Vitale Chris
Chris Vitale
Director of Bands
Westfield High School
Westfield, New Jersey
The Westfield High School band has a hashtag — #BandFamily — that resonates with students, staff and families. According to Director of Bands Chris Vitale, “The key ingredients of #BandFamily at Westfield are kindness, acceptance, respect and support. We are proud that we have students from every walk of life within our school community in the band. Each year, I am amazed and inspired by how accepting our students are of each other no matter what the circumstances.”
Vitale considers himself lucky not only because of his students and their families, but because he works in a supportive district filled with talented and dedicated music educators, including his co-director, Trevor Sindorf.
To motivate and inspire his students, Vitale maintains a good balance between high standards and positive support for his students. “And I have always tried to be bluntly honest with my students,” he says. “When they do well, I tell them … and when they don’t, I don’t shy away from making that known. They appreciate the honest approach and the sense of accomplishment that they feel when they reach their goals is far greater as a result.”
Every other year, Vitale runs a leadership book club that is open to any student. The club reads Stephen Covey’s “The 7 Habits of Highly Effective People” over the course of several months and meets before school every few weeks to discuss various topics covered in the book. “I keep things very casual and try to let the students drive the discussions,” Vitale says. “The agenda of the book club is for everyone involved to learn more about themselves, myself included. Each time we run the club I learn from my students, which I find very fulfilling!”
Vitale views high school band as a vehicle to build good humans. “Through music we can teach acceptance, empathy, communication, accountability, time management and teamwork, among other things,” he says. “I tell students that you don’t have to be best friends with everyone in our band, but you do have to learn how to work together and help each other be successful. By helping others, you create a better experience for yourself — a win-win. If I can teach that and foster a love and appreciation for music along the way, then I think I’m doing everything I set out to do as an educator.”
Vitale is also a leader throughout the state and helped start the New Jersey Marching Band Directors Association (NJMBDA). “After the 2019 marching season, directors throughout New Jersey began conversations regarding a need for an organization solely focused on providing an educationally sound marching experience for the bands of our state,” he explains.
The nonprofit NJMBDA had over 70 high school bands join in its first year. “We look forward to growing in 2022 as an organization run by directors focused on providing world-class adjudication at a low price,” Vitale says. “We have a fantastic team of dedicated educators working together to drive the organization forward, including my co-president Erik Lynch [from Verona High School].”
The Pennsylvania Music Education Association conference gives us an opportunity to connect with all of you and to remind you that Yamaha is your partner in music education, not just through our great instruments and professional audio products but also with resources, support and professional development. We know how difficult these past two years have been as we have navigated through these uncertain times, and we want to express our appreciation and gratitude for everyone involved in making this conference possible. We want to continue to hear about your programs and learn about you and your specific needs to see how Yamaha can partner with you to help.
Stop by and say hi to us in the exhibit hall. We’ll be showing some new instruments in the booth, including the Harmony Director, the YBS-480 Baritone Saxophone and the MS-9414 Marching Snare Drum.
The Kansas Music Educators Association conference gives us an opportunity to connect with all of you and to remind you that Yamaha is your partner in music education, not just through our great instruments and professional audio products but also with resources, support and professional development. We know how difficult these past two years have been as we have navigated through these uncertain times, and I want to express my appreciation and gratitude for everyone involved in making this conference possible. We want to continue to hear about your programs and learn about you and your specific needs to see how Yamaha can partner with you to help.
The California All-State Music Educator Conference gives us an opportunity to connect with all of you and to remind you that Yamaha is your partner in music education, not just through our great instruments and professional audio products but also with resources, support and professional development. We know how difficult these past two years have been as we have navigated through these uncertain times, and we want to express our appreciation and gratitude for everyone involved in making this conference possible. We want to continue to hear about your programs and learn about you and your specific needs to see how Yamaha can partner with you to help.
Solution — To address
pulse and rhythm problems, I like to use movement activities that can be accomplished away from the piano. I find this approach to be more effective. It also creates a small break in the lesson when the student can stand up and refocus with a different activity. Some movement ideas include marching or patsching (tapping on thighs) while singing the melody of the piece.
The musical flow of 4/4 versus 6/8 meter is very different. Often, students may not read rhythms correctly because they do not have a full understanding of the meter.
Auxiliary Brass
The must-have auxiliary woodwind for a concert band is a 
In his theory, there are specific rules for creating the patterns, but for now, let’s just use a simple pattern of quarter, quarter, eighth, eighth, quarter in 4/4 time (see pattern to the right). As the teacher, I would start by using a neutral syllable like “bah, bah, bah-bah, bah.”
One of the most common rhythmic problems I encounter is playing steadily in 3/4 time. Unfortunately, most of the music on the radio and most of the music in early method books is in 2/4 or 4/4 time, so switching to triple meter can create problems. (While not directly movement-related, improvising in the “troublesome” meter can be a great help.)
I have also seen Dalcroze teachers use tennis balls to work on this concept. The teacher plays a piece with changing tempi while the student bounces the ball on the macrobeat. The microbeat actions might be passing the ball to another hand, tossing it. (Using the tennis ball also makes the student pay attention to how much force or accent is needed on each downbeat.)
With older children, body percussion is a fun way to work on complex rhythms or polyrhythms. One of my favorite body percussion activities is a rhythm canon, demonstrated 
But then the story loses me. The boy wants more, and the tree gives it. But the tree starts giving away so much that it becomes less and less valuable. Branches are removed, and eventually, the entire trunk is cut down. The tree is reduced to a stump, but it continues to tell itself that its happy to give.
Some Small Changes to Put Yourself First
Make a list of the things that you want to do for yourself — things for your health, personal growth, recreation and relationships. This can be anything from studying a piece you enjoy, exploring a new exercise routine or getting a band together to play a set at a bar. I have a list of projects and priorities that I can do now, and a list that I’d like to do someday (called my “Someday/Maybe” list).
Because your time is valuable and you have so many options, any request of your time must earn a “yes” from you. Think about some requests or opportunities in the past that you have regretted saying yes to. Chances are, they provided little benefit to you or your students. Your time would have been better spent doing something else. I don’t think there’s a specific formula for a “yes” from me, but I have noticed some patterns.
I love lists. My favorite is my “not-to-do” list, which includes things, ideas or events that I have tried at least once and determined that I do not want to do them again if given the choice.
So, you’ve got your not-to-do list, your negotiables and non-negotiables, but you’re still having trouble saying “no.”
Practice, Practice, Practice
Over the past 20 years, researchers have been increasingly interested in awe, as they have found that it helps people feel more satisfied, more connected, more generous and less anxious.
In the classroom, ask students to find a piece of music that makes them feel the sensation of awe — or come up with a list together as a class. (Here are some examples of lists: 
You might face some resistance and difficulties if you start to charge $5 to $10 for admission to concerts, but here are some reasons to consider it with an audition-only ensemble:
Here are some tips for providing incentives:
Audition-only ensembles are a great way to provide services to your community. Students who sign up for audition-only bands are more likely to want to perform at events outside of school.
Vicchiariello and the school district solved its storage problems in a variety of ways. Most importantly, the board of education purchased an enclosed trailer exclusively for the band’s use in March 2018. Previously, the district had transported the band’s equipment to competitions, games, and other events in several multi-use box trucks. As the board looked at buying a new box truck, it incorporated the purchase of the trailer. Vicchiariello coordinated with the director of grounds to research the size and internal features as well as bid out the project. A student’s uncle paid for the custom exterior paint.
In addition, Vicchiariello built shelves and a rack in the back of the band room to house battery equipment and harnesses, respectively. Unfortunately or fortunately, the band received new marching band uniforms in 2018 as well, so the shelves now hold boxes of extra uniforms instead. “It’s like the ever-turning carousel that doesn’t want to stop,” Vicchiariello says.
In the same vein, Vicchiariello solved challenges that the marching band faced with rehearsal space. With only one multipurpose field used for football, baseball, soccer, lacrosse and marching band at the high school, the band’s rehearsal schedules conflicted with sports practices and games. Therefore, the band members often walked to 
For students, band can be:
There are examples across the country of football players marching in the half-time show, band students singing in the musical or choir, and fine-arts students excelling in athletics. And at Johnson, we are proud to have students in all grades and band levels who participate in multiple other activities, and some do it for all four years.
At 
The Florida Music Education Association conference gives us an opportunity to connect with all of you and to remind you that Yamaha is your partner in music education, not just through our great instruments and professional audio products but also with resources, support and professional development. We know how difficult this past year has been as we have navigated through these uncertain times, and I want to express my appreciation and gratitude for everyone involved in making this conference possible. We want to continue to hear about your programs and learn about you and your specific needs to see how Yamaha can partner with you to help.
Resist the Phone: Smartphones emit blue light, which can disrupt your circadian rhythm and mess up your sleep cycle. It’s tempting to reach for your phone every five minutes to check on work-related emails — but don’t do it! The best thing is to turn off your mobile phone when it’s bedtime. Also, keep the phone brightness on “reading mode.”
A majority of the plans for the new school’s buildings have likely been in place for a while, but it’s important to find out what decisions you can still impact. If the music room building is still in the planning stages, inquire about wide doors for moving instruments, extra storage space, stage access, dropped ceiling tiles for sound dampening or exposed ceiling for a livelier sound. If the building is already under construction, ask if your room will be painted to match the school’s color scheme or if you can choose a custom color that you won’t mind looking at every day. Even if all decisions are made, you can still be a part of the purchasing process.
Height of the Bench
Students often will play with overly flat fingers, collapsed joints and collapsed knuckles. Playing with a compromised hand position will lead to injury and prevent students from reaching their potential. It is important to understand the key aspects of good hand position when playing the piano.
The 
Our jobs must remain focused on the following two items: 1) ensure the safety of our students and 2) educating our students.
One list I particularly like is my two-minute task list. According to the GTD system, if a task takes two minutes or less, you should just do it and not have it take up valuable real estate in your schedule or brain. I agree with this but learned that these small tasks can get out of control if not approached correctly. First and foremost, planned-out tasks come first. Emergencies can wedge their way into my planned time, but nothing else. I reserve two-minute tasks for either a specific time of day or transition time. Sitting at a meeting and the presenter is 10 minutes late? Use that time to complete five tasks. Teaching a private lesson, and the student is pulled out for an early release by the office? Knock a couple of two-minute tasks off the list.
Harsh Reality #1:
What is actually important? As a professional, you know there are certain non-negotiables in your job. Teachers must complete IEP/504 reports, attendance, grades, mandated reporter tasks and promptly return parent emails and phone calls. If you ask yourself, “What are they going to do, fire me?” and the answer is “yes,” then those tasks are important and must be completed accurately and on time.
Today / High Priority / Must Be Done
Just Say “No”: Many of us already say “no” frequently. When you say “yes” to something, you will end up saying “no” to something else. This isn’t a bad thing; the reality is that everything just takes time, and time is finite.
In 2007, I remember thinking, “Wow, this is so cool! I can get my email on my phone!” That was before I knew better.
If I use my computer, I stay focused thanks to a few timers that block certain time-wasting websites. Furthermore, recognizing locations where you work best will help you avoid burgling time from yourself. When I have some extended writing or computer work to do, my go-to productive environment is a coffee shop where I sit with my laptop and headphones, listening to idle chatter and the ambient sounds of a café from a website called 
Oh, the countless times I’ve had an excellent plan for my free period, only to be presented with a pile of plastic, rods, screws and unidentified objects. (It’s always bass clarinets, right?)
As a result, Gamon created an innovative role-playing game (RPG) that uses goals in the violin curriculum and overall grade units to unlock puzzles that advance the story. Called “Novice to Ninja” (read 
Starting in 5th grade, Harrisburg students can choose a new instrument in strings, winds or brass. At the middle school, Gamon conducts the symphonic orchestra.
Furthermore, Gamon teaches Stagecraft and directs the school’s spring musical, which rehearses from September to March. In Stagecraft, students learn about lighting, sounds, props, costumes, construction building, design and marketing.
I have witnessed students just walk up to a snare drum and start playing. However, it is important to adjust the drum to the proper height so that the bead of the stick hits the drumhead at the optimal point. If the drum is not at the proper height, students will have tension in the shoulder.
Fix it: Drum Set Up (
Tell students to use their dominant hand and put the drumstick inside the first knuckle of their pointer finger. They should position the drumstick so that approximately two-thirds of the stick is coming out the front of their hand. Let the drumstick drop and count how many bounces are created. Tell students to reposition the drumstick and try a different fulcrum. Again, have them count the number of bounces. If there are less bounces, students should move the drumstick the opposite way and see how many bounces are achieved.
There are two grips that can be used on snare drum: matched grip or traditional grip. Because matched grip is used on snare drum, marimba, xylophone, timpani, bells and most percussion instruments in a concert ensemble, I have found that it’s best to start a student on matched grip.
Students often play with flat fingers — with their nails visible on the keys — so they can see that they are playing the desired keys. However, a curved hand position where the tips of the fingers are used allows for more dexterous scale playing because the fingers are able to move with greater ease and speed. The fingers simply cannot move as quickly in a flattened position. When playing with flat fingers, there is also more friction between the fingers and the keys, which makes it difficult to play scales fast. Think of flat-fingered scale playing as akin to sprinting flat footed.
On the other end of the spectrum, students may overdo curved hand positions and end up curling their fingers. As such, they grip the keys and play with what some teachers call “the claw.” Playing scales in this way necessitates a lot of physical effort as one muscle or set of muscles is needed to keep the fingers in this curled position, while another muscle or set is needed to lift and move the fingers.
SOLUTION: The solution to correcting flat or curled fingers is similar. First, help your students understand that neither flat nor curled fingers are the most comfortable or ideal finger position for fast scale playing. In a neutral position, the fingers of the hand curve naturally, and this position is best for achieving superior scale and arpeggio playing. Here’s a simple exercise to help students find the natural curve of the fingers: Have them lift their arms to shoulder height at their sides and then drop their arms freely. Looking down, they will notice that their fingers are now in a naturally curved position.
Many students misunderstand the correct position of the thumb on the keys and try to play using too much of the thumb, or even attempt to play on the very tip of the distal phalanx rather than on the corner of it (the spot on each thumb where the nail meets flesh). As such, students sometimes incorrectly play with a straight rather than a slightly bent thumb.
In addition, when passing the thumb in ascending right-hand and descending left-hand scales or arpeggios, many students begin moving the thumb under the hand too late, or keep the thumb straight rather than slightly bent at the proximal interphalangeal joint when moving it.
SOLUTION: The best way to help a student understand where to play on the thumb is to simply point it out to them — touch the part of thumb that should make contact with the key. If a student has been playing with the wrong part of their thumb, or without bending it from the proximal interphalangeal joint, or at the wrong angle in relation to the key, the correct procedure will feel strange and unfamiliar to them. It will take time for them to change their habit and learn to use the thumb properly and effectively.
To facilitate improved thumb motion under the hand in scale and arpeggio playing, break down this small, but surprisingly challenging, movement into several steps. I recommend working on this motion first in scale playing versus arpeggios and start with a scale with many black keys. According to the book, “Chopin: Pianist and Teacher as Seen by His Pupils,” Chopin advocated for having students start with B major (right hand) and then D flat major (left hand) scales with the position of the thumb in mind. These are also some of the easiest scales to coordinate in hands-together playing as the thumbs of each hand come together on the white keys. Together with G flat major, these are the first octave scales I teach a student to play hands together. These scales are also excellent for achieving good passing of the thumbs as fingers 2, 3 and 4 play black keys, which are raised, allowing for a natural space to emerge on the keyboard in which the thumb can move freely and easily.
Some students try to play scales with a hand(s) that is not kept in line with the arm at the wrist, such that the position of the wrist joint is overly high or overly low.
As such, ease of movement is lost, tension can develop and injury can ensue when utilizing awkward wrist positions while playing.
Some teachers prefer to use the image of a “floating wrist” to help students achieve an improved mid-range position. When I inherit a student who has been taught to make a dropping motion of the wrist on every finger action to achieve a weighty sounding scale, I encourage them to strive for “beautifully gliding” scales. As such, the arm guides the fingers so that the hands and arms move laterally (or horizontally) over the keys like a figure skater glides effortlessly over a glassy lake, rather than creating the visual and sonic effect of choppy waves. Gliding scales can be further enhanced with a gradual and even crescendo ascending and diminuendo descending. In this way, they are rhythmically even and musically shaped.
Some students are able to implement the natural curve of the hand in their scale playing, but then they allow the final knuckle or distal interphalangeal joint of fingers 1, 2, 3 and/or 4 to collapse as one or more fingers depress the keys (this happens most often with finger 4, in my experience). According to Carolyn and Jamie Shaak in “
Collapsing joints can result in two-handed scale playing in which the hands are unaligned or unsynchronized because the final finger joint in one or both hands is not firm and, therefore, not moving with control, resulting in differing speeds in the dissent of the keys played by each hand.
SOLUTION: Collapsing knuckle joints are a bad habit and teachers must be vigilant and tireless in their efforts to correct this bad habit among their students. First, students must be aware of how it feels to use the fingertips correctly versus incorrectly.
Ulna deviation is all too common in piano playing. According to 
SOLUTION: To help curb this harmful habit, make students aware of their ulna deviation and show them how to correctly align the arm behind the palm instead of aligning it with the thumb, so that the arm guides the fingers. It is also helpful to have students think about the position of their elbows in relation to each hand. Tell your students to keep each of their elbows farther away from the trunk of their body to help facilitate better coordination in scale, and even more so when playing arpeggios. It is sometimes helpful to have students imagine a bunch of flowers growing from their armpits and not squish them, or an armpit balloon and not pop it.
One of the most common pedaling problems I see is when students lift their entire foot and leg to change the pedal. (I informally call this “horse pedal” because it reminds me of a horse pawing the ground.) This motion not only takes away all control of pedal depth and timing, but it also causes an interruption in the phrase. Horse pedal usually occurs when a student is not aware of the musical and physical implications of pedaling incorrectly. Luckily, it can be fixed with a bit of focus and attention to the problem.
In order to use and change the pedal efficiently and effectively, your student’s heel should remain on the ground, and the pedal should be played with the ball of the foot, right below the first and second toes. If a student is too short to reach the pedal comfortably, use a pedal extender (see picture to the left), which can be purchased for a relatively low cost.
It is very common for pianists to jam down the pedal when they feel nervous or uncomfortable with a passage. (Raise your hand if you’ve ever done that!) When teachers and students are nervous or not as well prepared as they would like, their focus becomes much more limited.
Communication
Say “a child with autism” rather than “an autistic child.” This might seem like a small and unimportant distinction, but to the child and his or her parents, this is a big deal.
Some children with autism are used to using picture schedules (see photo to the right) at home or school, and I often incorporate that into lessons. (You can easily make one with Velcro and poster board.) Others like to begin and end with the same song but are able to have more flexibility during the lesson. An example of a sample lesson would include: 5-Finger Patterns, Improvisation, Repertoire Piece, Notes Names, Student’s Choice, “Hokey-Pokey.”
Moore feels passionate about percussion ensemble as a relatively new genre. “We’re in the golden age of concert percussion composition right now,” Moore says. “A lot of the best music written for the art form is coming out every year.”
Moore grew Eaton’s percussion ensemble, which meets between the end of November to mid-March, partly from the organic expansion of the school. As the third high school in the 
In 2020, Eaton won the North Texas Percussion Festival for high school large group on the weekend that started spring break in early March. “This festival was the very last in-person thing that anybody did [before COVID shutdowns],” Moore says.
As a composer himself, Moore had written a marimba choir piece, titled “Together,” to help musicians get through the early days of the pandemic. Moore had posted the composition on social media and requested video submissions. With 111 submissions from middle school to adult performers, including some Eaton High School students, the song was produced into a compiled video by Cameron Sather and aired on 
By April 2021, Moore accepted the invitation to perform at PASIC in November. Since groups typically don’t find out about PASIC performances until the summertime, he now felt ahead of the game. But Moore made a pact with himself and the other directors to maintain a work/life balance while preparing for the high-profile show in the percussion ensemble’s off-season.
Moore and Vogt have crafted a 45-minute PASIC 2021 concert that he describes as “collaborative, flowing and fresh.” With a mix of smaller groupings to larger percussion orchestra, the program brings together all of Eaton’s 33 percussion ensemble members plus seven string players and five dance (color guard) students performing seven songs, each with a distinct sound and purpose.
V.R. Eaton’s 45-minute performance at the November 2021 Percussive Arts Society International Convention will comprise the following mix of pieces.
First, purchase a set of 25 to 30 mini play doughs. Next, borrow a set of vinyl spot markers from the gym. Make sure you have one per student. Space out the spot markers across the classroom before your students arrive.
Clapping games are another way to give your students a fun break but still practice music. Try clapping games as a stationary break, especially when your classroom is too excitable to do line dances.
Use Orff stories to incorporate both reading and creativity. These stories are perfect for events like reading week, when your school may ask you to read instead of play instruments: Why not do both?
Tool 2: Nibble on Some Chocolate
Tool 4: Use Choice Architecture
Accents and Accessories
DO have your students purchase their own shoes
Concert Ticket Sales
Ensemble and Instrument Fees
Large food chains and local restaurants are happy to profit share in exchange for increased drive-thru business and in-restaurant patrons on less busy nights. Restaurants, such as 
The “Everything” Deal
Before we start talking about social marketing, you must understand the difference between branding and personal branding. Branding is the process for creating a name, logo or symbol that identifies and differentiates your product and services from your competitor’s (
Ready to build your online presence? You want to control your message and how people perceive you on the internet. So, build a personal website and set up your email address and social media accounts.
If you want to start a private lesson studio, find a location and set up the room where you can teach. But how do you find students? I recommend volunteering at your local public school’s music program. Ask the director if you can teach a masterclass in exchange for passing out your business card (aka, your information). As you build your reputation, parents will hire you to teach private lessons to their children.
How Do I Start?
The North Carolina Music Education Association conference gives us an opportunity to connect with all of you and to remind you that Yamaha is your partner in music education, not just through our great instruments and professional audio products but also with resources, support and professional development. We know how difficult this past year has been as we have navigated through these uncertain times, and we want to express our appreciation and gratitude for everyone involved in making this conference possible. We want to continue to hear about your programs and learn about you and your specific needs to see how Yamaha can partner with you to help.
To help the board understand the value of the capital expense, Gibb-Clark has invited its members to performances and provided updates on participation, competition results and equipment use. In fact, all the audiovisual equipment bought by the show choir has been used for the other choirs and musicals while the sound system has also been utilized at graduation. “It was an investment beyond the show choir,” Gibb-Clark says.
At Highland, each ensemble focuses on different musical genres and gives students different learning and performance opportunities. For example, the madrigals sing at the 
Cox has a dual role at Crosby, directing 6th, 7th and 8th grade choirs as well as teaching digital music classes that are part of the school’s overall STEAM (science, technology, engineering, the arts and mathematics) program.
She’ll also use visual cues, perhaps requesting that students touch their noses when they can identify the first dynamic change or use 
They also participate in three to six formal evening concerts for family, some in collaboration with the high school choir from nearby 
Beyond just teaching the mechanics of singing, Cox strives to create a community where everyone values each other’s contributions. Each choir class elects several officers who help with taking attendance and mentoring new students. “Sometimes my strongest leaders are not necessarily the strongest musicians,” she says. “I’m looking not just for musical leaders but [also for] leaders in how to rehearse or … students who are really encouraging of their peers. … I try to find and identify one area in which they’re really strong and try to foster that area.”
In Cox’s digital music courses, students come from all parts of the school. Some have performing arts classes while others don’t. “It’s nice that they can get a different approach to the arts,” she says.