how we can improve. I often tell students that there’s no ‘bench’ in marching band and that when one of us struggles, it reflects on all of us.”

Kevin Longwill

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Kevin Longwill

Music Industry Teacher, Director of Modern Music Makers (M3)
Abington School District
Abington, Pennsylvania

During the pandemic, Music Industry Teacher Kevin Longwill started Modern Music Makers (M3) so that Abington School District students could continue to make music with their friends by recording projects using a cloud-based digital audio workstation (DAW) like Soundtrap, then sharing them with their peers. “At the time, it was an interesting concept, and many students gravitated toward it,” Longwill says. “When we resumed in-person learning, more students wanted to make and share music, but they wanted to do more like form performing ensembles or take the music they made to a new level with traditional recording, production and release.”

Longwill points out that the students are the driving force behind many of the decisions involved in the program. “The idea to form bands and to record/release original music – all came from the students,” he says. “These kids have been the inspiration behind the direction of the M3 program, and this has allowed them to demonstrate agency and authenticity in their music-making and learning. We’re excited to see where our students will steer the program next!”

When the district shifted building structures from a junior high to a middle school, Longwill was presented with a great opportunity to adjust how to handle music technology coursework. “In this new environment, our middle school offered an ‘experience-based’ entry-level approach to music technology,” he explains. “At the high school, we establish three more years of instruction, each building on skills established in previous years’ instruction.”

This tiered structure has proven to be immensely beneficial with middle school and high school students taking on complex projects in class and in their own pursuits. Currently, there are 127 M3 students in grades 9-12 and 105 in grades 6-8.

Longwill’s next step was to create a venue where students could perform for more than just their friends and family — and so, the Modern Music Invitational was born. Numerous schools with modern music programs come together and play for each other. The show also provides opportunities for non-performing students to showcase their skills at working a soundboard or handling performance elements like lighting, media, etc. “While the show itself was a fantastic achievement, the additional opportunity to create masterclasses with industry professionals, including touring/recording musicians, audio engineers and music business professionals, proved to be really impactful for the students and their teachers,” Longwill says.

He is astounded to see how the Modern Music Invitational started locally and now it is reaching students, teachers and, starting this year, future educators, from other states and parts of country.

Julie Anne Russell

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Julie Anne Russell

Orchestra Director
Blythewood High School
Blythewood, South Carolina

Blythewood High School Orchestra Director Julie Anne Russell has found several ways to bridge the gap between middle school and high school orchestra programs. First, she reconnected with colleague Netta Hadari to perform his piece, “Everyone Knows What a Dragon Looks Like,” which was written for beginning strings (performed by middle school students), advanced strings (Blythewood High’s chamber orchestra), winds and brass (local teachers and professionals) and four soloists (Russell and three professional players/teachers). “At the performance, the audience and students could see the progression from first-year playing to the outer limits of what can be accomplished as an adult,” Russell says.

This performance was emotional for Russell because she was able to perform alongside her best friend, students, future students, colleagues and her son, who was part of the middle school orchestra. “In the final measures of the piece, I actually missed a cue because I couldn’t see through my tears. I was overcome with joy with all that we had accomplished,” she says.

Other initiatives that involve the middle school and high school include a composition unit with the middle school where students write pieces based on children’s books, and the orchestra mentor project where Russell’s high school students teach free private lessons to middle schoolers.

Russell is known for her out-of-the-box ideas. During the pandemic and resulting shutdown, Russell wanted students to be able to still connect with musicians and music “beyond these walls,” which has become a catchphrase for her vision of the orchestra program. Respected musicians from Hong Kong to California and many countries, states and cities in between, graciously created videos talking about their life and what they do. The unit, called “Meet the Artists,” resulted in about 12 videos explaining different aspects of what it means to be a musician and how it can shape your career.

She also spearheaded a full day of workshops and rehearsals for Richland School District 2 honors orchestra students with the esteemed musicians of Varna International. Several students were given the opportunity to perform on actual Violins of Hope, and students were able to meet and ask questions to Avshi Weinstein, one of the luthiers who restored the instruments from the Holocaust.

A special fundraiser for the orchestra is the Painted Fiddle Project, which began in 2009. Students lead the project and are in charge of the collaborations, designing and logistics. They work closely with the National Art Honors Society where students and local artists are encouraged to paint the fiddles. “My dad, Jim Wilson, and I work together in the wood shop to hand cut each fiddle,” Russell explains. “At each concert, 10 to 12 fiddles are auctioned with proceeds going to purchase equipment, sheet music and supplies for the program as well as fund a scholarship for a local student to attend the University of South Carolina String Project Summer Camp.”

Matthew Rupert

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Matthew Rupert

Co-Founder, Clarinet/Piano Faculty, Little Mission Studio
Co-Founder, President of the Board, Make More Music Foundation
San Francisco, California

Little Mission Studio launched in 2014 to help meet the need for quality music education in San Francisco. Matthew Rupert and the other co-founders of the studio had been teaching privately out of their homes, and they saw the need for a school where they could combine their talents, offer more programming and improve the quality of instruction available to local students. “We started with just 20 or so students and three teachers, and we now employ 17 faculty — all professional musicians — who teach about 400 students,” says Rupert.

The studio was recently renovated and expanded, doubling the teaching and performance space, so that Rupert and his team can continue to grow their musical community with more studio classes, recitals and ensembles.

“I’m really proud of our ‘composer of the week’ initiative,” Rupert says. “We highlight a new composer every week, and students collect ‘trading cards’ where they learn about the composer. We intentionally highlight diverse composers from different backgrounds and musical styles because we want to ensure that our students see themselves represented in the world of music. Our illustrator friend custom draws each new composer card, and it’s awesome to see our students learning about musicians like Clara Schumann, Nina Simone, Kaija Saariaho and so many more.”

In 2017, the Little Mission Jam Band was formed to provide a collaborative musical experience for students. “I love living in San Francisco, but it’s an odd quirk of the city that only a fraction of middle and high schools offer band or orchestra programs,” Rupert explains. “There are so many students with no ensemble playing and performance opportunities at school. Our Jam Band is the place for them!”

The Jam Band survived through the pandemic with online rehearsals. Multi-track performance videos were created and later, the band rehearsed outdoors in front of the studio. “So many students and parents expressed gratitude that we kept things going,” Rupert says.

In 2021, Rupert started a scholarship fund in his mother’s memory because she was an avid supporter of music education and the arts. It soon grew into a full-fledged nonprofit called the Make More Music Foundation. “In just our first couple of years, we have awarded over $20,000 in scholarship funds to young musicians to take private music lessons that they couldn’t afford to otherwise,” Rupert says. “We also curate and host regular, free educational concerts at community centers around the city. Last year’s concert series centered on music of the Americas and featured music by Latin and indigenous composers.”

Rupert also authored “Music for Broken Arms,” which features one-handed (for right and left hand) piano solos. No need to halt lessons for students who have injured a finger, hand or arm!

Ben Pedersen

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Ben Pedersen

Director of Bands
Foreman College and Career Academy
Chicago, Illinois

In Fall 2020, Ben Pedersen was hired as the Director of Bands at Foreman College and Career Academy to restart the band program, which had been dormant for years. He spent the summer before inventorying equipment and watching hours of YouTube tutorials to repair enough instruments to send home for virtual learning.

Once in-person teaching resumed, Pedersen recruited band members by talking to students in the halls, offering lessons after school and practicing with his door open to draw in students curious about what they were hearing. “I’ve emphasized arranging music for my ensembles to ensure students at beginning levels can play music that is historically significant, fun and culturally relevant,” he says. “Now, four years into the program, we offer five sections of band, we have won awards — Outstanding Woodwind Section at the Jazz in the Chi Festival and an ILMEA All-District selection — and about 25% of the school population participates in the program.”

Pedersen uses his school’s location in Chicago to introduce even more musical culture to his students. “When transitioning to public school education from a career as a freelance trombonist, a primary goal of mine was to bring great Chicago artists into my school and bring my students out into Chicago’s vibrant music scene,” he explains. “Foreman has been visited by numerous guest artists, including legendary Chicago artists like saxophonist Eric Schneider and bassist Dennis Carroll, and each visit was paired with a field trip to see them play at a jazz club in the city that night. The experience of getting to meet and work with artists, then seeing them perform in the real world brings the music to life for students.”

Pedersen also works with the Chicago Symphony Orchestra and the Jazz Institute of Chicago. Foreman hosted a member of the Jazz at Lincoln Center (JALC) Orchestra for a clinic with our jazz ensemble. The visit was paired with complimentary tickets for students to see the JALC Orchestra play that evening at Symphony Center — an incredible experience.

“We have also been fortunate to participate in a Jazz Institute program which pairs Chicago jazz artists with schools to provide multiple guest visits to the school as well as tickets and transportation to the University of Chicago’s Logan Center for the Arts to see prominent jazz artists perform live,” Pedersen says.

Foreman serves a diverse student population from a range of cultures within Chicago and from around the world. Most of Pedersen’s students have not had the opportunity to play musical instruments or take a music class before. “I am proud to be able to share my passion for instrumental music and help students achieve success in an area of study that they may have never known they would be interested in. My ultimate goal is to create lifelong appreciators of music,” he says.

Cale Patton

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Cale Patton

Music Teacher
Gillespie Technology Magnet Cluster School
Chicago, Illinois

In 2011, Cale Patton started teaching at Dawes Elementary School, part of the Chicago Public Schools system. At that point, music consisted of music on a cart with no instruments and certainly no ensembles. She spent over a decade building a robust program that now includes an unconventional band program and an after-school rock band. She also spearheaded hands-on learning through performance opportunities and field trips. “An art-on-a-cart scenario is certainly not ideal,” Patton says. “However, the blank slate at Dawes along with a supportive administration allowed us to explore new ideas and to experiment with different approaches. Of course, there were failures and challenges along the way, but I never gave up hope and worked every day to connect with students and staff.”

After several years, music was finally given its own classroom! In 2020, Dawes was awarded Fine and Performing Arts School status by the district, due in part to the music program. Because of Patton’s commitment to innovation and her track record of pushing the artistic envelope, she was asked to build a music program from scratch at Gillespie Technology Magnet Cluster School in 2024. “Gillespie’s population is even more at-risk than Dawes with a student population that is 95% Black and majority low income. While it was sad to leave Dawes, I have discovered that my calling is to bring the light of music to students who need it the most. I look forward to working with Gillespie’s students and the community to build an innovative, technology-infused and culturally responsive music program.”

Funding her efforts at Dawes required networking and pursuing grants, which Patton says is a full-time job on top of teaching. She searches for grant sources online and pursues every opportunity possible. She has received funding, instruments and more from DonorsChoose, Save the Music (which did “save” her music program in 2017 by providing instruments to start a band program) and Give a Note Foundation (which helped with funds to purchase a sousaphone).

Patton also reached out to local community partners. “One of our greatest partnerships was with Ford City Mall, which donated craft supplies and costume materials, as well as welcomed our ensembles to perform. A highlight for my students and me include Christmas caroling and marching the mall corridors with the Dawes band for Mardi Gras,” she says.

According to Patton, music programs help those who need them the most. “I love to recruit diverse learners and students with behavior challenges because they need positive and encouraging outlets for expression,” she says.

A special tradition for the Dawes marching band is playing to send off Special Olympics athletes and coaches to the games. “The band and drumline would lead the athletes on a march through the halls of the school, outside and onto the bus. The school halls were lined with cheering and supportive students and staff, waving banners and signs of support,” Patton says.

Patton acknowledges that the Dawes band may not exhibit the traditional musical “excellence” of a wind ensemble, but “I am proud that they exhibit excellence in the areas of spirit, fun, community and inclusion. These skills will take the students much farther than a high ranking at contest,” she says.

Dr. Stephen C. Page

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Dr. Stephen C. Page

Associate Professor of Saxophone and Director of Undergraduate Studies
The University of Texas at Austin Butler School of Music
Austin, Texas

It’s safe to say that if you’re a student of Dr. Stephen Page, Associate Professor of Saxophone at The University of Texas at Austin Butler School of Music, you are almost guaranteed a job upon graduation. His students have nearly 100% job placement at universities and public schools, performance venues, cultural nonprofits and other companies. “One of the best things about being a mentor is witnessing students seek and discover their passion and, more importantly, their purpose,” Page says. “The biggest thing I can do is to let students be open to their own curiosity. From there, I do what I can when I can to foster things forward.”

Page helps students connect with organizations and people who align with their interests in a way that supports turning their own motion into momentum. “In essence, the best thing I can do is to lead students on their way,” he says. “What a gift to do so!”

Page challenges his students with studio projects that involve other subjects like philosophy and neurology. He hopes that these opportunities will create an ongoing sense of curiosity that sets each student on individual paths of discovery. “It’s been great to explore a number of things together as a studio. Whether reading books by artists of other disciplines, watching documentaries about famous chefs or exploring our brain and the ways we can better incorporate our natural selves into our work, we always walk away with something new to think about,” he says.

Another project that Page spearheads is a UT Saxophone Studio YouTube Channel. Many performance videos have been shared on the platform, including one that’s quickly approaching 500,000 views. “New this year is a series of educational videos on all-state audition material. This series put a few of our students in the driver’s seat, performing the etudes and sharing several practice tips for viewers. We’re excited to expand on this into general topics on pedagogy and more to create a valuable resource,” Page says.

Allison Paetz

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Allison Paetz

Vocal Music Teacher
Rocky River High School
Rocky River, Ohio

Rocky River High School’s Vocal Music Teacher Allison Paetz enlists the community and engages students when teaching global music. “I love performing music from all over the world, but I am certainly not an expert in every culture,” she says. “I have worked with students to select music that originated in a culture that they have a connection to or special knowledge of. Then, I involve them in helping to teach the language or share information and traditions related to the song.”

Paetz welcomes parents and grandparents to help with language if a student isn’t comfortable, and she says that her class’ understanding and connection to the music is much deeper because of those experiences. “The biggest challenge is finding the right piece for an ensemble in terms of voicing and difficulty level,” Paetz explains. “I have seen so much more music become available since I started teaching, but I would love to see music publishers expand their offerings even more. It would be fantastic to have resources beyond the printed page, especially for music that isn’t traditionally transmitted that way.”

Ten years ago, Paetz started the a cappella group, Chromatix, because she wanted to have an ensemble that could sing challenging arrangements of contemporary popular music. The 14 members of Chromatix — the largest group yet — regularly perform at local events and festivals, and once they helped her during a presentation at a vernacular music conference.

Like all educators, Paetz adapted her teaching approach during the pandemic, and she has retained some of the technology that she used when she taught online. “I still use some lesson plans and projects, especially those that give students the opportunity to transcribe and arrange music. For example, students in our beginning ensemble compose short melodies using a browser-based notation software, which we then use for sight-reading in class,” she says.

Paetz has also embraced the district’s implementation of Canvas to make more resources available to students 24/7 so they can practice independently. “Recently, students recorded themselves singing with their phones while we rehearsed the same piece together in class,” she says. “Students submitted their individual recordings for a quick and easy formative assessment. That would have been a file-management nightmare before Canvas, but I can do things like that more frequently now.”

Paetz is currently working on her Ph.D. dissertation and is conducting a study on perfectionism, stress and burnout in pre K–12 music educators in the United States. “I love what I do, but it is hard work. My hope is that my research can help identify patterns of thought and behavior that increase stress and burnout among music teachers so that we can work on better supporting music teachers and, as a result, students,” she says.

Christopher Noce

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Christopher Noce

Director of Bands and Orchestras
Concord-Carlisle High School
Concord, Massachusetts

“No cowards” may be a strange message to share with students, but Director of Bands and Orchestras Christopher Noce uses that phrase for students to know that they can safely and confidently make mistakes during rehearsals. “The biggest difference between a new student at Concord-Carlisle High School and one who has been in our ensembles for a couple of years is in how they handle making mistakes,” Noce says. “Our established members will quickly acknowledge their mistakes in rehearsal — often with a quick glance toward me — and we can continue our rehearsal knowing that we’re all on the same page.”

He goes on to explain that “no cowards” is a tongue-in-cheek way to remind students to own the inevitability of an error. “It’s also important for me that we are always pushing ourselves out of our comfort zones — whether it’s singing in rehearsals, performing challenging repertoire, hollering for soloists in the jazz ensemble or cheering on the football team at home games. We take what we do very seriously, but we try not to take ourselves too seriously,” he says.

Noce brings in conductors who will extend his students’ understanding and perspectives beyond what he can bring to the table. “I keep an eye out at festivals and conferences for folks who may enrich our learning,” he explains. “I’m very cognizant of my limited perspective and inherent bias, and I work to bring in as many varied perspectives as possible.”

Some core values that Noce emphasizes in his class and throughout the program include:

Candor: Students know that he will be honest with them and expects the same from them.
Community and belonging: Everyone is welcome, and Noce means it. Concord-Carlisle sponsors multiple events throughout the year so musicians can just be together and enjoy each other’s company.
Living composers and new repertoire: Noce participates in consortiums and commissions to introduce students and audiences to new composers and repertoire nearly every concert cycle. “We perform a lot of repertoire by living composers, and one of the greatest advantages of this is that we don’t need a Ouija board to communicate with them, and the students love hearing about the work firsthand,” he says.
Musicianship outside our ensembles: Many of Noce’s students perform in outside bands, orchestras, chamber ensembles, hardcore bands and as singer-songwriters. All these pursuits are valued equally for the role they play in enriching the musical community within Concord-Carlisle ensembles.

Prior to joining Concord-Carlisle, Noce co-taught at the elementary and middle school level with Paul Halpainy for nearly a decade. They built a robust program that was more than just a feeder for the high school. “We wanted something that students could be proud of right there and then,” Noce says. “We set high standards, brought in clinicians, participated in concert festivals and even commissioned new works. The biggest investment was in the culture and community within and around our program, and it has paid dividends at the high school level.”

Now, Noce is reconnecting with those students who he remembers teaching how to put together their instruments. “Those 4th graders are now these incredible, passionate, driven, smart, funny and hard-working musicians filling the seats of my high school ensembles,” he says proudly.

Alex Mutz

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Alex Mutz

director of bands
Sam L. Martin Middle School
Austin, Texas

The band at Sam L. Martin Middle School has a large Hispanic population with many coming from Central and South America who speak little English. Over 92% of band members are economically disadvantaged and a large portion have at least one accommodation. Director of Bands Alex Mutz says that being a person of color and a multilingual educator from outside the U.S. has helped him form a bond with his students because he understands what his students have gone through as immigrants. “Being able to navigate their language brightens students’ mood because they have someone who they can communicate with,” Mutz says.

He makes sure that his students can overcome obstacles and have the tools and resources they need to succeed, such as playing professional-level instruments. “My view is: Why shouldn’t they have the opportunity to receive the same level of education as any other student regardless of their home situation,” Mutz says.

Mutz adapted many of his lessons to accommodate non-native English speakers. For example, while certain songs are common in the U.S. like “Mary had a Little Lamb,” many of his students do not know it. “So, I try to incorporate songs that they know from their culture,” he explains. “When we are learning notes on the staff, I ask students for input and together we create Spanish versions of ‘every good boy does fine’ to help them remember the notes.”

Mutz has also researched different phonetic approaches and words to help students learn to articulate on wind instruments, which sets them up for success.

It seems fateful that when Mutz attended his college orientation, he decided to change his major from engineering to music. “At registration, it struck me that engineering wasn’t what I wanted. I wanted to keep pursuing music, so I changed my major right there,” he says.

Currently, Mutz is pursuing his masters in music education at Eastman School of Music on top of his work with the middle school and high school bands, and teaching private lessons. “I give the hours that I can without overly stressing myself and still being able to give maximum effort. I have a clear line of communication with my schools. It’s about perspective and loving what you do without burning yourself out,” he says.

As a child, Mutz wanted to join the legendary Blue Devils Bugle and Drum Corps after watching their 1994 show and in particular, the featured euphonium player. When he eventually made the corps, Mutz met the euphonium player and told him that he was his inspiration growing up. “He told me that when he was young, he wanted to be like someone in the corps as well,” Mutz says. “Years after aging out, a euphonium player on one of the marching bands that I was teaching came up and told me that I was his inspiration and that he wanted to be like me. A full circle moment!”

Adam Murray

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Adam Murray

Orchestra Director, Music Department Chair
Port Clinton City Schools
Port Clinton, Ohio

Small schools don’t mean weak music programs!

That’s the mantra often repeated by Orchestra Director and Music Department Chair Adam Murray, who teaches at Port Clinton City Schools, a small district with about 85 students in the orchestra program. To maintain and grow enrollment, Murray has found a unique way to includes his high school students in the recruitment process, which includes a recruitment concert and an instrument selection event.

Each spring, Murray does a deep dive with his high school symphony into a different facet of the contemporary music industry, such as film, video games, Broadway, television, pop music, etc. In addition to learning the music, students participate in planning and executing a performance event, which includes program designing, advertising and creating related media like videos and posters. The first half of the unit culminates in a midterm project: a multimedia recruitment concert exclusively for 5th graders.

Phase two of the event is an “instrument selection party” where the high schoolers work in groups to plan games, playlists, decorate and help facilitate the instrument petting zoo. The Baroque Violin Shop in Cincinnati brings in dozens of instruments for every 5th grader to play and take home once they have made their decision. “Once you select your instrument and get your picture taken in front of our orchestra backdrop, the red rope unlocks, and you get to head into the VIP orchestra party,” Murray exclaims.

These efforts not only bring in new members to the orchestra, but it also retains the ones Murray already has. “Recruitment numbers are important to me but it’s the retention number that really matters,” he says. “It’s rare that I lose a student before graduation. When Port Clinton students pick orchestra, they are investing in it for the long haul.”

During the summer of 2022, Murray worked with administrative staff at the Firelands Symphony to extend its educational outreach program to Port Clinton. This partnership had not previously existed but has since flourished. “We have sectional coaches, access to private teachers, elementary recruitment tools and many other resources that the symphony is generously providing free of cost,” Murray says. “On the horizon, we are hoping to plan a ‘side-by-side’ with the symphony. Firelands also provides free concert tickets for all students, and our program has taken full advantage of the chance to see a professional symphony in action!”

Murray took over the program from a beloved director. “It might have been hubris, but I never had any pretense about being my predecessor,” he says. “Since day one, I have made this program an unapologetic mirror of who I am as an educator and as a performer. I see these kids five days a week from 6th grade until they graduate. We go through a lot of life together. We are energized, we are effective, and we aren’t afraid to take risks.”

Kimberly Kraft McLemore

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Kimberly Kraft McLemore

Vice President of Education and Community Engagement
Nashville Symphony
Nashville, Tennessee

The Nashville Symphony’s education programming is designed to support the city’s students and educators and provide experiences that supplement and enhance the school curriculum. “We are always eager to collaborate and design new programming with our city to better serve the community,” says Kimberly Kraft McLemore, Vice President of Education and Community Engagement.

A popular program is Music In My Neighborhood, an annual week-long residency that is designed to bring the Nashville Symphony’s programming out of the concert hall and into a new neighborhood each year. Musicians, staff and board members visit local schools, community organizations and neighborhood associations to grow existing partnerships, build new relationships and spend time listening and learning from the community about how best to highlight the amazing work already happening in their neighborhood. “We then curate a week-long schedule of programming to showcase our partnerships in that neighborhood,” McLemore says. “We want to collaborate with the community to make music for the community. It is an amazing week full of partnership and music-making!”

Another program, Accelerando, which launched in 2015, is focused on diversifying classical music. Selected students receive full scholarship support to take weekly private lessons with Nashville Symphony musicians, participate in the youth orchestra, take music theory courses, access masterclasses and workshops led by world-renowned guest artists, and attend summer music festivals. “We also help students navigate the collegiate audition process in addition to covering visits and auditions at potential colleges or conservatories. All program activities and curriculum are designed to prepare students to study music in college and eventually go on to pursue a career in orchestral music,” McLemore says.

The first Accelerando had six students. Currently, annual enrollment stands at 24. The program is designed for students to remain in Accelerando for multiple years, with many participating from middle school through high school graduation. “I am so proud of our Accelerando alumni who have gone on to study music at schools like Eastman School of Music, New England Conservatory, Colburn Conservatory, Northwestern Bienen School of Music, Indiana University Jacobs School of Music, Vanderbilt University Blair School of Music, to name a few,” McLemore says.

In February 2024, Nashville Symphony will be partnering with Carnegie Hall to produce the Link Up program with 3,000 students, who will bring their recorders to the concert hall to play and sing with the Nashville Symphony during the performance. “This program is a true collaboration with Metro Nashville Public Schools that provided students with recorders and helped coordinate educator professional-development sessions,” McLemore says. “This program is an opportunity to do more than just expose young students to orchestral music. I hope this program will show them that our concert hall is a space for them to come and make music. That they belong here on our stage.”

Another partnership is with We Are Nashville, a student festival that prioritizes access to high-quality performance opportunities and learning experiences. The festival teaches 300 choir and orchestra students that they have a voice and deserve a space in our music ecosystem. “It was an easy decision to partner with the festival as their host organization. Our city’s students deserve to perform on the Schermerhorn stage, and I’m proud to provide space for them to share their voice,” McLemore says.

Andrew Muth

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Andrew Muth

Director of Bands and Director of Performing Arts
Westfield High School
Westfield, Indiana

Westfield High School’s music program was in dire need of revitalization. That’s when Director of Bands and Performing Arts Andrew Muth stepped in. “A successful program isn’t built in a day or a single year. We knew that it was going to take time to build the program,” he explains.

Muth put together five- and 10-year plans that detailed where he wanted to go and how to get there, and he shared the vision with students, parents and the community. “Our goals were big and at times they felt impossible, but we always said that if we do the work, the results will come,” he says.

This inclusive and transparent approach has paid off — there is a real sense of pride around the band program. “I am blown away everyday by the power of relationships. Our kids care about each other. Our parents are the hardest working crew, and the relationship that they have built with the program is incredible,” Muth says.

According to Muth, success has always and will always be the byproduct of excellence. That level of excellence has seeped into their performances. “Our philosophy is that every detail matters,” he says. “This has meant that we always work with designers and vendors who care about our kids. We put shows together that create an identity that is uniquely Westfield. This means we pull from a variety of visual and musical inspirations.”

A particularly memorable experience occurred last year at the WGI Winds finals. “As we were walking onto the floor to perform, a senior leaned over to me and said, ‘I don’t ever want this to be over,’ which made tears fill my eyes. Anytime you watch a student understand the transformative power of music, you couldn’t ask for more,” Muth says.

Muth finds daily inspiration from his own high school band director, Bill Laughlin, who had a sign in the front of the band room that read “good enough is neither.” This phrase affects my leadership style every day. “I would never ask a parent, student or staff member to do something for the program that I wouldn’t personally do myself. I am unapologetically passionate about our kids and our program. I believe in the power of believing in the ability of your students. I go into every season and school year believing that this can be our best year yet,” he says.

Kacee Sanders

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Kacee Sanders

Band Director, DuPont Hadley Middle School
Executive Director, Southeastern Women in Music Symposium
Tennessee

Band Director Kacee Sanders is a firm believer in building independent musicians where her only role in the classroom is to act as a facilitator. The goal is for her students at DuPont Hadley Middle School to be thinkers and problem solvers and to be able to operate without her. “I’m not the one making the music; the musicians are. I challenge the traditional band room setting where the band director barks orders from the podium, and the musicians militaristically sit in the chairs and do what’s asked.”

Instead, Sanders wants everyone in the room to be involved in the music-making. She tells her students that every voice and every contribution is needed to create a completely unique and beautiful performance. “I encourage my classrooms to have conversations,” she says.

This independence also results in a supportive, positive and inclusive environment within the band. As a Title I school, most DuPont Hadley students will need music scholarships to go to college. “They work to motivate each other,” Sanders says. “They help each other and have been incredibly encouraging of each other’s successes.”

Sanders employs social and emotional learning practices in the classroom and focuses on creating an engaging learning environment. Every Monday, students complete a “rehearsal reflections” graphic organizer with sections to set their rehearsal intentions for the week, indicate any upcoming performances and track individual, section and ensemble goals.

She also implements several teaching strategies that actively involve students learning with and from their peers. “I believe that all students have something to contribute to the learning environment and should have the opportunity to feel valued and succeed, and I have worked to create a positive classroom culture where this is possible,” she says.

Sanders is proud of her role as Executive Director of the Southeastern Women in Music Symposium and considers it her biggest accomplishment and undertaking. The symposium originated as a Girl Scout Gold Award project by a former student, Mya Foley, who approached Sanders in 2021 to be her sponsor and to brainstorm project ideas. As a percussionist, Mya experienced the male-dominated landscape of the music community and recognized the need for more female representation in both the clinicians she worked with and the composers whose music she performed. The concept of an all-female honor festival began to take shape. The one-time Gold Award project has now evolved into a nonprofit organization and an annual symposium. “Our second symposium took place in December 2023, and we hosted 75 high school and undergraduate participants, who benefited from rehearsals, discussions and mentorship,” Sanders says. “The symposium has never been just an event to Mya and me. It is a testament to our commitment to increase female representation, provide a space for young women to thrive and foster mutual support among women in music.”

Dr. Jessie M. Vallejo

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Dr. Jessie M. Vallejo

Associate Professor of Ethnomusicology
California State Polytechnic University, Pomona
Pomona, California

How difficult is it to teach music in a STEM-focused school like California State Polytechnic University, Pomona? Associate Professor of Ethnomusicology Dr. Jessie M. Vallejo finds it enjoyable to teach courses that foster creativity, problem-solving, beauty, social justice and a sense of community in this interdisciplinary space.

She revived some courses, such as the mariachi ensemble, which existed in the 1970s and ’80s, and the Music of Mexico course. She also started the mariachi program in 2016. Even though Pomona is a Hispanic-Serving Institution (HIS), “there is still a lot of work to be done to realize our potential in serving students from diverse backgrounds,” she says.

Vallejo developed two new courses: Ethnographic Field Methods and one on musical instruments. “The field methods class encourages students to develop research skills and interact with a community of musicians while connecting with some of their other disciplines and interests, such as history, anthropology, or languages,” Vallejo says.

“The organology class — Theory, History and Design of Musical Instruments — is one of the most enjoyable classes for me to teach. I have always loved the sciences, and this is my way of connecting the department more directly with Cal Poly Pomona’s engineering and science areas,” she says.

Each semester, the students in this course work with the Student Innovation Idea Labs to learn about tools and resources that may be used to build instruments, such as laser cutters or scroll saws. Throughout the class, they discuss instruments’ cultural meanings and roles in different societies, as well as social and scientific issues around instruments like sustainability of materials, endangered plant or animal species and accessibility for people with disabilities, including how to adapt instruments for different needs.

One of her favorite experiences as an educator was the collaboration between the Cal Poly’s premiere mariachi ensemble, Mariachi Los Broncos, and Dr. Julian Saporiti (a.k.a. No-No Boy). “Dr. Saporiti’s music is rich in history lessons, and his song, “The Best God Damn Band in Wyoming,” tied together some of the overlapping experiences of Asian, Mexican and Central Americans in the Pomona area over the last century,” Vallejo explains. “The song is a great vehicle to study local history and contemporary events through performance, and best of all, the collaboration was fun!”

In addition to teaching music, Vallejo works on the school’s transportation committee to address issues about mobility on campus. The committee was able to add a stop on campus for the Foothill Transit Silver Streak bus line, which has helped to shift Cal Poly from being a car-dependent campus. It has also improved transit on the I-10 corridor, reduced greenhouse emissions and made the campus more accessible. Other projects the committee is exploring include continuing to expand bus service, building a mobility hub and extending the protected bike lanes connecting campus to nearby cities.

Vallejo’s research and her own life experiences have taught her the critical importance of representation and culturally relevant programming in K-12 and college settings. “Growing up as one of the few Mexican Americans in Syracuse, New York, I was frustrated that I didn’t have opportunities to learn about my culture, especially in music programs and ensembles,” she says. “I am thankful that I can help ensure that students at Cal Poly Pomona have the opportunities that I had to fight for or seek out through study abroad experiences.”

Dr. Paulina Villarreal

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Dr. Paulina Villarreal

Assistant Professor of Voice
University of Memphis, Rudi E. Scheidt School of Music
Memphis, Tennessee
Founder and Artistic Director, Cantos para el Mundo

Like most higher education institutions, the song repertoire curriculum at the University of Memphis focused on “standard” Western classical repertoire. When Dr. Paulina Villarreal joined the faculty in 2020 as Assistant Professor of Voice, she was given the opportunity to reimagine the special topics repertoire courses offered at the graduate level.

“I wanted to inspire students through repertoire and expose them to ‘gems’ that they’ve never heard of before, so I dedicated special topic courses to two distinct topics: 1) Entartete Musik (degenerate music)/songs by Jewish composers who were banned by the Third Reich and 2) Iberian and Latin American repertoire,” she says. “I am proud that today, every graduate vocal student has a few selections from underrepresented groups/composers in their performance repertoire!”

Villarreal is passionate about finding songs by Latin American composers who have never been recorded and create high-quality audio and video clips for future performers to explore. She has also presented at national conferences and shared her knowledge of this repertoire with other teachers and musicians. “I am currently in the process of recording a whole album by Mexican composer Maria Grever,” she says. The album’s publication will be preceded by a performer’s guide so that singers all around the world can have access to this composer’s music!”

The Nuevas canciones vocal competition began as a collaboration with Opera Memphis to introduce singers to song and operatic repertoire from Spain and Latin America. Competitors were asked to find and perform at least one selection in Spanish during the final round of the competition.

Another area that Villareal focuses on is trauma-informed pedagogy (TIP), which recognizes that teachers and students have past and present experiences that may negatively affect teaching and learning. “It’s vital to ensure the physical and emotional safety of every student,” she explains. “Some other ways I implement TIP in the studio is being mindful of power dynamics, and always presenting myself as empathetic, open and flexible. I also constantly remind students about on-campus resources, and lead by example by engaging in self-care.”

In 2017, Villarreal founded Cantos para el Mundo (songs for the world) to promote vocal arts of the highest caliber in the North of Mexico. The concert series is in its eighth year, and has represented artists from over 12 nationalities and promoted local talent through scholarships and vocal clinics.

“The University of Memphis Rudi E. Scheidt School of Music is one of the only places in the country that challenges students to become well-rounded musicians, instead of focusing solely on one musical genre,” Villarreal says. “The school of music offers scholarships to any talented and deserving student regardless of major. Our ensembles include finance, law, anthropology and biology majors, among others.”

Christopher Lape

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Christopher Lape

Orchestra Director
Upper Arlington High School
Upper Arlington, Ohio

At Upper Arlington High School, Orchestra Director Christopher Lape took the lead in adapting the curriculum from every other day to everyday instruction. “It’s been a collaborative and continuing effort with my colleagues,” he explains. “There’s significantly more room for growth with the consistency of daily instruction. The bulk of the transition has been updating our curriculum map and choosing method/technique books that correlate the best. It’s honestly a reflective process and I want to do what’s best for our students because we place a lot of value on our students and their musical journey.”

In addition to adapting the curriculum, Lape has brought some innovation activities to the orchestra, including the rock band project, an idea that he borrowed from a string teacher in a neighboring district. Students divide into groups to form rock bands and choose a song (a verse and/or chorus), chart the chord structure using keyboard/guitar tablature, and figure out the melody. Once students have the basics mapped out, they choose their roles in the band (melody, root, 3rd, 5th). They have freedom to use different instruments and their voice to experiment with a variety rhythms and movement. “By the end of the project, they’ve created their own arrangements. I love this project because it gives students autonomy in something that is relevant to them,” Lape says.

Another popular project, especially with middle schoolers, is the string sound FX story, which Lape usually schedules around Halloween. “Students step into the role of a Foley artist and experiment with different kinds of sounds that they can make on their instruments. They then incorporate those sound effects into a story that they’ve composed and perform for the class. I put a crackling campfire on the tv, turn out the lights and let their creativity shine,” he says.

Lape co-chairs the Central Ohio String Festival, a large-group adjudicated festival that Upper Arlington High School hosts for middle school and high school orchestras. Each group performs for three adjudicators who provide written/audio-recorded feedback and a rating. Following each performance, a fourth clinician gives the group a clinic where they provide and apply feedback in real time. Last year, 30 orchestras (~1000 students) participated in the event. The goal for the annual festival is to provide growth opportunities for both students and teachers through authentic feedback from a rotating team of highly qualified string educators.

According to parents and students, Lape’s “superpower” is developing rapport with students. He acknowledges and appreciates students for who they are in hopes that they feel seen. “I’m intentional in how I interact with students to help them build confidence in themselves as musicians,” he says. “I value their opinions and give them a voice in musical decisions and repertoire choice. If you take the time to build rapport with your students, you’ll see that they have a lot to offer. We celebrate successes and provide a safe space for struggles and mistakes. That’s how we build resilience and grow!”

Dr. Jacquelyn Lankford

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.

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Dr. Jacquelyn Lankford

Assistant Professor of Trumpet
Mississippi State University
Starkville Mississippi

Promoting the role of women in music, and in particular trumpet composition and playing, is a huge driving force for Dr. Jacquelyn Lankford, Assistant Professor of Trumpet at Mississippi State University.

She created the Women Composing for Trumpet (WCFT) Competition to add to the list of “standard” trumpet repertoire composed by women. “While there are many incredible compositions by women for solo trumpet, the only one that is considered standard by the trumpet community is the ‘Pakhmutova,’ written in 1955. It was the goal of this competition to bring light to this matter, as well as give modern women composers the opportunity to contribute to this list of standards and be recognized for their accomplishments,” Lankford explains.

The competition announced two winners (Katie Jenkins and Madeline Lee) who were awarded $2,000 each, a recording of their work and a publishing deal with Murphy Music Press.

Another event that Lankford spearheaded was the Powerful Women in Music Concert Series, which was created to continue to initiate ways to change the fact that underrepresentation of women is prominent in the music world. “This is true when it comes to performance opportunities for individual women performers and groups, as well as an audience’s exposure and opportunities to attend events featuring these women,” she says.

To accomplish this, a concert series was created featuring women soloists and groups of women performers from various genres, backgrounds and ethnicities. Performers included Alexa Tarantino (Jazz at Lincoln Center) with the Jazz Band, Caeley Jackson (U.S. Navy Band) and Calypsus Brass (a professional women’s chamber ensemble that Lankford is a member of).

Lankford strives to inspire and motivate those often forgotten or neglected in the trumpet community — so last semester, she started the Trumpet Festival at Mississippi State. Trumpet players at the high school level and beyond were able to come together for this free experience where they could learn, perform and connect. She brought in three guest artists with different genre specializations: Jason Bergman from Indiana University, Pancho Romero from New Mexico State University and Josh Kauffman from U.S. Army Blues. Each provided a masterclass, private lessons and a concert at the end of the festival. “My goal with this event was to provide accessible, high-quality educational and performance opportunities for trumpet players who typically do not get to experience them because of their location or financial situation,” Lankford says.

At Mississippi State University, collaboration is not just something that happens between professors, the students are also inspired to collaborate often. “This includes everything from putting ensembles together for their recitals, dedicating themselves to a trumpet ensemble with a goal to compete at the National Trumpet Competition, meeting outside of any scheduled events to practice together, and even meeting to work on their audition music together,” Lankford says. “This behavior is evident in the trumpet studio, and I have seen it influencing other music students, as well as non-majors who want to be a part of this healthy and inspired culture.”

Lily Ianaconi

Written by jkikuchi@yamaha.com on January 31, 2024. Posted in 2024.