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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.
Choosing the Repertoire Archeology for the Band Conductor by Daniel A. Belongia
REPERTOIRE determines the depth and breadth of musical opportunities for our students.
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.
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.
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!
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.
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.
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.
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.
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.
