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A Magnificent Obsession by Robert Rawlins 
Students who truly excel in music know that it's not merely a hobby, but the focus of their lives
A Step Up
Recommending a new string instrument is easier when you know how to look for quality
Accurate Reading On Mallet Keyboard Instruments by Al Payson
To attain any kind of note accuracy on a mallet-keyboard instrument "eyeball" the bars. This is not a problem when the music is memorized. But it is a problem when playing from a printed part.
An Open Letter to Parents by Phillip O. Paglialonga
Here's a handy template to help music teachers start communicating with parents
Ask Professor Osland
The answers to your saxophone questions can be found right here
Balancing a Timpani Head by Al Payson
Or: How to turn an ogre into a handsome prince
Balancing The Clarinet Section by Dr. James Perone
More balancing acts than a three-ring circus
Basic Elements of Conducting and Score Reading by Dr. James Neilson
The best conductors are those who can, with a minimum of effort, keep everything under control within the confines of a beat pattern.
Bathtime for Brass by Philip T. Cansler
A clean instrument will greatly improve your ability to play consistently
Being There by Robert Rawlins
One man's experience renews his belief that dedicated musicians have a future in the business
Blazing a Trail by Donald DeRoche
The path that leads from drummer to percussionist and on to musician is a vital one
Brass Basics by Philip T. Cansler
These simple practice tips can lead to better playing - and a fuller life
Brass Tips by Vincent Bach
An all-time brass master shares words of wisdom on tuning correctly
Breathing and Breath Control: Part One by James Neilson
What every brass player should keep in mind about the ins and outs of breathing
Breathing and Breath Control: Part Two by James Neilson
Every brass player should know how the do's and don'ts of breathing can affect performance
Building A Program In A Multicultural Environment by Ed Martin
When building a multicultural school music program, the challenge is to provide an academically sound environment for music education with appropriate attention to traditional study and performance standards, while not losing the cultural richness that comes with ethnic diversity and broad-spectrum student involvement.
Building Student Confidence by Don DeRoche
Along with theory and technique, give your students a sense of accomplishment by teaching them how to achieve success
Certified To Serve by Deb Stevens
Let's band together and orchestrate life
Clarinet Basics: Part Five - Maintenance Habits by Julie DeRoche
Care and maintenance habits are an important part of music education
Clarinet Basics: Part Four - Finding Incentive to Practice by Julie DeRoche
Knowing "what" and "how" will help you find incentive to practice
Clarinet Basics: Part One - Holding Your Clarinet by Julie DeRoche
When it comes to proper hand position, it's all in the wrists
Clarinet Basics: Part Six - Instruments and Early Success by Julie DeRoche
Quality instruments are crucial to students' early success and commitment
Clarinet Basics: Part Three - Mastering Articulation by Julie DeRoche
After a little practice, any player can master articulation with surprising ease
Clarinet Basics: Part Two - Embouchure Techniques by Julie DeRoche
To achieve a beautiful sound, master these embouchure techniques
Conducting for a Soloist: Part One by Ray DeVilbiss
The protocols of performing with a soloist help set the stage for musical excellence
Conducting for Soloists: Part Two by Ray DeVilbiss
The musical aspects of performing with a soloist call for empathy between conductor and soloist
Contest Season: Part One by E.C. Moore
Spring is at hand, the time to review basic tips for preparing for contests
Contest Season: Part Three by E.C. Moore
A dozen added thoughts and miscellaneous tips for taking your band to contest
Contest Season: Part Two by E.C. Moore
These eight tips can help you prepare your students for a stellar contest season
Courage to Create by Phillip C. Wise
Aleatory music: an alternate approach to improvisation
Dampening Drills by Jerry Tachoir
Teach students early that a vibraphone is not just a marimba with a pedal
Dare To Be Different by Jonathan Tesser
Music teachers are finding success by pushing the string program envelope
Developing Musicianship by Al Payson
. . . with a little help from Alfred North Whitehead
Different Paths by Julie DeRoche
Career-minded music students eventually learn that 'performance' can have many shades of meaning
Director's Checklist Part One by E.C. Moore
Your answers to these simple questions will help improve the performance of your band
Director's Checklist Part Three by E.C. Moore
Still more classic tips to improve the performance of your band
Director's Checklist Part Two by E.C. Moore
More classic tips to improve the performance of your band
Equipped for Success by Jim Catalano
Turning beginning drummers into total percussionists starts with the right kit
False Assumptions: What Students Really Think by Donald DeRoche
If you wonder what junior-high music students really think, just ask them
Finance Fundamentals by Michael Craft Johnson
With vigilance, planning, and organization, you can help ensure that the music plays on
Flute Vibrato by David Vornholt
When and how to introduce your students to the secrets of flute vibrato
For Emergency Only by Brent Laidler
The Director's Tool Kit
Forbidden Lessons by Julie DeRoche
Knowing what not to teach clarinet students can be as important as what you do teach them
From The Top by James Ketch
Good sound begins with a proper embouchure
Give Them A Boost! by Jonathan Tesser
Your students will feel an immediate impact after spending time with a guest clinician
Heart & Soul by Michael Johnson
Superior cane and quarter-strength grading give clarinetists a unique advantage with Gonzales reeds
Hands-On Bow Selection
Teach your students how to find the ideal bow
Here's The Pitch by Stan Garber
Playing a saxophone in tune starts - and ends - with the mouthpiece
I Have To Do What? By Robert C. Rawlins
Young instrumentalists should learn to sing so they can learn to hear
Improving Tone Production: The Need for Better Quality Instruments by Michael Allen
No matter how much the students have been taught about playing with a good tone, it will be useless if the students are playing on instruments designed for beginners that are of inferior quality.
In The Beginning: Part One by Steven Sacco
One teacher's experience starting an instrumental music program at his elementary school
In The Beginning: Part Two by Steven Sacco
Tips for nurturing and sustaining your school's newly established instrumental music program
Interview of Chip De Stefano by Julie DeRoche
A middle school band director talks about what he's done to make his program succeed
Judgement Day by Phillip O. Paglialonga
With focused preparation, your students can learn that a successful audition is not always about winning
Keep The Lines Open by Dr. Tim Lautzenheiser
Regular communication with the adults in your community will have a positive effect on your students
Learning Swing Feel by Antonio J. Garcia
Helping students capture this elusive concept is as much about recognizing incorrect swing style as it is studying the jazz masters
Let's Roll! By Robert Rawlins
Start a jazz band and reap the many benefits it will bring to your music program
Lip Service by Tedd Waggoner
The mouthpiece is a brass student's best friend. You can facilitate that bond with an informed recommendation.
Listen Closely by Robert Baca
Teach your students the finer points of jazz with the help of recorded music
Make Them Think by Rob Shaver
Try a few fresh ideas to get the most out of your students' warm-up time
Making the Political Personal
Now is the time to tell your government leaders about the importance of music education
Music For Everyone: Part One by Robert Rawlins
Though music can sometimes be a professional calling, it's often much more than a career choice
Music For Everyone: Part Two by Robert Rawlins
Since America loves to make music, your students of today could be the backbone of tomorrow's community bands
Overcoming Barriers by Michael Craft Johnson
Physical disability hasn't prevented Benita Gold-Slater from sharing her musical gifts
Passing The Test by Jonathan Tesser
It is crucial that music educators help their programs keep up with "No Child Left Behind"
Percussion Crossroads by Al Payson
Hooray! I've completed an elementary snare drum course. So, what's next?
Percussion Pointers by George Frock
How to help your young timpanists achieve greater musical maturity
Perfect Accompaniment by Jonathan Tesser
Bryan Ames has built a strong band program by reaching out to every student in his school
Play Your Part by Dr. Tim Lautzenheiser
Communicating the benefits of music is a role that all educators must embrace
Proceed With Care by Nilo Hovey
Proper warm-up methods will result in better rehearsals
Quality in Music by James Neilson
All music is not created equal, but how can we judge what makes music "good"?
Range for Brass Musicians by Philip T. Cansler
Tips for expanding range when reaching for those high notes - and low notes
Reach For The Top by Stanley F. Michalski, Jr.
Here are ten suggestions for establishing and maintaining a successful instrumental music program
Ready, Set, Improvise! By Deb Stevens
Teach beginning instrumental students that there are no mistakes - naturally
Rediscovering The Opera Fantasy by Phillip O. Paplialonga
Expose your students to opera by introducing them to the opera fantasy.
Rehearsal Psychology by Nilo Hovey
The mindset of your students is no less important than their technical skills
Second-Semester Success Begins With First-Semester Plans by Cheryl Myer
Although summer is obviously a time to catch up on all of the personal things you don't have time for during the school year, it's also worthwhile to begin planning now so you can hit the ground running when school starts up again in the fall.
Sharpen the Axe by Randy Gilmore
Whether you're a first-year teacher or a veteran band instructor, one of the greatest challenges is achieving a workable balance between all you would like to do and that which you are reasonably able to accomplish
Spring Cleaning by Robert Rawlins
Just when things are winding down, that's the time to rev up next year's band program
Fundamentals of Legato by Phillip O. Paglialonga
There are four primary components to seamless legato: fingers, embouchure, wind and equipment. Each of these categories contributes to the overall sound of your legato in different ways.
String Strategy by Jane McCormick
Four factors that can contribute to the growth of your string section
Summer School by Jonathan Tesser
Take advantage of the warm-weather months and earn the graduate credits you need to further your career
Teacher of Note: D. Michael Lynch
An interview with Pitman High School Band Director D. Michael Lynch
Teacher of Note: Patricia Quigley
An interview with Cedar Ridge High School band director Patricia Quigley
The 100 Percent Solution by Jane Palmquist
These methods will help all of your string students connect better with their music
The Art of Improvisation by Deb Stevens
Share a wonderful gift with young musicians
The Doubler's Approach to Flute Playing by Neville Thomas
When a saxophone and clarinet player decides to extend his doubling, the flute should be the instrument he selects.
The End Result by Robert Baca
Attaining a good sound has been the goal of brass players for generations.
The Future is Now by Jonathan Tesser
Music education benefits from industry programs dedicated to molding better teachers
The Heart of the Matter by Robert Gillespie
String teaching is an enjoyable and rewarding profession. The trick is not forgetting why that's so
The Piccolo: An Artist's Approach by John Krell
There are perils involved in playing the piccolo, but there are also many rewards.
The Tuning Slide Stops Here!
There's no longer any excuse for having a French horn that's out of tune
Timely reflections on the career of Dr. Alan Woy by Julie DeRoche
Dr. Alan Woy, clarinet professor at the Crane School of Music at SUNY Potsdam in New York
Timpani Care & Tuning
Care and Tuning of Your Timpani Drum
Tuba Tuning Hints by David Borsvald
Good tuba tuning can only be achieved by perfect setting of all slides. If you neglect this, you'll have an out-of-tune tuba section.
Understanding Reeds: Part One by Phillip O. Paglialonga
The secret to a good performance rests in a good reed
Understanding Reeds: Part Two by Phillip O. Paglialonga
Improving performance of your reeds will improve performance of your music
What to Play by Robert Rawlins
Your band will benefit all year long from a thoughtful choice of repertoire
Three Factors for Successful Growth by Jane McCormick
Many factors contribute to the growth of a string program, and there is no clear recipe for success.
Strolling for Success by Pamela Tellejohn Hayes
A carefully planned and implemented program can add dimensions and depth to an existing program that you never imagined possible.
In Praise of Violin and Double Bass E Strings: Defining Orchestral Sound and Bowing Technique by James Kjelland
It seems that the violin and double bass E strings are often neglected and even shunned in early string class instruction and most materials.
Setting the Stage for a Better Orchestra Program by Susan P. Ellington
Setting the stage for a better orchestra program is very similar to producing a fine dramatic play or musical
Things They Never Told Us... In Music School by Loretta JR McNulty
Polish those interpersonal skills which are essential in creating a healthy work environment
Top Ten Ways to Keep Your Solo and Ensemble Festival Judges Happy by Patricia Emerson
Keep Solo and Ensemble Festival judges happy
Care and Tuning of your Ludwig Snare
The snare drum is the most important part of your drum outfit next to the bass drum pedal
Care and Tuning of your Ludwig Timpani Drum
Learn how to get the most out of your timpani.
The Vibraphone as a Solo Instrument by Bill Molenhof
Before a student or performer can approach the vibraphone from a player's technical viewpoint, the preliminary essential of opening your mind and ears as a listener must become a concentrated effort
Clarity in Executing Lines on the Vibraphone Through the Use of Dampening by Jerry Tachoir
A vibraphone is not a marimba with a pedal!
Chords and Voicing for Jazz Vibes in 10 Steps by Jon Metzger
Today's jazz vibes player enjoys many roles
Timpani Improving Tone Quality and Musicianship by George Frock
It is very important that the timpanist be aware of the correct playing range of each drum
Timpani Techniques by Al Payson
Clean, precise, silent muffling is an absolute necessity for polished performance.
The Art of Transcribing by Steve Fidyk
Transcribing can improve your reading, dictation skills, and help stimulate creativity
Teaching the French Horn - Why all the Mystery? by William C. Robinson
Frequent comments by Instrumental Music teachers who are not French horn players lead one to believe there is a great deal of "mystery" involved in teaching or playing the horn.
Too Many Rudiments? by Cary Nasatir
While there are 40 rudiments endorsed by the Percussive Arts Society, there are nine that are mostly found in concert band and orchestra literature.
Tips for Teaching Young String Groups to Play "In Tune" by Jacquelyn Dillon
Without a doubt, the most important and most difficult task facing the string teacher is teaching students to play "in tune."
Common Oboe Embouchure Problems by Lewis Hilton
Develop a system meaningful to students and teachers by citing error in embouchure
Teaching Can Be Just As Rewarding When Conditions Aren't Perfect by Gary Barton
The very nature of the director position includes much more than just teaching in a classroom
Conceptual Ideas for Jazz Improvisation by Greg Abate
The concept of melody-in-the-moment is one for which every jazz artist should strive
That (Discouraging?) First Snare Drum Lesson by Al Payson
Teaching Techniques for beginners
Rehearsal Strategies For String Programs by Jacquelyn Dillon-Krass
Here's a quick guide to the four major factors affecting rehearsal success for strings.
What Piccolo to Pick? by Linda Cykert and Katherine DeJongh
Does a piccolo player play a tiny flute or a piccolo?
Twenty Tips for Successful String Recruiting By Jacquelyn Dillon-Krass
20 tried and true tips to increase your recruiting results
The Technique of Tonguing by James Neilson
There are two schools of thought concerning the technique of tonguing
The Importance of Performing by Dr. Tim Lautzenheiser
The goals in performing can differ for many reasons
The Triangle by Cary Nasatir
Taking a look at an instrument that doesn't get the respect it deserves...the triangle
The Trust of Leadership by Matthew Arau
Trust is essential for a successful band student leadership program.
Teachers' Cardinal Rules by Barnaby Kerekes
Teaching is a major responsibility, and a deep trust. You are asked to guide and foster growth, while preserving dignity and self-esteem.
Rehearsal Techniques: Dynamics and Balance by James Neilson
Ways to clarify routine rehearsal procedures in your classroom.
Teaching Drum Set by Steve Fidyk
Drum set, if used effectively, can prove to be one of the most musical instruments in your school program.
Rehearsal Techniques: Attacks and Releases by James Neilson
Music is composed in many styles and idioms, each with its own type of attack and release.
Have a Successful Clinic by Alan Raph
Your clinician may have a lot to offer - And never get it across- This might be YOUR fault!
Ideas for Improvisation and Solo Building by Greg Abate
Students who are learning how to improvise often need practical examples
Rehearsal Techniques: Phrasing and Phrase Content by James Neilson
Questions and answers of phrasing and phrase content.
Inquiring teachers ask: When is a question not a question, but an answer? by Dr. Tim Lautzenheiser
A partial list of the questions teachers ponder.
I Brake for Violas by Ed Adelson
The viola should not be second fiddle to the violin.
Rehearsal Techniques: Tempo and Rhythm by James Neilson
Questions and answers of tempo and rhythm.
Honks, Squeaks, and Proper Clarinet Voicing by Thomas Ridenour
Fine characteristic tone and good tuning are essential to the success of any clarinetist.
A simple caveat to the inexperienced teacher: Teach what you know! by Dr. Edwin C. Kruth
Learned teaching techniques-the how and why-are frequently neglected or forgotten
Left Hand Development by Denny Hair
The need for left hand development comes from the unevenness of the hands when drumming.
Common Flute Embouchure Problems by Lewis Hilton
Develop a system meaningful to students and teachers by citing error in embouchure
Rural School Challenges by Heidi Jarvis
A larger number of rural high schools have fewer than 100 students which creates a unique challenge for teachers.
Warm-Up Procedures for the Brass Player by James Neilson
Technical competence is achieved only when there is adequate preparation.
Timpani Tuning: Developing Aural Acuity by Al Payson
There are two aspects of learning to tune timpani.
Warm-Up Procedures for the Brass Player by James Neilson
Technical competence is achieved only when there is adequate preparation.
The Clarinet Embouchure by Dr. Edwin C. Kruth
The clarinet embouchure is one of the most widely misused and misunderstood aspects of clarinet playing.
How to Choose a Good Set of Cymbals by Gene Markiewicz
This article will focus on the actual cymbals and what I recommend to choose good sounding drum set cymbals
Developing Better Musicians Through Curriculum Design by William W. Gourley
Creating a curriculum does not have to be an overwhelming task
Protagonists and Spectators: The Bard Looks At Beethoven by John Picone
What happens in a music studio happens nowhere else in a school.
Extending Range and Endurance in Young Brass Players by Bobby Thorp
The subject of extending range and endurance in young brass players is a hot topic for music educators.
Part II: Protagonists and Spectators: The Bard Looks At Beethoven by John Picone
Let's look at the relationship between the musician and the meat and potatoes of music education.
Part III: Protagonists and Spectators: III: "One Band! One Sound!" by John Picone
MUSIC, ME AND YOU
The Happy Classroom Part 1 by William Gourley
In the case of the music instructor we are concerned with how we encourage students to stay in our programs year after year.
There's a secret formula for success lurking in your bandroom; the PPM by William Collins, D.M.A.
Passive positive motivators (PPM) quietly pursue excellence and, in the process, influence others around them to achieve excellence as well.
The Happy Classroom Part 2 by William Gourley
Examine how music education influences the young musician's relationship with others – peers and adults – as well as her relationship with the surrounding world of popular culture
Emergency Spit Valve Fixes by Patrick Diller and Steve Nelson
Being a good player and educator is more than just knowing the basics of playing instruments.
Tapping Into Tambourine Technique by Cary Nasatir
Like many auxiliary percussion instruments, the tambourine can present some real challenges for a young player.
The Changing Instrumental Rehearsal by Gary Wolfman
A different approach to teaching performance-based classes.
The Happy Classroom Part 3 by William Gourley
You Get What You Expect.
Flute Headjoint Replacement by Steve Nelson
Many directors don't realize the importance of maintaining flute head joint corks.
String Class Teaching Philosophy by Jacquelyn Dillon-Krass
The teaching of stringed instruments at all levels should be geared toward the development of orchestras.
Beat the Boom by Cary Nasatir
Remember those pictures from ancient drum books that taught how to play the concert bass drum? Whether it was some spiffy kid in a sharkskin suit or someone's grandfather in a bow tie, they showed some techniques that by now should have gone the way of their clothing style.
Studying The Full Score - Part I by Dr. James Neilson and Dr. Karl M. Holvik
The authors presume that the conductor has been given adequate formal training and now is ready to begin a searching, probing study of the full score, which task is far removed from the ephemeral joy of making music.
Reaching with Music Across Interdisciplinary Boundaries of Learning By Peter F. Ayer
Relating what the student already knows to what he or she needs to learn can be an effective motivational technique.
Aesthetics in Rehearsing the Symphonic Band by Dr. Edwin C. Kruth
Aesthetics are defined as being perceptive, to feel, the branch of philosophy dealing with the beautiful, chiefly with respect to theories of its essential character; also the branch of psychology treating the sensations and emotions evoked by the fine arts.
Studying The Full Score Part II by Dr. James Neilson and Dr. Karl M. Holvik
The authors presume that the conductor has been given adequate formal training and now is ready to begin a searching, probing study of the full score, which task is for removed from the ephemeral joy of making music.
Some Dismantling Required by Eugene Dowdy
Music, as we have learned in our theory classes, is made up of elements. The compositional process is a wondrous skill of assembling these parts onto a time frame creating a work of art.
Getting Serious About Being Positive Is No Contradiction Of Terms by Dr. Tim Lautzenheiser
Many researchers have confirmed that "a positive environment is the most conducive for maximum learning results."
Balancing Act by Gary Devore
Adjusting Ludwig Balanced Action Timpani
Repertoire Repercussions by Patricia George
Recently I was teaching a flute masterclass at a weekend band camp. I was working on having the students play repetitions of sequential scale patterns at a varying of number of times and realized that the students had difficulty executing the passage four times, six times or eight times.
Studying The Full Score Part III by Dr. James Neilson and Dr. Karl M. Holvik
The authors presume that the conductor has been given adequate formal training and now is ready to begin a searching, probing study of the full score, which task is for removed from the ephemeral joy of making music.
Practically Perfect Practicing by Robert Jesselson
Practicing is the process of acquiring new skills and making them into good habits. It is really just a set of learned behavior patterns and responses. Good practicing requires thoughtful self-analysis and self-criticism in the process of improving one's ability.
When Festival Fever Strikes, It's A Sure Cure For The Winter Blahs by Shirley Strohm Mullins
Every year about this time I catch a mysterious malady called Festival Fever. Strangely enough, it is one disease I anticipate with great pleasure. It's a sure cure for the after-holidays letdown and usually carries me straight through to spring break.
True professionalism: What does it mean in music education? by Dr. Edwin C. Kruth
The professional is someone who has something to profess, and he or she does so with certain attitudes and behaviors that characterize the specific role to be played. The primary tool is talent. It is the degree of manipulation of this tool that determines the success of the professional.
Choosing the Repertoire Archeology for the Band Conductor by Daniel A. Belongia
REPERTOIRE determines the depth and breadth of musical opportunities for our students.
The Development of a Beginning Grade School Band by Dr. William L. Johnston
Probably our greatest aim in developing a beginning grade school band is to offer experiences to every child involved that will tend to develop those qualities which will aid that child in becoming a well-rounded, balanced, mature adult.
An Ethic for Secondary School Music Educators by Dr. James Neilson
It is the responsibility of secondary school music educators to interpret and teach the art and language of music to students in those ways that will serve the students' best interests, and through student performing to provide inspiration and entertainment for the general public when time and circumstances permit this to be done.
Our Perceptions of Hearing by Charles Martyn
Our perceptions of hearing do indeed differ. It always fascinates me to gather the impressions of what people have heard following a truly outstanding performance. Some can be critical while others are absolutely uncritical of what has transpired. Many are only loaded with superlatives. But how often do we hear perceptive insights regarding the pedagogy involved in making an outstanding ensemble?
Tone Production and Resonance by Gary Gray
The flute is more closely related to the human voice than any other musical instrument. While the strings may seem to be more closely related because of their ability to span wide melodic intervals without a noticeable break, the mechanics of tone production on the flute are almost exactly parallel to those involved with the voice.
Tone Development Through Interpretation By Bernard Goldberg
How does one go about developing this variety of expression, this armory of instrumental and physical capability? Why, form music itself! We all practice scales and arpeggios, scales in thirds, sixths, broken chords, and trills, etc., for technical ability, capped off by mountains of beautiful etudes by so many flutist-composers.
Captivate Young People With Music! by Dr. James Gholson
Given the explosion of new learning and information venues, I get excited talking about new ways to captivate youngsters with music, literature, painting and dance. I sincerely believe that students of all ages should heartily engage the arts, both as learners and patrons.
NEW RELEASE OF AUTHENTIC EDITION OF VLADISLAV BLAZHEVICH 26 SEQUENCES FOR TROMBONE by Michael Mulcahy
From time to time in my role as Professor of Trombone at Northwestern University, I admit exceptionally gifted young musicians who possess both outstanding musicianship and keen intellectual acumen into our doctoral program. Such was the case when I encountered Russian Bass Trombonist, Andrey Kharlamov. Actually, it was a re-encounter, as I first came across him as a very young and precocious man, during a masterclass at the Tchaikovsky Conservatory during the Chicago Symphony's historic tour of Russia in 1990.
Practice by Susan Younghans
The majority of our students have many outside activities. The time they have available for practice, is very limited and often scattered. Students need to know how to use their time efficiently, successfully and productively. We need to teach them how to practice by modeling and teaching valuable practice skills which are necessary at all levels, much like study skills for academic success.
THE ART OF CHOOSING A SAXOPHONE MOUTHPIECE by Eugene Rousseau
There has been a debate over the years regarding the question of materials used for manufacturing both instruments and mouthpieces. A great number of saxophonists believe that metal mouthpieces are exclusively for playing jazz, and that hard rubber mouthpieces are for playing classical performances. Actually, there are excellent mouthpieces for all genres in both materials. The great Marcel Mule for many years used a metal mouthpiece for his classical performances. It stands to reason, then, that mouthpiece design is the most influential aspect of quality, not the material.
Knowing the Score and Beyond by Dr. David Littrell
It is a given that a conductor should be able to elicit a musical response from an ensemble through precise verbal directions and the proper use of the baton. A conductor's knowledge goes far beyond that, though, and comprises the areas of music history, biographical information about composers, stylistic awareness and the technical means of achieving it, and a formal analysis of each work.
So You've Never Played A Stringed Instrument by Jeffrey S. Bishop
Any good musician can become a good orchestra teacher through hard work and dedication. I was taken under the wings of some very well-respected pedagogues, conductors and music educators. With their help, support, and nurturing, I was able to begin a new career. The same help is available to you.
Carved and Graduated: What's the Difference? by Earle Perez
"Carved" and "graduated" are terms that add to the romance and mystery of a stringed instrument. However, these terms are more than just fluff. Many musicians do not know what the terms truly mean even though the process of carving and graduating are critical to judging the suitability of a performance-level instrument.
Trained for Strings? by Jacquelyn Dillon
Public school teachers attending the national symposium on string pedagogy at Wichita State University were asked to create a list of the most important elements that should be included in all college and university string teacher training program. Did your program give you these?
Some Thoughts Regarding Recruitment and Retention of Instrumental Students by Dr. Stewart L. Ross
Directors need to recruit families, not just individual students. While it is true that students recruit students, it is also evident that music parents recruit other music parents.
A Parent Guide to Music Education by Shirley Strohm Mullins
Our society values music for its intrinsic beauty, its meaning, its sheer joy. Imagine celebrations, social or religious events, football games, television, inaugurations and parades without music. We value music because it touches our hearts and souls.
Beginning Band and Orchestra, The Roots of a Successful Program (Part 1) by William W. Gourley
In today's economic climate and with the pressures from other academic disciplines music programs are in a fragile position.
Beginning Band and Orchestra, The Roots of a Successful Program (Part 2) by William W. Gourley
Everyone may not be right for instrumental music but instrumental music must be right for everyone.
Partnerships: A Powerful Tool by David Branson
Partnerships between school district music programs and community art groups are critical for the creation and enhancement of a vital arts environment.
Grading the Music Student: The Revelli Point System by William Revelli
Conductors can be afraid to give a student the grade he or she really deserves because they're afraid that that student might become discouraged and quit. I was always a very tough grader – if Revelli gave you an A, you'd better frame it.
Teaching the Flute to Students with Braces – No Bad Sound Days by Valerie Simosko
The majority of student flutists must at some point in their playing career learn to play with braces on their teeth. Rather than cringing at the thought of losing some of your best students to what may seem like an unhappy event, you can capitalize on it by exploring the world of sound production with your student.
How To Rehearse by Nicholas V. Holland, III, Ph.D.
Yes, I can hear your laughter, and deservedly so; there isn't really anything "sure-fire" in teaching. However, I can guarantee that you will find at least some part of these two teaching methods useful in your daily rehearsals.
Commitment Is The Price Of Leadership For Both Students And Teachers by Dr. Tim Lautzenheiser
Commitment is what transforms a promise into reality. It is the words that speak boldly of your intentions, and it is the actions that speak louder than the words. It is making the time when there is none – coming through time after time after time, year after year after year. Commitment is the stuff character is made of, the power to change the face of things. It is the daily triumph of integrity over skepticism.
Kick the Winter Blues by Deborah Perkins
Second semester can often bring on a slump in activities of students in the school orchestra. Second semester is also the time when students are deciding whether or not to continue with their orchestra class.
Why Do Students Quit? by William Revelli
As directors, we are sometimes guilty of proclaiming how many students we have – "Oh, I've got a hundred and fifty," or, "I just started a hundred new ones." But I'm not interested in those numbers. I want to know how many have quit.
WHAT A RIDE! by Bart Marantz
To those students who dream the impossible and realize that Booker T. Arts Magnet is a place where the impossible can become reality "Thank you". Thanks also, for allowing me to enjoy this incredible experience with you for the past 24 years. What a ride it has been!
Good Teachers Learn to Evaluate Themselves As Well As Their Students by Donald DeRoche, Ph.D.
All of us are involved in evaluating our students, almost continually. We give seating auditions, challenges, playing tests, written tests.
The Academic Status of Musical Training by William Revelli
Music education today is pretty much at a threshold. After a hundred years of having music in the public schools, it still has no status.
Coulda, Woulda, Shoulda; Solo and Ensemble Reminders for the Educator by Deborah Perkins
Remember to teach the music, not just the notes. Solo and ensemble judges are waiting to hear musical performances – not just a collection of notes with proper rhythms, but pieces performed with dynamic contrasts and phrases.
Partnerships: A Powerful Tool by David Branson
Partnerships between school district music programs and community art groups are critical for the creation and enhancement of a vital arts environment. These partnerships engage community members, arts agencies, teachers and students in music making and promote all that is good about the arts.
Your Voice as a Musician by Keith M. Zimmerman
Today our culture gives the message that we should all be clones. The media and recording industries have sold the public on this and insist that everything and everybody must fit a neat little category.
Burnout and the Beginning Music Educator by Gene Bechen
If you're a beginning music educator, reading this article is just the beginning of your journey toward understanding stress and burnout. It is important for you to continue to learn about how stress affects your life.
Success in Your First Years of Teaching; Some Helpful Advice by David Branson
You were recently hired for you first job. How exciting! Along with that excitement is likely some trepidation, and that feeling of "what have I done"? You are not alone most teachers have felt that way during their first few years of teaching. Where do you go from here? What are the next steps?
Saxophone and Clarinet Reed Preparation by Keith M. Zimmerman
The following procedure is one I developed over many years from readings, tips from others, and personal experience.
Efficient Rehearsal Techniques Part I: Creating Opportunities for Success by William Gourley
Carefully created lesson plans enable you to chart a course for the students' musical growth and assist you in monitoring your instruction.
Aspects of the Beginning Orchestra by Lisa M. Sharer
Beginner string students are usually bursting with enthusiasm during the initial week of lessons on their chosen instruments. They eagerly absorb each new idea and await the next that will lead them towards becoming musicians.
Efficient Rehearsal Techniques Part II by William Gourley
Having assessed the students' abilities, created a sequential skills building curriculum and selected appropriate literature for the ensemble consistent with their skills, as well as enhance and expand their acquisition of skills and studied scores you are ready to create lesson plans, a rehearsal schedule and begin rehearsals.
Top 10 Ways to Avoid Burnout for Music Education Students by Gene Bechen
Many music education majors are profoundly affected by stress and burnout without fully knowing what it is or how to combat it. Some of these stressed individuals leave the major, while others shift from future music educator to music hobbyist.
Young Instrumentalists Should Learn To Sing So They Can Learn To Hear by Robert Rawlins, Ph.D.
Like many endeavors, becoming a fine instrumentalist requires a broad range of skills. Accurate hearing is among the most important. Unfortunately, many young instrumentalists feel self-conscious about singing and thus neglect a crucial aspect of their training.
Developing an Individual Marching Band Style - What is Your Band's Identity? by Marty Spitzer
Regardless of whether your marching band is competitive or not, it is important that the band develops a sense of personal identity to avoid becoming a "cookie cutter" band. The most successful competitive programs generally have a real sense of 'Who We Are.' This identity stems from several components, and over time lends to what your audience, adjudicators, other bands, come to know and expect of your group!
Conducting for Beginners by C. Grant Maledy
The first days a student spends in an instrumental ensemble can be crucial to their success. The approach a director takes to the many new processes they will learn can make the difference between frustration and happiness, the later of which leads to increased performance levels and long-term retention.
Choosing a 4 Valve Euphonium by Royce Lumpkin
Did you know that your school's three-valve baritone is a descendant of the saxhorn family created by Adolphe Sax? In the British Brass Band tradition, the baritone is used as an alto instrument, most often playing a rhythmic role. Its lighter sound blends well with French horns and trombones. Euphoniums, however, are related to the tuba family and traditionally have a darker, more resonant tone, playing melodies, counter melodies and the bass line, doubling the tuba at the octave.
Common Characteristics of Outstanding Orchestra by Jacquelyn Dillon-Krass
Tuning: Group tunes quietly and carefully, special attention is paid to careful tuning of basses and cellos, group tunes at the bottom...
How to Make Rehearsals More Effective by Dr. Frederick Burrack
Interestingly the first area on which to focus in making rehearsals more effective does not coincided with the rehearsal itself. It is in planning.
Regarding the Fine Art of Practicing by Keith M. Zimmerman
Many students do not know how to practice. I find that the teaching of how to practice is something I must cover in depth with college and private students in all but a few cases.
Training the Woodwind Section in Full Band Rehearsal by Randall Spicer
The proper use of rehearsal techniques will result in an improvement of tone, intonation, balance, and blend in all sections of the band. There are many fundamentals that must be used consistently in each rehearsal.
Recruiting and Retention by Gary Gribble
Instrumental music begins in our school system in sixth grade. It seems that more
kids are getting "hooked" on multiple activities at earlier ages than ever before. We have
summer sports and arts camps for kids as young as four years of age. The potential
downside for our music program is that the kids become totally dedicated to other
activities before they get a chance to join a music program.
Perfecting the Reed by Pat Diller
Located in Mendoza, Argentina, surrounded by the Andes Mountains and vineyards, stands the impressive cane fields of Gonzalez reeds. The fields produce an annual 450,000 to 500, 00 cane plants, making it the largest single cane field in the world. With no pesticides, herbicides, or agrochemicals, a pure "green" product is consistently delivered to reed players around the world.
Great Teaching: Something We All Should Aspire To by David Branson
To be a great teacher is a gift that continues to be received by students for a life time.
A Quick Anatomy of the Flute by Valerie Simosko
Here is a quick "dictionary" describing essential parts of a flute and what their purposes are.
An Approach to Student Practice: Hints on Practicing or Close Enough only Counts in Horseshoes and Hand Grenades! by Keith Zimmerman
How do the really good players become so? How do the same people seem to always get high rankings in auditions? There is practice, and then there is quality practice! Which kind do you do? Do you just get close or do you really get the music down?
Educator's Viewpoint by Thomas Dvorak
If we lived in a perfect world and could design our band rehearsals upon the models of out-standing conductors, what would they be like?
Just another day at the office; How to get better results in concerts, auditions and other high-pressure performing situations- Part 1 of 4 by Jon Gorrie
"Just another day at the office..." was originally written for classical musicians as an aid in preparing for auditions and other solo performances. However, the information in this article can be applied to anyone in a 'high-pressure' performance situation.
Time for Grant Writing by Marcus L. Neiman
Who in their right mind would even considered thinking about writing grants during an economic downturn? Who indeed!
Conn-Selmer's Donation-From Kenosha to Vermillion: Preserving the Leblanc Legacy by Margaret Downie Banks
After Conn-Selmer agreed to donate the Leblanc Archive and various musical instruments to the National Music Museum (NMM) at the University of South Dakota in Vermillion, seven staff members and students made two, 500-mile road trips to Kenosha, Wisconsin, in late June and mid-July 2008, to retrieve priceless historic artifacts and archival materials from the plant, prior to its imminent closure.
Choosing an Artist French Horn by Louis Stout
It is more difficult to choose a fine French horn than any other instrument in the brass family.
Just another day at the office Part 2 of 4 by Jon Gorrie
So, how do we ensure your brain tells you that auditions, recitals, and other 'high-pressure' performing situations are easy and fun?
Survival Tips for Orchestra Directors by Deborah Perkins
When demonstrating for beginners, mirror what you would like them to do. For example, hold the instrument or bow with the opposite hand. Many students are visual learners and will do what you do, not what you say.
Loyalty by Dr. James Neilson
All persons concerned in this realm of loyalty – band instrument manufacturers, music dealers, students and their parents, and band directors – are linked together by a common loyalty to the art of music.
How to get better results in auditions and other high-pressure performing situations by Jon Gorrie Part 3 of 4
Visualization techniques can help you positively condition yourself to achieve an ideal state of mind, helping you to gain optimal results in your performing situations.
A Pedagogical Approach to Effective Individual Music Practice by Dr. Michael Magruder
This document is intended to assist individuals in the area of effectiveness related to practice. I have attempted to describe the components required to become efficient and effective in the area of individual music practice related to clarinet performance.
Just another day at the office Part 4 of 4 by Jon Gorrie
By using the technique of Intense Positive Visualisation, you can experience your next audition, recital or 'high-pressure' performance as just another day at the office!
Tone & Musicality by Murray Panitz
Professionals, when they teach, generally instill into their pupils the proper respect, technically and tonally, for their instrument.
Thoughts on Musical Composition by Lucien Cailliet
By virtue of the definition of the ART itself, a work of ART must have before all: an educational value, as it must contribute to the exaltation of the inner esthetic sentiments of others by the communication of the impressions of the artist, THE ROLE OF THE ART BEING TO MAKE HUMANITY PROGRESS.
Educator's View Point by Donald DeRoche, Ph.D.
"Only a few of our students will pursue music as a career, but all of them will be well served if we can help them achieve a feeling of self-confidence."
Developing Better Musicians through Curriculum Design by William Gourley
A band director spends weeks' rote teaching the passage at "C" in the first movement, the dotted rhythms in the second movement, and the last run in the third movement. He pounds it out over and over, slowly at first and gradually increasing the tempo. Each section, for fifteen minutes a day, while the rest of the band sits quietly.
Flute Improvisation by Hubert Laws
Although the flute is termed a monotone instrument, the improvising flutist need not limit himself to one color but should feel free to experiment with various sounds to enhance his individual musical personality.
Flute Players Split About E's–or How About a Donut? by Valerie Simosko
Flutists and parents often ask whether it's best to split the E or not. As a teacher, can you explain the options clearly?
Instrument Cleaning for Saxes and Clarinets by Keith M. Zimmerman
Never leave a sax or clarinet in a closed car in hot weather or anywhere in a car when outdoor temperature is below about 40 degrees.
Preparing for Performance Evaluations by Gary Gribble
How carefully do you plan your lessons leading up to festivals or contests? Do you move at a steady pace, teaching concepts along with the literature or do you continually find yourself running out of time, getting frantic in the last few days prior to the "big performance"?
The Jazz Big Band: Ingredients To Assure Good Ensemble Performances by Scott Cowan
Throughout my nearly twenty years of directing jazz big bands and observing a myriad of world class band leaders, I have observed a plethora of ingredients, so to speak, that have contributed to successful performances. The following ingredients reflect my observations.
The Flute Practice Techniques by Robert H. Willoughby
I strongly advocate practicing part of the time without vibrato. While it adds life to your playing, it also tends to obscure basic faults, such as lack of support. In addition, modern composers will often specifically request that a particular passage be played without vibrato. Likewise, in baroque music it should be used sparingly.
Warm Up Room or War Room? by Gary Gribble
The warm up room is a critical area that can make or break a performance. Personally, I advocate a calm approach that is identical to our daily rehearsal procedure. I want the students to feel prepared, comfortable, and focused prior to moving on stage.
Strengthening the Foundations of Students' Excellence, Integrity and Social Contribution by William M. Sullivan
College education is a highly formative experience. It proves eventful and life-shaping for students of any age. College provides a uniquely powerful moment in which students rethink their lives, expand their intellectual and cultural horizons, and focus on future goals, often in new ways.
Engaging Rehearsals to Enhance Music Making by David Branson
The purpose of this article is to present basic rehearsal design principles that can improve student engagement followed by a description of practical rehearsal techniques designed to empower students to become an integral part of the music-making process.
5 Steps to a Musical Performance by Randall D. Royer
Although they are many strategies and methods to learning a piece of music, whether as an individual studio teacher or as a director of a large ensemble, I have found "5 Steps" to be the most efficient and effective plan for learning and teaching music.
French Horn Clinic by Philip Farkas
Players continually experiment with instruments, mouthpieces and methods to enlarge the tone, and then revel in the fact that they have such a big tone. All this they do while conductors the world over gnash their teeth and frantically wave the brass down!
Sight Reading, Fright Reading, or Sight Guessing? by Gary Gribble
It is imperative that students develop a musical vocabulary that encompasses notes, rhythm, dynamics, stylistic concerns, knowledge of phrasing, and all of the aspects that go into a quality performance. This should be a regular part of your rehearsal routine.
You Want Band in the Community - Delayed Gratification and Citizenship by David Willson
Each year I see the directors in the country have more hurdles thrown at them making it harder to have band where they are. These hurdles start with national testing, new graduation requirements, scheduling, and the list is endless. We as a society need to sell the real value of band to all in the community instead of getting stuck on the spirit or public relations area that all see and recognize.
