I don’t really know any directors who in some part of their career have not uttered a phrase akin to “Percussion you are playing too loud”, or “Clarinets the eighth notes were not together”.  The director’s role on the podium can become as repetitive as the scale and rudiment exercises that we select for our students to study.  It is easy to lapse into being in “error-detection” mode to the point where our rehearsals become anti-music learning and we simply gather the output from the ensemble, offer our assessment and corrective measures, and then move on.  Given enough time, enough “No, that isn’t correct”, and desire to have a perfect product, important development and learning will get lost in the process.

I recently read several articles in nationally published journals that point out that a director should offer more detailed explanations as to why he or she has offered some corrective solution to an ensemble issue of musicality, precision, or balance.  Perhaps the percussion need it pointed out that their dynamic level drops over measures 36 to 38, or that the clarinets did not release as a section off the whole note tied over the bar and that is why they did not ascend the eighth notes together.  The point of this blog is not to disagree with those views at all, as there is certainly a time and place that we as a trained educator and musician must make a musical decision in the best interest of the ensemble and the music.  My concern is the neglect for making the students aware of these issues – are we conducting this music for ourselves, or do we want the ensembles to be more engaged and connected to the process of creating this experience?

Rehearsal time is precious. Sometimes when we break a rehearsal down to rehearse a small section of music with just one section of instruments it breaks the flow (or cools “white heat” as Robert Reynolds would say).  The attention span of other students is momentarily interrupted, and parts of the collective whole become disengaged from the common goal.  Perhaps we need to address multiple problems across the ensemble with three different groups.  The obvious solution here is to give each group a quick synopsis of what the problem was, where you want to start, and what you want them to do while you are working with other groups (i.e. review fingerings, write in rhythm syllables).  That still leaves other sections disengaged from the process of making music.

Here is where asking better questions of our ensemble and students may begin to pay dividends moving forward through our rehearsals:

Percussion Example

Question to the section: “Percussion, what is happening to your part from a standpoint of musical expression at measure 36 through the end of measure 38?”

Question to the ensemble: “Band, do you feel that the percussion is making that decrescendo happen beginning at measure 36?”

Comment to the ensemble: “Let’s try that section again. Percussion be aware of your decrescendo, band evaluate their expression at measure 36, and percussion when we stop again tell the band why that decrescendo is important.”

Clarinet Example

Question to the clarinets: “Clarinets, is the rhythm problem with where the eighth notes start, or before the eighth notes start?”

Question to the ensemble: “Band as the clarinets play this section, would you listen to and identify what beat the eighth note pattern gets out of sync?”

Question to the ensemble: “Look at your parts, and listen to this section as we play it without the clarinets. Which section of the band could the clarinets listen to assist them getting a clean release off the whole note into their ascending eighth note pattern?”

If we want our ensemble to be engaged and invested in the product of the music we have selected for study, then it is upon us to involve them in the process of listening, describing, and evaluating (someone should make that a national standard…).  One thing I frequently stress to my own ensembles and honor bands that I have guest conducted is that “We need to learn to listen to each other – the world is a better place when we learn to listen”.  It is one thing to tell our ensembles, but it is better to tell them and give them a reason as to why they should listen.  Have the ensemble compare articulation of unison rhythm passages between the brass and woodwinds – who is playing with a better staccato? Have students listen to the breathing and phrasing by a section playing a unison melody – who is breathing in the wrong place? Where is the right place to breathe? Ask your students what they think is the right answer – you may be very surprised.

For those who may be concerned about the debasement of authority in the rehearsal hall, I would urge you to place your fears aside.  My experience thus far with students and this concept has been very positive, and for the most part they are appreciative of the fact their opinions and ideas may be voiced, can be utilized to hear the musical result, and provides them with a sense of ownership in the ensemble and the music making process.  The idea here is to give them reasons to listen and evaluate their own ensemble, give them an opportunity to assist in the interpretation process, and to understand how subtle changes in the attention to details of a group of people can make a large difference in terms of the musicality of an ensemble.  Calling on students to answer or play by name is a powerful reward and indication of their worth to the group – involving them by name into interpretation strengthens your reputation as a leader, educator, and musician.

I have found asking better questions and involving more student input in the process of interpreting, shaping, and performing music has resulted in more engaged rehearsals and meaningful performances.  It becomes paramount that we equip those students with the necessary tools (conceptually, verbally) to speak about the music they hear being performed.  This process has forced me to be a better musician on the podium – in terms of knowledge of the score, knowledge of terms, and personal performance ability. Critical reflection and self-evaluation using objectives concepts to evaluate an aural art form – I bet the educational authorities and policy makers who are trying to fix education with standardized testing had no idea that our best answers are questions.  Happy new year – now get out there and ask some questions!

One of the more interesting conversations I had over the past month was in regards to who is in fact next? ESPN’s The Magazine asks this same question each year as they look for the next greatest thing to come along in sports.  Dr. Pisano and I had this conversation a little over two weeks ago.  There is always a passing of the torch that occurs in any profession.  Sometimes it is graceful, and sometimes it is not.  Sometimes leaders make awesome exits at the top of their game (take James Keane last year at the Midwest Clinic with the Illinois Wind Ensemble), and sometimes they hold on too long (not to mention any names like Al Davis and the glorious debacle that is the Raiders).  Is there another Alfred Reed or Clifton Williams? What about a Kenneth Bloomquist or John Bourgeois?  And I say that with realization that there will never be another, but will there be someone that will accept the mantle and has earned the respect of our profession to follow in their legacy?

So who in our profession is next? Before I get to my list a disclaimer – I can only go by who I have seen, who I have worked with, who I have spoken to.  I am sure my list does not encompass all who deserve to be considered.  I don’t mean to exclude, but I will also not put out list that I can not substantiate either.  I would hope that like the Fire I lit a year or so ago about band literature, that we could open up some dialogue and start supporting others in the profession who might be utilized or contacted for someone else’s festival, music conference, a comisssion, or a clinic. 

Stick Men:

Dr. R. Tad Greig from Westminster College - My first nominee is right in my back yard, but I have really been impressed with him over the past 14 years as an educator, and conductor.  He and his Wind Ensemble will be performing this spring at our State Convention in April.  Tad’s knowledge of repertoire and his choice of engaging programs for festivals and his own students always impress me.

Dr. Stephen Gage from Youngstown State University – My second nominee is only about 35 minutes away.  I have had two students play in his youth orchestra, and have seen him work ensembles at festivals on four different occasions.  If you have never had the pleasure of watching him work a group, it is worth it.  Impeccable knowledge of his score, and he has a wonderful ability to convey the music to group.  I am most impressed with the core of his character.

Dr. Dennis Fisher from North Texas State University - The other guy at UNT.  It is hard to think of Dr. Fisher as a #2 to anybody.  I have spoken with him at both festivals at which I observed him work, and two things are readily obvious: He knows his stick work well, and he is one the sharpest education guys in our profession as well.  Dr. Corporon gets the lions share of recognition (and much of it deservedly so), but Dr. Fisher’s reputation is growing and I think he will be next.

Andrew Boysen, Jr., University of New Hampshire - Yes, yes, Boysen also writes like nobody’s business.  But I was even more impressed with him in person at an Honors Band festival two years ago.  The benefit of being a composer I definitely feel gives him an advantage on the podium in bringing another writers music to life. 

ADDENDUM!!! (updated on December 15, 2008)

Dr. Stephen Peterson, Ithaca University – I had the opportunity to observe Dr. Peterson last Thursday through Saturday with our local Honors Band.  He studided and worked with Paynter, and it was displayed brilliantly as his command of  Prelude, Siciliano, and Rondo was fantastic.  His ability to unlock and interpret a score was really impressive (loved his treatment of His Honor by Fillmore), and his personality really clicked with the ensemble.

Composers:

Mark Camphouse, George Washington University - His conception and creation of the large form of music for wind ensemble and concert bands is tremendous.  While Movement for Rosa, Watchman Tell Us of the Night, and Yosemite Autumn are just tremendous, I am convinced that his best works are yet to be created.

Patrick Burns, Montclair State University - Patrick’s writing is really taking off over the past few years.  He recently sent me a score to his score I loved well those cities… (for narrator and band) and I was really blown away. His Toccata is one of the most exciting pieces I have heard in a long time.  If you are worried this is too heady for your group, check out his Gothic Dance  and (my personal favorite) Suspended Animation.

Brian Balmages - I am somewhat envious of Brian’s position – he is a composer.  While he does handle editing for the FJH Music Company, he is really developing some fantastic pieces for ensembles of all kinds.  It was a pleasure bringing him in last year via Skype as my ensemble performed his Summer Dances.  One of the more dynamic pieces I have heard from him recently is Fusion – a multi-movement work that fuses a variety of styles.

Clinicians:

Jess Beblo, Beaver Area School District - Listen up PA educators (and those from around the world) – if you are looking a young, vibrant educator that is passionate about her work, great perspective, and understands how to put curriculum together in today’s schools contact Jess.  She presented at our PMEA in-service for District 5 this fall, and I could not have been more impressed.  She is in a great situation at her school working with two other very polished people in Susan Metelsky and Carl Newyear.

Dr. Joseph Pisano, Grove City College - We have been friends for years, but I do have to step back from time to appreciate what he has accomplished since we met in the summer of 1991.  Joe has such great vision for what our profession could become, and when you consider this whole blogger movement you start to realize this isn’t some dream – the framework is going up as manyof us are examining our practices, sharing ideas, and rethinking music education in a positive way.  And to think, all because we chose to share some thoughts on line.  The practioners of the “universal language” engaged in a global conversation.

Tim Loest – Tim has so many great works for young band.  Tim has also spent a lot of time working on method books.  Throw in some of his studies at Northwestern with some guy named Reimer, and I really think he is the total package when it comes to educational presentations for band.  If you get a chance, ask him about coal and diamonds – trust me, it will change the way you teach.  There is great depth to the core of Tim’s character, and great perspective as he is a public educator, clinician, father, and composer.

So that is the short list, or at least my list.  I would love to hear from all of you with some contributions in any category (including orchestra & chorus).  The “old guard” will always have their place, and they certainly have earned my respect and admiration.  But a new guard needs to be ready to step forward and assume the mantle of leadership in the world of music education, and as a community of professionals we need to do our part to make sure that people know about them.

It was nice this colleague took the time to email.  It was so dissapointing he was so flippant and sarcastic.  Before anyone puts fingers to keyboard, yes I am perfectly guilty of sarcasm from time to time.  But as the only response to a colleague in need of some input? As I approach the midpoint of my career I am becoming less and less tolerant of unprofessionals.  Those among us who do what we do, but see no greater good in sharing their thoughts and experiences.  Perhaps they feel that if they share, they will somehow elevate someone else’s program instead of their own.  Maybe they do not teach in a good situation, and don’t feel compelled to help anyone else succeed because it will only make them feel worse.  Whatever the case – it has to stop.

Competition is healthy. I will not disagree with that as it raises the quality of the musical product.  But when it comes to a point where competition is our motivation to tear someone else down professionally, something is definitely wrong and it isn’t the judges score on interpretation.  Are we still focused on building an empire? Is our strive to compete so strong that we do not feel we can share and communicate with each other? The one thing I have enjoyed over the past few years is the other directors in my county and our honest and sincerity.  When one of us has a great show on the night of the county band festival, he or she hears about it.  There is mutual respect and support.  I know that if I called any one of them right now with a question, I would get answers that could help.  We do have an official county association, but our membership supports each other because it is the right thing to do.

Since taking over as an executive officer for our four county music association, it has been very rewarding to begin connecting with music teachers in different situations, teaching levels, and ensembles.  I am thankful to guys like Corky, Sal, Jim, Tom, Jamie, Gary, Steve, and Chris who were good enought to take me under their wing at various times and teach me how to be a professional, and what it would take to be an effective leader.  They played by the rules.  They encouraged their students to work hard, and be the best.  They acted in the best interest of all students.  They showed respect to their colleagues. I am the leader I am partially because of the advice they gave me.  They never jerked a colleague around or didn’t play by the rules.  Fair was fair. Right was right. Wrong was wrong. 

Hanging on my wall is a picture of Nolan Ryan with a young Robin Ventura in a head lock delivering a healthy haymaker.  This is a daily reminder to always be mindful, always listen, and don’t fly off the handle with something to prove.  I will not forget watching that baseball game as a youth and seeing a young, hot-headed star dashing out to the mound to teach one of the greatest pitchers of all time a lesson about throwing inside.  What happened afterwards will always remind me to repsect my elders – they have been there, they have done that.  Ignore what they are trying to tell you, and you might get famous for being part of a famous “beat-down” of the musical kind. 

I am many things to many people this year.  The one thing that I am trying to maintain is pretty simple: I am a man of my word, not a man of many words.  That means being up front and being honest with all of my colleagues.  It means not short changing them because I don’t want them to succeed.  Or I don’t feel like getting my forms in on time.  Or returning their call.  Or responding to their email.  Like Tom and Jamie always told me, if they pick up the phone to call you and you don’t call back- you are the one with a problem.

Do we not have a responsibility to leave our ego out of professional matters?  Don’t we have a responsibility to each other on some level to provide input or advice? Don’t we have a responsibility to be…er…just be responsible? Be courteous? Be supportive?  I think we are in a day and age where we must start getting out of this “me-monkey” mindset, and get to a point where real communication and collaboration can start occuring.  A situation where real competition can make us all better educators, and our students aware of the true value of competition (hint: it isn’t trophies on the wall). My advice to anyone reading this post who has taught less than 14 years – if you want to go out and prove yourself, prove that you are a sincere, dedicated, respectful, and responsible educator.