No colors and no ink, keep it light; don’t ruin the score for your successor.
Develop your own code and be consistent.
As you learn it better, erase the markings to free up your eyes to notice other things.
Indicate FG (Foreground, etc.), MG, BG, and LV (Lead Voice) for passages where you think the focus will need sharpening.
Occasionally, showing phrases can help. But…….
Don’t overuse the top line or your eyes will never see the whole score.
For supermetrics, add the “bar lines”. IOW, almost never conduct one to a bar in a one pattern. If they are in groups of four, conduct a four pattern with each beat representing a measure.
ThomasPalmatier.com
Tone Deaf Comics
An Unconventional Approach to the Choral Music Classroom
From ChorTeach with permission from ACDA
When I was trying to build a successful choral program, I remember pulling out detailed notes from my choral methods class, revisiting recorded lectures from professors, and even speaking with other choral directors, but I was still constantly running into the same challenges. My insistence on teaching precisely how I read something in a book or how something was taught in my courses caused me to struggle. I admit I used to bulldoze my way through choral lessons so I could check off the sequential steps or feel like I honored the process I had learned. I lost a lot by doing it that way. I found I could not grow my programs, and students became disinterested because their needs were not being met. During graduate school, I spent quality time in various chorus classrooms across the states of Rhode Island and Massachusetts, where I was able to observe and teach in several school districts. I went above the allotted full-time credit hours so I could formulate independent studies to get a taste for what leading choruses in various communities looked and felt like. I learned and gained a lot, but I realized no program operates exactly like another, and that some choral programs might operate completely in an unconventional manner. I learned that pivoting and deviating from conventional approaches can bring about success. As I reflect upon my teaching career, I think of all the moments I had to pivot and figure out how to modify pedagogical tools and modify resources. I learned it was important to consider the setting in which I was teaching so I could strategize and plan in a meaningful way. Though I believe we should subscribe to foundational principles and great teachings from our great schools of music and teachers, I want to share my unconventional approach. My experience is primarily from urban school districts, but I believe the approaches shared in this article can be applicable to any setting, specifically where there are students who struggle with music literacy.
Potential Challenges
I have found the following six issues consistently challenging in the choral classroom. Although these are also challenges that appear in any choral setting, in my experience these barriers can be especially hindering within a middle school or high school urban choral program.
Solfège—singers may have always sung on words
Sheet music—singers may have always been taught by rote without a score
Sight-reading—this may be completely foreign
Maintaining an arched soft-palate—it feels weird to sing like this
Tongue placement—singers are not sure what this is
Classical literature—singers are unfamiliar with the style
Unconventional Approaches
I encourage you to try the following:
Make teaching personal and not general by building relationships with your singers.
Find fun and unique ways to teach music literacy skills.
Begin with rote teaching, if that is the method with which students are most familiar.
As cliché as it sounds, relationship building is number one on my list. Students will always try their best to succeed in a space where they feel valued and connected.
Focus on individual relationships and being intentional about speaking to different students before the bell rings, during breaks, or after the closure of the lesson. I do not view general greetings such as, “Good morning, everyone,” or general questions such as, “How is everyone doing?” as an impactful way to build solid relationships. Instead, try to ask these questions to each student independently when you get a chance and think of a few more casual conversation starters.
The relationship piece supersedes all! If your students have never sung on solfège, trying to introduce a new piece and having them sing it on solfège will not be successful. We are taught this is one of the beginning steps when introducing a piece of music, and so we ask students to either sing a new piece on a neutral syllable or on solfège, but if the students in your ensemble have low music literacy skills, they will not be able to do this successfully. They will become bored and feel defeated because they are tasked to demonstrate a set of skills they still need to learn. We are often in grind mode, so I understand we have deadlines and must deal with a certain allotment of time to prepare for performances, but we should be mindful that sheet music is not familiar to all singers. Our students come from various backgrounds, and perhaps some may have been in settings where lyric sheets were used. I encourage you to validate their experience first, then smoothly transition to sheet music as soon as possible.
Rote teaching is a good thing. Remember that sound comes before symbols, the ear precedes the eye, and the rote comes before notes. Rote teaching is an ideal way to start in a choral setting where there are low music literacy skills. Notably, I strongly suggest rote teaching with students following with the score in their hands when rote teaching.
Although I am singing and having students sing back what they hear me sing, they are still being assessed following the score. Teach them how to identify their place in the music. Begin by teaching the idea of the individual vocal staves, the linear progression of score reading, page numbers, systems in a score, and measure numbers. Do this and give them a practice quiz on the information in a few days. Re-teach and refresh as much as possible until they understand the importance of following along in the score.
Here are a few immediate assessments you can begin with:
1. Informally quiz students on systems in the score and measure numbers.
2. Guide students through tracking their vocal line on the correct staff.
3. Have students count the piano introduction and clap on the beat they come in to sing. 4. Have students clap the rhythm in a specified measure.
5. Ask students where the identical measures are in the piece. (See if they can give you a page number, followed by the system, then the measure number.) This is a smooth way to rote teach while incorporating music literacy creatively, so students do not feel like they are in music theory class.
Music literacy in secondary school must be fun and creative. The creative part of the process is incorporating music literacy seamlessly and appropriately for their skillset. Eventually, your students will be able to transition from rote to note, but patience in the rote season is critical. Sight-reading is vital to any ensemble in music, but our students need to have a solid rote background to succeed with sight-reading. If your students cannot successfully sing a major scale with good rhythmic flow and good intonation, they can’t sight-read yet. I caution you to save sight-reading factory for later in the year. I usually incorporate sight-reading factory or some other consistent sight-reading program in March. From September until March, I am working diligently on good a capella major scale and la-based minor scale singing with hand signs. In addition, I am introducing solfège pitches on the staff slowly. I start with sol-mi, la, do-re, fa, ti, low sol, etc. As I am slowly introducing pitches on the staff, I use various worksheets where students transfer interval identification to other key signatures. They need to understand solfège is movable. I love Patti Dewitt’s beginning books because you can open them right up and go from beginning to end without jumping around. There is no ideal way to teach sight-reading.
Vocal pedagogy and classical literature are two things that will have to grow on your students. This is something you will have to labor tediously on at times, but do not give up. Typically, I find myself on the stage during the first winter concert conducting and gesturing all types of vocal pedagogical things to steer my students in the moment because they may have drifted back to their familiar old habits. The good news is the consistency and steering pay off; in the latter part of the year, students are singing correctly, and in a style they were not used to at first. They are becoming more and more passionate about choral literature and seeking more ways to grow and learn. Be consistent and patient. The more consistent and patient you are, the less challenging it becomes as students slowly get the idea.
Getting Students Interested in Singing
I believe in setting big goals and setting high standards for my students. My department chair reminds us that students do not know what is hard until we tell them. I include goals, standards, and other typical things in my choral handbook, but I begin with a vignette and vision for the program, which sets the stage for the year. I want my students to understand the concept and goals of the program. How do we get students interested in something they are not familiar with? We know buy-in is important. Here are a few ideas that can be helpful when it comes to getting your students interested and familiar with choral singing:
1. Creative programming—collaborating with orchestra, band, dance, or theater.
2. Play a video recording from a variety of different groups, genres, and styles.
3. Invite a retired choral director or reputable choral person to speak with your students about their culture’s presence in choral music.
4. Initiate a side-by-side rehearsal with an HBCU choir or minority choir, so the students are sitting amongst the visiting choir.
5. Have a minority classically trained vocalist come in to do some one-on-one voice lessons and demonstrate their fabulous instrument for the students.
6. Provide students with several performance opportunities
7. Ask for song suggestions.
A side-by-side rehearsal with an HBCU choir or minority choir is impactful, revitalizing, and memorable for students. To a certain extent, it’s a natural kind of love when students collaborate with others during the music-making process. There is joy in group singing, and one of the biggest highlights of joy for the director and students is being involved with a successful collaboration. If the collaboration is with a college choir, middle and high school students can get a glimpse of what it may look like for them at the next level. Most importantly, students can see the sincerity and passion minority collegiate choristers bring into the rehearsal space and their love for singing classical literature (which is really the main reason for this collaboration).
The unconventional approach is not supposed to replace the conventional or foundational way of teaching chorus, but it can be a jump-start to the traditional method. Buy-in is necessary before we try to introduce something that may be completely foreign. Once students have bought in, they are ready to learn anything from you! They will certainly try their best! Nevertheless, I want to encourage you to think about the population you serve and ask yourself, “What is best for this group and my program as a whole?” Only you will know this answer.
Odell Zeigler IV is the choral director at Booker T. Washington High School (Academy of Visual & Performing Arts) in Norfolk, Virginia. [email protected]
SBO+: I think Yukiko Nishimura is a wonderfully gifted composer currently writing for bands and orchestras with many superb pieces in grade 4 and below. Yukiko is published by Excelcia Music Publishing, and I asked my good friend Anne Sobel at Excelcia to chat with her. Enjoy!
AS: Will you share a bit about your background in music?
YN: My first involvement with music was at the Yamaha Music School at age five. There, I learned the basics of music, including some basic composition theory. At that time, I wanted to be a pianist, but what I learned at Yamaha blossomed in my later years. I went on to music high school as a composition major and then continued to university, also as a composition major. After graduating from university in Tokyo, I took lessons from Dr. Alfred Reed at the University of Miami. After two years in Miami, I studied composition under Dr. Richard Danielpour at Manhattan School of Music. I had been working on commissioned pieces since my student days. My involvement in the educational music field came later.
AS: Can you tell us how you first got started composing music for bands and orchestras?
YN: I wrote my first wind band piece when I was a student at Manhattan School of Music, and it started with applying to a competition in Italy. I was at that time a student of Dr. Alfred Reed, but prior to then, I had not been interested in writing for band. My composition teacher, Dr. Danielpour, encouraged me to study Stravinsky’s “Symphonies of Wind Instruments.” Of course, I also studied a lot of Dr. Reed’s band work.
While writing wind band pieces came later, I had been consistently writing music for string ensembles since I was in music high school. I started writing string orchestra pieces for the educational field later. I studied violin in high school and college. I fell in love with the sound of strings then and dreamed of composing many pieces someday. After publishing my band pieces in the US, I got a chance to publish string orchestra pieces as well, and that is how I got to where I am today.
AS: What is your writing routine? Is there anything special you like to do to prepare to write music?
YN: I leave some fragments on a blank music sheet every day, like writing a diary. I hear some phrases from somewhere in the air. It’s not for any particular reason. I note down the sounds that come to me. Sometimes, I develop and use it for new pieces, but I use only some. Writing down the image may be like an exercise for my brain. I always think of a title before I start writing a piece. It’s easier to grasp the picture that way. To decide on a title for each piece, I need stimulation from reading books, watching movies, listening to music, going to museums, browsing design books, going somewhere calm, and putting myself in nature so it’s easier to put myself in the exact space for the piece I am going to write.Once the title is decided, the theme of color I want to use will also be settled. It’s a very important process for me.
AS: You have written wonderful music for all grade levels. Regarding your writing for younger grade levels, what is your favorite thing about writing for musicians who are still learning and developing their sound?
YN: I try to devise things on the score so students can enjoy playing. It’s important for students to know where they are at any time on the score. What I care about most is that the score be clear enough. The score is like a map that leads the players to the inside of the music. I often put counter melodies to the main melody to deepen the music structure. This is my favorite thing to do on the score. So, the students need to hear other parts while they play. Listening to other parts is hard sometimes but practically useful for the students to understand the music and develop their playing. It’s like a conversation between the parts.
AS: What do you find are the greatest challenges writing for grades 1 and 2 in particular?
YN: It’s challenging writing for the lower grades. I am always in trouble with the limited ranges and fingerings for string players. It seems there is no freedom. But I try to structure the pieces musically. To focus on making it musical is an essential aspect for me.
AS: In your opinion, what are key characteristics that music aimed at young or beginning musicians should have?
YN: If I knew this, it wouldn’t be a problem… (laughs). I don’t really think about students’ levels when I compose. I believe even a piece with a simple structure must be “properly musical.” I emphasize how to make people feel what I think is beautiful.
AS: If you could tell every band or orchestra director in the world one helpful thing, what would it be?
YN: I cannot say such an arrogant thing because I am not an educator. I am truly a music maker. I tend to think of everything in an artistic way. So, the only thing I can say is, “Let’s have fun playing music, share the fun, and music will save the world,” that kind of thing. Not very practical, is it?
AS: Would you share with us a music educator or mentor who had a particular impact on your life?
YN: There are two legends in my life: my former composition teacher, Atsutada Otaka, a well-known Japanese composer, and Dr. Alfred Reed. I admire them because they were skilled in harmonic theory. They also taught students to motivate themselves through positive thinking. After the lessons with these two legends, I felt like I wanted to write a piece right away! They were so motivating.
AS:SBO+ Editor-in-Chief Tom Palmatier told me, “I tell colleagues I think Yukiko Nishimura is the next Frank Erickson, someone who unapologetically writes beautiful music.” Who would you list among your musical influences?”
YN: I’m so honored to hear that he said that. French composers greatly influence me. This is largely due to the influence of my mentor, Mr. Otaka. I especially love the piano works of Faure, Franck, and Poulenc. Of course, I love Debussy’s and Ravel’s music as well. I am also influenced by Ryuichi Sakamoto, a world-famous musician who was also influenced by Debussy. In addition, I have been influenced a lot by modern jazz. I learned a lot from Miles Davis’ modal harmony, and I am fascinated by Gershwin’s and Bernstein’s music.
AS: Apart from other composers and musicians, what else inspires your music?
YN: The universe and nature. I especially find inspiration from the moon. The universe stirs my motivation. I don’t know why… Thanks to that, many of my titles include the moon. The other is, of course, “color.” When I compose, I write with colors in mind. I express how colors mix and the gradations that change in my music. I write music like painting.
AS: If you could speak to any composer who ever lived and ask them a question, who would you choose and what would you ask them?
YN: Definitely Rachmaninoff! I admire his long melody lines based on the continuous unsolved harmony progression. I’d like to hear the secret to weaving harmonies horizontally in such a long phrase.
AS: Are there any words of advice that you would like to share with young or aspiring composers?
YN: When writing music, it is challenging to start a note from nothing. Just like in life, you can only continue if you take your first step. Of course, you can practice it by imitating others for a while, but I suggest you find your own color bit by bit and express yourself in your own way.
AS: How do you see your composing progressing into the future?
YN: I can’t imagine how it will be, but I dream of working on a movie soundtrack while keeping my current approach to music. The music I write cherishes color, while at the same time vibrates the air, floats through space, reaches people’s ears along with the images, and shakes their hearts. I would be happy if I could get a chance to work on a movie soundtrack. As I get older, my music becomes more refined, and the number of notes I hear might decrease. Right now, I can still hear a bunch of sounds in my head, but maybe I’ll only hear the sounds that are truly necessary later in my life. I’m unsure yet, but I keep listening to my pure imagination.
Yukiko Nishimura, composer/pianist, was born in Japan. She graduated from Tokyo University of Arts in 1990. In 1991, she began private study with Dr. Alfred Reed at the University of Miami and in 1993 she continued her studies with Dr. Richard Danielpour at Manhattan School of Music. Among her honors, are the special mention at the 15th and 26th International Competition for Original Composition for band in Corciano, Italy and the 6th Aoyama Award. In 2005, the commissioned work for the first silent film in the United States Edison’s 1910 Frankenstein for string quartet was premiered in Gettysburg College in Pennsylvania by Covington String Quartet. The music for the silent film The Water Magician, directed by Kenji Mizoguchi in 1933, was premiered in 2007. In 2010, a theatrical work Fantasy of Kenji based on the stories by Kenji Miyazawa was premiered.
Recently she has been nominated for the 8th, 9th, 10th, and 12th Hollywood Music in Media Award in the category of contemporary classical.
Nishimura has received numerous commissions and has composed for piano, marimba, percussion, chamber music, band music, music for string instruments and orchestra. She now resides in Los Angeles, CA.
YukikoNishimura.com
Making JOY Your Tonal Center: The Six Keys to Fulfillment and Well-being in Teaching Music
What are some of the most joyous moments you have experienced in your life? Were you in nature? Were you with your family? Was it during an adventure? Was it when you were engaged in an act of service? Was it while you were teaching music? As you reflect on the role of joy in your life, capture the feeling in your mind and heart when you experienced joy.
Wouldn’t it be great to have joy become more of a central part of our life, to make joy our tonal center? While our jobs as music educators can be stressful and overwhelming from the daily grind and pressures coming at us from many directions, we can be intentional about generating more joy in our own lives and in the lives of our students.
In advocating for our music programs, consider that one of the most important factors is how the students in our music classes and ensembles feel and perform. Happy students will lead to higher levels of recruitment and retention and the more fulfilled the students are the more supportive the parents and administration will be. Our students are often a mirror of our energy and attitudes and therefore the pursuit and creation of joy in our own lives will be contagious and infuse music-making with positive energy. When we focus on the six things that every human being needs and use these keys to unlock doorways, we will be on the pathway to making joy the tonal center and achieving fulfillment and well-being in teaching, music-making, and life.
So, what are the six things every human being needs to thrive?
Everyone wants to feel valued.
Everyone wants to feel they matter.
Everyone wants to feel they make a difference.
Everyone wants to feel loved.
Everyone wants to feel a connection.
Everyone wants to feel they belong.
Gratitudeis the key to unlocking the first doorway of feeling valued. As educators, it is important to openly share appreciation for our students and let them know they are valued and why. Value our students’ opinions and listen authentically to what they have to say. When a student comes to talk to us in our office or before, during, or after class, put down distractions, and be fully present. Involve students in the creative and learning process and ask for their ideas and thoughts regarding musical interpretation, dynamics, balance, blend, and phrasing. When addressing students, be sure to use their name.
Here are some statements connected to the first key you can adopt for your classroom.
“I value you.”
“Thank you for being here.”
“How are you feeling today?”
“I’m grateful you are here.”
Don’t forget to remind yourself that you are valued. Keep a “warm, fuzzy file” of thank you notes and positive comments you have received from students, parents, and administrators. Start a gratitude journal and write down three things you are grateful for at the end of each day. Treasure the smiles, laughter, and “aha” moments of your students.
Contribution is the key to unlocking the second doorway – you matter. Let every student (not just the more highly skilled players or vocalists) know they play an important role in contributing to the class and ensemble. Greet students by name when they enter your room and check in on them when they are absent. Bring students to the front of the ensemble to listen to the group perform a section of a piece of music and offer feedback to their peers. You will be amazed at how insightful your students are when given the opportunity to relay what they observe and notice.
Here are statements connected to the second key – contribution – to let students know that they matter.
“I appreciate your contribution.”
“I missed you yesterday. I hope you are feeling better today.”
“Everything you do in this class and ensemble matters. You matter.”
For you, the educator, your whole self matters. Be sure to take care of your physical, mental, emotional, and spiritual well-being. Prioritize rest, drinking lots of water, mindful breathing, laughter, smiles, mindful walks, and taking breaks. Refilling your cup helps you to contribute at your most energetic and joyful level.
Purposeis the key to communicate with students that they make a difference. When students feel they are part of something bigger than themselves and what they do is connected to a deeper purpose and meaning, they understand that who they are and what they do makes a difference. Here are some strategies to unlock the third doorway. Collaborate with students to create the vision and goals for the class and ensemble. Then, empower students to write down individual and section goals and refer to them weekly. Ask students to write and share their own why, passion, and purpose statement. Collectively, set an intention before every rehearsal or class.
Here are some sample statements to reinforce the third key – purpose – to let students know they make a difference.
“I notice the effort you put into every rehearsal, and you are making a difference.”
“This ensemble would not be the same without you.”
“We reached our goals because every one of you makes a difference.”
“Your presence and actions influence everyone here.”
For the teacher, reconnect to your own why and purpose. What drives you and keeps your flame lit? Reflect on the progress made by your students to remind yourself and affirm that what you do makes a difference. Stay connected to your purpose by setting your intentions before every class. Know that the energy, wonder, and joy you project resonates with and is reflected by your students.
Careis how we unlock the fourth doorway – you are loved. Every human being wants to feel loved and for many of our students they may not feel loved at home and in their other classes. In our music classes we can create a loving space where students know they are cared for. Since we often get to teach our students for several years, we are in a position, in addition to showing unconditional love, to give tough love when necessary. We may be the one adult who can have a hard, honest conversation with a student about what is and what is not appropriate. Our ensembles should be spaces where it is safe to make mistakes and take risks and where everyone is respectful, accepting, and forgiving. When a caring classroom is created, students often refer to their ensembles as a family.
Here are statements to let students know they are cared for.
“I love how you…”
“I love when you…”
“I hear you.”
“I see you.”
For the educator, we need to acknowledge how important self-love is. We tend to be givers and often are completely other-focused; we, as musicians, also tend to be extremely self-critical and hard on ourselves. Become aware of your self-talk and if you notice you talk to yourself in a way you would never dream of talking to a loved one, change up your self-talk and use encouraging, loving, and growth mindset language. Grant yourself permission to feel all emotions without judgment and be fully accepting of who you are without comparing yourself to others. You are beautiful just the way you are. You are enough.
Communication is the key to unlocking the fifth doorway – you are connected. We communicate a feeling of connection through empathic listening, our tone of voice, non-verbal body language, and the words we use. Find out what your students are passionate about when they are outside of music class; ask them about their interests and, when possible, support them in their other activities such as sports or theater. Change up the rehearsal set-up by mixing up the seating, rehearsing in a circle, or a combination of chamber ensembles to encourage new connections and energize listening across the ensemble. Build trust through being vulnerable, genuine, and real with your students so they feel comfortable and safe being open and expressive themselves. Treat rehearsals as a collaboration rather than a one-way channel of directives.
Here are some ways you can communicate to your students that they are connected.
“What do you enjoy doing when you are not in music class? What are you passionate about?”
“I can feel the energy you are projecting through your voice or instruments.”
“What do you feel when you listen to this piece of music?”
For the educator, select music with deep meaning and expression that connects to your heart and mind and make feelings and emotions central to the process and journey of music-making. Be fully connected to the music, energy, and meaning while conducting. Consciously connect with colleagues, staff, and administration.
Communityis the key to having students feel they belong. We must create a sense of community while teaching music, so students feel they belong in our classrooms. We want our students to feel comfortable with being themselves without the pressures of feeling they need to conform to fit in, to be someone they are not. By emphasizing the importance of acceptance, respect, celebration, and inclusion we develop a community of unique individuals who are supportive of each other’s differences while pursuing a goal of excellence together in performance.
Here are some statements to reinforce that, yes, you belong.
“I’ve got your back. I support you for who you are.”
“We celebrate you for being who you authentically are.”
“We are in this together.”
For the teacher, be who you are fully to send the message to your students that they can embrace and celebrate who they are. Be proactive about creating a community of belonging for yourself within the school and in your broader community.
Now that we have access to the six keys (gratitude, contribution, purpose, care, communication, and community) to unlock the doorways to greater joy, fulfillment, and well-being for our students and for us, I would like to share some final thoughts on joy. In The Book of Joy, Archbishop Desmond Tutu, says, “Joy is much bigger than happiness. While happiness is often seen as being dependent on external circumstances, joy is not.”
What I have come to realize is joy is created from the inside. We generate joy. Joy is a choice. Joy is an attitude. We also feel joy when we do good for others, which is why we can readily tap into the feeling of joy through fulfilling our life’s dream and passion of being a music educator. So, as we continue to let our students know they are valued, they matter, they make a difference, they are loved, they are connected, and they belong, let’s strive to encourage joy, celebrate joy, and live our lives fully and joyfully.
UpbeatGlobal.com
Ready for the New School Year?
Back-to-school season is an exciting time! Here are some things that might help your students have a great start to their year in music.
PLACES
Warm, Safe, Clean, Inviting, and Welcoming
Dig in and spruce up! Roll your sleeves up and give your space a good cleaning. While school custodial services will do a nice job of this, you know all the hidden nooks and crannies where musical “gunk” lurks—storage rooms, practice rooms, cubbies, and cubicles. Involve your leadership. This will help you and elevate their sense of ownership in the program. Check on your HVAC system and lighting so the environment is comfortable and safe before students arrive. Connect with your building specialists if things aren’t in working order.
Does it make you happy to walk into your workspace? Select some inspirational posters that can send a positive message about the importance of school music to your students and anyone who enters the room. On the first and subsequent days, how about some entry music? Make it a practice, if you can, to have music playing as students come through the door—their music!
Inventory and Update your Classroom/Rehearsal Space Set Up
Maybe you reviewed inventory at the end of last school year. Now it’s time to determine if all equipment is ready to go. Visual and performance inspections will help, and you can get competent and eager students to assist.
PARAPHERNALIA
Equipment
Did you leave your equipment in an “as is” state at the end of last year? Check out your stuff—clean things up and do what is needed to get instruments in working condition.
Review your tech! Is everything up and running? What are your needs, and does your current tech situation meet your needs? Don’t forget about the peripherals that go hand-in-hand with technology—wall warts, power strips, cables, and adapters. What about AI? Are you using it to help with your work efficiency? Now is the time to check it out if you haven’t already.
Consumables
Being ready with consumables means you have prepped for situations that sometimes cause undue headaches and take time away from instruction, which can help all your students to have a complete and positive experience.
Look around to see what is needed. This might include paper towels, facial tissue, water, first aid kit, reeds, rosin, slide and valve oil, cork grease, repair equipment, nail clippers, wastebaskets, sanitizing spray and hand wash, strings, mutes, sticks, brushes, mallets, drumheads, neck straps, cleaning cloths, paper, pencils, paper music copies, folders, lesson/method books, and other music materials.
PRACTICALITIES
Policy Updates
Your handbooks, policies on participation, budget, and expenses—everything that creates operational viability—should be in good shape. Nothing is forever; maybe some policies have changed or need to change. Reflect changes in your documents and communications so parents, students, and administrators receive current information.
Curriculum Implementation Updates
Determine what has changed in your curriculum (by you, your department colleagues, or curriculum supervisor) and what has remained. Use that information in planning. Be as complete as possible with information regarding new projects and performance plans.
Yearly Calendar
What lies ahead this year? Some things might not be ready for calendar placement, but many things will be. Create and share your calendar as soon as possible so that everyone can plan.
PROCESSES
Curriculum Content Updates
With the end in mind, prep your daily lesson and rehearsal plans using curriculum content updates. Think about the materials and time that will be needed to support your curricular goals. Are you good to go? Do you anticipate obstacles?
Daily Life in Your Classes and Rehearsals
How will you involve your students this year? In addition to learning and engaging in music making, how else will they be a part of your program? Encouraging ownership can take all forms—setting up the room, keeping the room(s) clean, passing out information if in paper form, or helping with other leadership responsibilities.
This is the time to confirm how you will make this year even better than last year for your students. What is it about you, your spaces, your processes, and your materials that you can shape to keep moving your program in the best possible direction?
Plan—a lot! One plan, one rehearsal possibility—that is a good start. But to be completely prepared, learn to think five “what ifs” and “then whats” down the line.
Pledge to always make music learning fun!
PEOPLE
Students
Reach out to new students; make them feel a part of the family. Meet with them individually if you have time. If not, meet with them as a group so that they know who else, besides themselves, is new. You’ll help them to create a group of friends to whom they can turn and on whom they can rely.
Reach out to your returning faithful, those who simply can’t imagine school without you and their ensembles. Make sure they know how happy you are that they are back and how excited you are to see what this new year will bring with them as an important part.
Reach out to those who are not on your list this year but were last year. Find out why they have chosen not to participate. Learn from them and stay in touch should there be a way to bring them back into the fold.
Be on their agenda. Our priority is our students. Listen to them, ask them questions, engage with them, look them in the eye, and demonstrate that you’re happy they are there.
Parents
Reach out to welcome them to the school music support family. Let them know about your awesome plans for this new school year. Engage them by inviting them to be part of the program in all sorts of ways.
Building and District Colleagues
Give them a hearty welcome back with a musical greeting. Gather a small group to sing/play at a back-to-school event, perhaps a professional development day. Be sure to connect with your administration to get permission and determine logistics.
Administration
Share good news stories about you or your students that happened over the summer. Offer brief ideas on what you have planned for the upcoming year and invite them to participate—get creative!
YOU!
Create an environment that you want to be in (since you will be there a lot)—flowers, pictures of friends/family, inspirational sayings, favorite coffee/flavored water/tea, soft lighting in your office—little things that can make a difference.
There is no virtue in working at your job 24/7. Be a person! Find time for things that are fulfilling to you. You will be a better music teacher if you do.
Remember the sense of accomplishment you and the students felt at the end of the last academic year. Bring some of that to the first day of school. Let the beginning of a new year be filled with excitement, positivity, and possibilities.
Know whom to contact when you need advice, or you need the ear of a friend. It’s okay to ask for help.
Finally, remember your WHY. Why we do this goes before everything. What kind of reminder tool will work for you? For me, it’s a candid photo of me smiling at a bunch of elementary band kids who were eagerly waiting to take the stage in a side-by-side concert with my campus-community band. That photo shows a twinkle in my eye and a warm smile on my face that constantly reminds me that I love teaching, I love music, and I love kids. What’s YOUR WHY?
Happy Back-to-School to all!
NAfME.org
Take No Shortcuts!
I love watching cooking shows. One of my favorites was a documentary called “The Chef Show” that featured actor, director, and aspiring chef Jon Favreau and renowned chef Roy Choi.
Jon Favreau is chopping some onions or making some stock, or something mundane, and he asks, “are there any shortcuts?”
Choi responds, “If you cook with shortcuts, it will taste like shortcuts.”
Wow! I will never forget this. In fact, I immediately thought about how this could help me in my job. I may not be cutting onions in class (no jokes about tears, please!), but noticed that when I took the time to really work at something, we usually got great results. When I cut corners, however, I might get lucky occasionally, but those shortcuts were often obvious.
As you start the school year, consider not taking any shortcuts in the following areas:
Have The Tough Conversation
The shortcut? Avoiding difficult conversations. But these often sneak up down the read!
Facing tough situations directly not only resolves them more effectively, but also prevents 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 the actions we want to avoid are necessary.
If 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. Think about the times you had an argument with someone that led to more understanding and even brought you closer to someone.
Study Your Score
The shortcut? Learn the score on the podium! After all, you only have to be a step ahead of the kids, right?
But what if we immersed ourselves in as much of that score as possible and understood what the students are truly doing and what the composer truly intends?
I worked with one of my student teachers recently on shortcuts — or rather, not taking them. We always start with score prep. 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 that 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.
Talk To Your Kids About Instrument Maintenance
The shortcut? Say it once and hope it works out!
However, if we continue to drive home that our instruments need routine care and maintenance (label up on those cases before you open them, and oil those valves regularly!), even into high school, we can make sure our instruments are always in working condition. We can also save some money on those costly repairs by doing routine maintenance instead of waiting for things to break.
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.
Conflict with students, teachers, parents, and administrators: avoiding it
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 daily!
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 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! Spending more time on a process makes it more enjoyable and improves your skills. Just like cutting onions becomes easier with practice, taking the time to avoid shortcuts at the start helps you in the long run. While some may seem naturally gifted, most people achieve results through hard work.
Putting in extra effort can reveal shortcuts and efficient methods. For example, playing through pieces by a specific composer can help you understand their style, making it easier to play without worrying about transpositions. Additionally, confirming details like bus schedules in advance saves stress later.
By embracing a “no-shortcuts” approach, we not only enhance our skills and resolve conflicts more effectively but also find deeper satisfaction. The long road might be demanding, but it’s undeniably rewarding.
MusicAchievementCouncil.org
Don Stinson is the band director at Joliet Central High School in Joliet, IL, the founder of Legacy Fine Arts Inc., the co-author of Harmonizing Ethics and Education and the author of High Needs, Monumental Successes: Teaching Music to Low-Income and Underserved Students.
SBO+ Talks with Barry Bernhardt
SBO+: Barry Bernhardt recently retired as director of bands at Florida International University. He is well known in the marching arts world and is now a regular SBO+ contributor.
SBO+: Tell me a little bit about your background?
BB:I grew up in Macon, Missouri, a rural town in Northeast Missouri where I began band and playing trumpet in the fifth grade. I graduated in 1976, where my college career began at what was then called Northeast Missouri State University (now Truman State University) where I was in the NMSU Stage Band under the tutelage of Tom Palmatier. I graduated in 1981 with my BME. I taught at South Shelby HS for one year and then went back to graduate school at NMSU and graduated with my master’s degree in music education in 1984 and got the Assistant Director of Bands job at California State University-Long Beach. I taught there for four years and moved to Stephen F. Austin State University in Nacogdoches, TX where I filled in as the associate director of bands for two years. I began teaching at Southeast Missouri State University in Cape Girardeau, MO in 1990 and taught there for 20 years as the director of bands. In 2010, I moved to Miami, FL to rebuild a Division I university athletic band program at Florida International University. I retired in August as the director of bands after 14 wonderful years.
SBO+: What led you to focus on marching band?
BB: In my first college gig at Long Beach State, I was the drill designer for the marching band and conducted the Women’s Basketball Band. I was also involved with the Velvet Knights Drum and Bugle Corps on the visual staff. I have always enjoyed college sports and especially football and basketball, so I suppose that’s why I gravitated to athletic bands.
SBO+: What trends in the marching arts have you seen/experienced?
BB: I have experienced virtually all facets of the development of the marching arts. I began my early marching band days in high school and college doing picture shows with some Moffit-style drills included. I was a junior in college when we made the transition to corps style. I was hooked from the beginning and have been a huge supporter of this style ever since. I did experience some military-style marching band when I was at SFA, because all the high school bands in East Texas fashioned themselves after Texas A&M, but I stuck to the corps style concept. In many ways I have almost seen marching band turn full circle in my 40+ years of involvement.
SBO+: Where do you see the art form going in the next decade?
BB: Boy, that’s a difficult question!With so much focus on trying to be more like DCI on steroids, it seems like we are only concerned about winning the next competition or coming up with the newest props, etc.I can only hope we return to entertainment. Marching bands need to be entertaining, and I feel we need to return to being entertainment ensembles at sporting events.
SBO+: What are your thoughts on amplification?
BB: I was a purist but must admit I have used electronics in my front ensemble but have never amplified instruments on the field. I suppose that I am alright with amplification if it does not take away from the overall ensemble and as long as the person controlling the sound system realizes they are simply adding to the overall sound and not running sound for AC/DC.
SBO+: You’re a “band guy.” What advice would you give to high school band directors on color guard?
BB: I am a band guy, and one thing I have learned over my 40-plus years in the activity is that color guard can be your biggest asset or your biggest liability depending on how you use their talents. Color guard must have trained professionals working with them to guide and develop them. In addition, I would say having a strong color guard can help the velocity and intensity of your drill design.
Many years ago, as a young drill designer, I sought advice from Lee Carlson, who I worked with on many large events. As a band guy, I was having difficulty writing for the guard and usually ended up just writing the typical “guard arc” in the back of the band. Lee suggested I consider writing the guard first and then writing the winds and percussion around them. Once I started doing what Lee had suggested it opened a whole new view of writing drill. Use your guard to your advantage!!
SBO+: Did you write your own music arrangements? Drill?
BB: I used to write both my arrangements and drill but soon found I was a much better drill designer than arranger. I have loved writing drill my whole career. When I first started in the early 1980’s, we all wrote by hand with large drill paper and a light board. Pyware was available in the mid-1980’s but was pretty limiting and could not handle much. There have been many different types of drill design software, but I have written with Pyware for about the past 15 years. This is a wonderful tool that allows one to really be creative. The learning curve is steep, but it is a wonderful tool.
SBO+: Where does marching band fit in a total well-rounded music program?
BB: As you said earlier, I am a band guy, first and foremost. I believe marching band is a piece of the “band pie,” but should only be a portion of it. A well-rounded program should be centered around its concert program and complemented by a marching band, jazz ensemble, and various chamber ensembles. If we make one portion of the band pie larger than the others, we cannot be balanced. I mean, I still love athletic bands and the marching arts, but I want a well-rounded program that develops the players and teaches wonderful fundamentals.
SBO+: What do you hope to bring to SBO+ readers in future issues?
BB: I have had some wonderful teachers/mentors and students in my 40+ year career as a band director. It is my sincere hope I can give back to the band community at large by offering highlights and insights from my career. It’s all about giving back and helping others. It’s not about us but about the students we teach. So, I am hopeful I can offer some insight. I may offer concepts that we all know about but hope to offer a new perspective or at least reinforce skills that are being used.
The Road to Memphis: Building the Marching Band Dream
“Excited doesn’t even begin to describe it—for our students, this is truly the opportunity of a lifetime,” said Steve Kauffman, director of bands at Fostoria City Schools in Ohio. Kauffman is referring to a very special upcoming performance he has planned for his marching band—the halftime show finale at the 2024 AutoZone Liberty Bowl in Memphis, TN. Kauffman will be bringing 56 of his musicians to perform in the mass band halftime show alongside more than 500 performers, plus they’ll march in the Beale Street Parade and compete in a field show while in town. Kauffman has brought Fostoria students to this performance before, and there’s a reason he’s choosing to do it again. Whether the thought of performing at a college bowl game as a high school marching band is new to you or you’ve even participated in one yourself, you may not realize just what goes on behind the scenes.
“It’s Friday Night Lights times 100. It’s as close to a professional-level performance as many band kids will ever get. It really makes the kids feel like rockstars,“ said Marina Grant, who manages a team of former band directors and self-proclaimed band nerds who are now dedicating their days to finding talented school-aged bands across the country to fill college bowl game halftime shows. Grant is part of WorldStrides, an organization that’s focused on providing experiential-learning and unique student travel programs for the last 55 years.
Grant goes on to tell us about WorldStrides’ nearly 30-year exclusive partnership with the Liberty Bowl, which is one of seven exclusive relationships WorldStrides holds with notable bowl game and national parade partners. “A lot of the band directors I’ve talked to had no idea at first what goes on behind the scenes to put together this caliber of production,” Grant said. “From music selection and coordination with live musical guests, dancers, and color guard to props and even pyrotechnics—WorldStrides is coordinating the full production with each bowl game partner. I know ‘once-in-a-lifetime’ seems cliché but there’s no better way to describe it. When the kids walk out onto that field, I love to look at their faces. Confident or reserved, freshman or senior—they all walk away different.”
This commitment to creating a one-of-a-kind experience for young marching bands is evident in the partnerships WorldStrides has created. Steve Ehrhart, long-time executive director of the AutoZone Liberty Bowl said, “Both my sister and brother-in-law were long-time band directors, so we understand how important this band trip is to these young students. We go out of our way to make the trip to the AutoZone Liberty Bowl a great experience.”
It’s clear from all involved, the experience is bigger than a traditional trip. In just a few short months, Kauffman’s band students will take the 10+ hour bus ride down to Memphis for what’s sure to be a truly memorable trip. Kauffman remarks, “This experience is about so much more than football or marching band – most of our students don’t get many opportunities to travel, so providing them with a look at another region of the country and all the history from that area can open their eyes to what is possible for them as they grow into adults. Our remarkable band members have put in the work, and now they’re ready to put on an impressive show at the AutoZone Liberty Bowl.”
From national adjudicated festivals and elite performances at famed venues like Carnegie Hall to bowl game halftime shows and performing tours around the globe—WorldStrides Performing Arts supports thousands of performing ensembles annually with unique, educational, and fun travel programs. Our team of passionate former music educators and travel enthusiasts is eager to work with you to make your dreams a reality.
WorldStrides.com
How to Choose the Right Travel Company for Your Music Group
Planning a trip for your music students is no small feat, and finding the right travel company can help make all the difference. The right partner will ensure the creation of a smooth, memorable experience that your students will cherish long after the trip concludes. Look for these factors in a travel company to ensure your trip is a success.
EXPERIENCE
When it comes to student travel, experience really counts. You want a company with years—preferably decades—of experience under their belt. Look for a team that has been around long enough to know the ins and outs of organizing trips for music groups. Even better if their staff have taken the time and resources to earn certifications like the CSTP (Certified Student Travel Professional), which underscores their commitment to excellence. An experienced team will take the guesswork out of planning and ensure everything goes off without a hitch.
COMMUNICATION
Good communication is key to a stress-free trip. The best travel companies will be with you from start to finish, keeping you in the loop every step of the way. Look to see if they will have a small, dedicated team handling your trip, so you’ll always know exactly who your go-to people are the entire way.
Frequent updates and personalized communication are a must and having a 24/7 support line during your trip can be a lifesaver if anything unexpected comes up. Knowing you can reach out at any time gives you peace of mind.
CUSTOMIZATION
No two music groups are the same, and your trip shouldn’t be either. A good travel company will work with you to create an itinerary that fits your group’s specific unique needs and interests. Whether your students are gearing up for performances, looking for music clinics or workshops, or simply want a mix of fun and education, the company should be able to tailor the trip to suit your goals. ETI has built long-term relationships with clients and strong connections within the student travel community (such as Disney Imagination Campus, Universal Destination & Experiences, Broadway and more), allowing them to offer exclusive destinations and top-notch services worldwide.
CREDIBILITY
Credibility matters when it comes to choosing a travel company. You want a partner that’s recognized in the industry for their reliability and professionalism. Look for companies that are members of respected organizations like the National Association for Music Education (NAfME) and the Student & Youth Travel Association (SYTA). These memberships are a good sign that the company meets high standards for experience, safety, and financial stability, giving you confidence that your students are in good hands.
Additionally, it’s useful to hear from those who’ve experienced their services firsthand. For example, one of the many educators who’ve traveled with ETI shared:
“It’s difficult to find words to describe my respect for ETI. It’s quite obvious throughout the entire trip process (planning, billing, tour guide, etc.), that getting my economically disadvantaged students to a great location and doing super things at the best possible price is ETI’s top priority. In 26 years of teaching, I’ve never seen or heard of a company that comes close—no exaggeration. They care that much and are that good.”
This level of feedback highlights a company’s exceptional commitment to their clients and reinforces their credibility in the field.
SAFETY
Safety is always a top priority when planning a trip for your students. Look for travel companies that have earned certifications like the Certified Student Travel Organization (CSTO) from the Center for Student Travel Safety, an affiliate of SYTA. This certification is awarded to companies that meet or exceed at minimum 25 different rigorous safety standards, covering everything from risk management to emergency preparedness.
These standards are based on SYTA’s Code of Ethics and are reviewed by industry experts to ensure they reflect the best practices in student travel. Choosing a company with this certification means you’re working with a partner who values safety as much as you do. It’s an extra layer of reassurance that your students are traveling with a company that’s committed to their well-being.
Picking the right travel company is crucial to pulling off a successful trip for your music students. By focusing on experience, communication, customization, credibility, and safety, you’ll find a partner who can assist you in creating a trip that’s both fun and educational. With the right company by your side, you can focus on what really matters—your students and their journey—while leaving the logistics to the pros.
Tours-ETI.com
Two Factors That Set Elite Travel Partners Apart
One of my greatest joys as an educator was coordinating performance tours for my school’s bands, choirs and orchestras. In 33 years of public-school teaching, I led 25 international and domestic tours. These opportunities expanded the classroom in ways that benefited my students for years to come.
In the realm of performance travel, the right partner is everything. Beyond simple logistics, an exceptional travel provider:
Understands and meets the goals and needs of their clients.
Leverages their connections and “pull” to create meaningful learning experiences.
This dual capacity is not a luxury, but a necessity, for student travel that’s not only safe and well-organized, but enriching and transformative.
Understanding and Meeting Goals and Needs
Performance tours are unique; they require a deep understanding of the history and goals of the group. A responsive travel provider listens closely to educators, aligning the itinerary with the curricular objectives.
For instance, an educator may have goals like performing in historically significant venues, engaging in workshops with top musicians, or exploring the cultural context of the music. A seasoned provider will tailor the trip, ensuring the experience supports the educational outcomes.
As an educator, I sought to help my students become more culturally aware of the communities we visited. Such was the case for a 2008 tour of Europe. Our travel provider, knowing we prioritized connections with the arts community, scheduled a concert in Wittenberg, Germany.
This was not a grand concert hall, but a modest theater with an uncommon history. Built in the 1920s, it was seized and converted to a Nazi headquarters during Hitler’s rule. Later, it became a state-run theater. In the 1980s, arts funding dwindled, and the theater fell on hard times. Shortly before our tour, it was purchased by a private individual, and re-opened with hopes of improving cultural offerings for the community.
Though Wittenberg faced high unemployment at the time, our concert was a ticketed event and a sell-out. Our students felt like superstars as loud applause segued into cheers for multiple encores.
But that was only part of the experience. Before the concert, we noticed a display in the theater recognizing the patrons of its renovation. Our travelers agreed we should contribute, and a hat was passed at dinner.
That evening, just before our final concert selection, we invited the owner on stage and announced our contribution of 500 euros. I will never forget the reaction of the audience. There was an audible gasp, and the owner beamed, with tears in her eyes. That night, as we shared our music with our final audience of the tour – an audience yearning for the arts to return to their corner of the world – our students felt the impact of giving of themselves, both musically and financially.
This experience could not have happened without our travel partner’s responsiveness to our larger goals. Performing at a small theater in Wittenberg may not have been the most-anticipated itinerary item before the tour began, but our students left with memories they’ll carry for a lifetime.
Leveraging Connections and “Pull” for Meaningful Learning Experiences
A provider with strong industry connections can orchestrate experiences that would otherwise be inaccessible. These connections are vital in arranging workshops, masterclasses, and collaborative performances with local artists and institutions.
For instance, a well-connected provider can facilitate a workshop with a renowned orchestra in Vienna or a jazz session with prominent musicians in New Orleans. Students gain valuable insights into musical traditions and practices, enriching their understanding and appreciation of their craft.
When my school planned a 2015 tour to New York, we selected a provider with a track record of facilitating performances at Carnegie Hall. Sure, we needed a link to a concert promoter who would ensure a sizable audience. But we also sought connections to composers and guest artists who would commit to being with us at Carnegie, as well as qualified educators who would work with our students. These finer points made a world of difference in the success of the tour.
An exceptional travel provider can also arrange tours of historical sites, interactions with local communities, and participation in cultural festivals. When an enhanced musical education meets a broader understanding of cultural and social issues, a transformative experience is bound to result.
Coda
High-quality travel experiences transform students’ understanding and appreciation of the world around them, fostering personal and academic growth.
The importance of partnering with a top-notch travel provider cannot be overstated. By listening carefully to the needs of their clients and leveraging their connections, elite providers create experiences that go beyond the basics, creating profound learning opportunities and lifelong memories.
Brayer Teague recently retired from a 33-year career as a music teacher and fine arts department chairperson at Downers Grove North High School (IL). He’s now part of the team at Bob Rogers Travel.
BobRogersTravel.com
I Think I Fell into a Wormhole
Scientists have theorized about wormholes that permit objects to travel fantastic distances and even navigate through time in the blink of an eye. Science fiction writers have used wormholes to explain even the most bizarre plot twists. Well, it’s all true. Just a few minutes ago, the school year was ending and then in an instant I quite obviously fell through space and time and arrived here at the start of the school year. All the great things I had said I would accomplish over the summer have been swallowed by the dreaded space time continuum.
I spoke with several teachers at the end of their first partial week (in our area, school started on a Thursday) and they commented it was tough to get the students to focus and stay on task. I reminded them that many of the students had gone “free range” most of the summer and it would be important to emphasize standards and expectations the following week. Checking back with them, most said the kids were starting to “get” it. You never have a second chance to establish classroom expectations. Particularly, if you are a new teacher, don’t give up!
Hopefully, you didn’t fall into a wormhole and your summer involved some recharging of the batteries, some great professional development, and a chance to spend some time making plans for the new school year.
During my military career I pretty much moved every few years and it gave me a chance to reinvent myself in a way, reflecting on what went well and what didn’t in the previous job and hopefully, being a better version of myself. Many of you don’t get to do that but as you well know, one third or one quarter of your students turn over each year. Use that as an opportunity to be a better teacher each year!
This issue has lots of nuggets for you. Deb Canfredo, President of NAfME, gives ideas on how to get off to a good start in the school tear. Matthew Arau reminds us to take time to find joy in what we do. We also have an interview with composer Yukiko Nishimura who is writing some superb music for school groups. If you’re not familiar with her music, check it out and read about her musical journey.
One of the most important decisions directors make each year involves student travel. Often, a trip is the result of a year or more of fundraising, tons of planning, and negotiations and coordination with parents and administration. The risks are there. What if the trip is not successful? Parents have spent lots of money and you have staked your reputation on it. However, a successful trip can energize your program, leave lasting important impressions on students, enhance teambuilding within the ensemble and with parents, and prove to parents and the administration that you can pull off big, successful endeavors. SBO+ reached out to several travel companies who have sterling reputations, have been in the business for decades, and whose team members have obtained important certifications by SYTA, the Student Youth Travel Association (you expect your doctor to have a medical license, why not look for certified travel professionals?). They share some of their lessons learned so you can benefit from their years of experience.
So, to those of you starting your first or 40th year of teaching music, don’t be afraid to boldly go where no one has gone before. Live long and prosper! Or, let the Force be with you. Either way, have fun teaching music!
This commitment to creating a one-of-a-kind experience for young marching bands is evident in the partnerships WorldStrides has created. Steve Ehrhart, long-time executive director of the AutoZone Liberty Bowl said, “Both my sister and brother-in-law were long-time band directors, so we understand how important this band trip is to these young students. We go out of our way to make the trip to the AutoZone Liberty Bowl a great experience.” 
CUSTOMIZATION
SAFETY
This was not a grand concert hall, but a modest theater with an uncommon history. Built in the 1920s, it was seized and converted to a Nazi headquarters during Hitler’s rule. Later, it became a state-run theater. In the 1980s, arts funding dwindled, and the theater fell on hard times. Shortly before our tour, it was purchased by a private individual, and re-opened with hopes of improving cultural offerings for the community.
