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Listen Closely by Robert Baca 
Teach your students the finer points of jazz with the help of recorded music
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.
Proceed With Care by Nilo Hovey
Proper warm-up methods will result in better rehearsals
Rehearsal Psychology by Nilo Hovey
The mindset of your students is no less important than their technical skills
I Have To Do What? By Robert C. Rawlins
Young instrumentalists should learn to sing so they can learn to hear
Courage to Create by Phillip C. Wise
Aleatory music: an alternate approach to improvisation
The Art of Improvisation by Deb Stevens
Share a wonderful gift with young musicians
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
Judgement Day by Phillip O. Paglialonga
With focused preparation, your students can learn that a successful audition is not always about winning
Ready, Set, Improvise! By Deb Stevens
Teach beginning instrumental students that there are no mistakes - naturally
Make Them Think by Rob Shaver
Try a few fresh ideas to get the most out of your students' warm-up time
Forbidden Lessons by Julie DeRoche
Knowing what not to teach clarinet students can be as important as what you do teach them
That (Discouraging?) First Snare Drum Lesson by Al Payson
Teaching Techniques for beginners
String Strategy by Jane McCormick
Four factors that can contribute to the growth of your string section
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.
Rediscovering The Opera Fantasy by Phillip O. Paplialonga
Expose your students to opera by introducing them to the opera fantasy.
Give Them A Boost! by Jonathan Tesser
Your students will feel an immediate impact after spending time with a guest clinician
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.
Top Ten Ways to Keep Your Solo and Ensemble Festival Judges Happy by Patricia Emerson
Keep Solo and Ensemble Festival judges happy
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."
Rehearsal Strategies For String Programs by Jacquelyn Dillon-Krass
Here's a quick guide to the four major factors affecting rehearsal success for strings.
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: 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!
Rehearsal Techniques: Phrasing and Phrase Content by James Neilson
Questions and answers of phrasing and phrase content.
Rehearsal Techniques: Tempo and Rhythm by James Neilson
Questions and answers of tempo and rhythm.
Developing Better Musicians Through Curriculum Design by William W. Gourley
Creating a curriculum does not have to be an overwhelming task
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.
Protagonists and Spectators: The Bard Looks At Beethoven by John Picone
What happens in a music studio happens nowhere else in a school.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
