This year, our campus was named an invited ensemble at the Music for All National Concert Band Festival. Representing our community has been an incredible privilege, and the support from our families, school, and alumni has been overwhelming.

As I have begun coaching our students through our preparation process, I have often discussed how we strive to emulate professionals (as we have defined them, such as a collegiate Wind Ensemble, rather than someone who is paid for their work). This has opened up a great forum for discussion about what makes the difference between the “amateurs” and the “professionals,” and it has been remarkable to see the difference it has made in the mindset of the students.

Below you will find some of our four conclusions from our discussions throughout the semester; several are discoveries the students coined themselves.

They make the difficult things seem easy

During COVID, I, like many others, found a new appreciation for the world of motorsport. Apart from my yearly watching of the Indianapolis 500, I was quite naive to the sport initially and did not understand the difficulty that the drivers face under pressure. The memorization of finding the racing line, gear shifting, braking points, etc., all while driving at speeds of 120+ miles per hour and greater, is an incredible feat of the human body. But we don’t realize that.

It wasn't until the last few years that I began to dip my toe into sim racing (virtual motorsport using computer hardware) as a hobby that I began to understand the level of detail that these drivers hold themselves to. It took me hours to learn the layout of the track to just stay within the lines, and that’s not even accounting for the g-force that the real professionals subject themselves to as well. Needless to say, I won’t be trading in my baton for a helmet any time soon!

The more I think about it, the detailed nature of these drivers is no different than knowing the time signature changes and cues of a piece you are conducting, or the tuning tendencies of each note of your instrument. So, regardless of whether you’re on the racetrack, in the boardroom, or on the stage at Carnegie Hall, if you can convince your audience that what you are doing is easy (even when it is not), then you have shown that you can be a professional in that sense as well.

They are adaptable

There are very few things, in my opinion, that prepare students for life as well as marching band, and here’s why:

A few years ago, I was serving in an event staff role at the Bands of America Grand Nationals Championships in Indianapolis. My shift had finished for the day, so I went up to the suites to watch the last few bands of finals and witnessed something reassuring. A student had lost their shako (hat) moving into a hold. As they left the hold, moving into a flutter, I watched them move a little further out than they probably typically did, scoop up their shako, place it on their head, and then proceed to play the multiple tonguing feature that followed. All within the course of about 10 seconds from when it happened, to them solving the problem completely.

If I had not been looking in that area at that moment, I probably would have never even noticed it had happened. Hats off (pun intended) to those students and their teachers for teaching and empowering them to solve problems when they see them. There are probably many adults who would struggle with solving a problem that quickly!

We have talked heavily this semester, much like the student in my example, that we cannot control everything that happens to us, but we can control how we react to the situation we are in. We’ve had several bumps along the road (delayed music, odd schedules due to testing, illness taking out a few key players the day of a concert, etc.), but I am incredibly proud of how they have handled every challenge with a “can-do” attitude. It gives me great reassurance that all of the “kids these days ____” talk is not as valid as we believe it to be. (Though I still wish they’d trade some phone time for long tones!)

They understand their role

I believe music is a great vehicle for teaching this concept. When students first learn to play their instrument, we begin with unison lines, allowing them to build confidence in their playing. Then, after a few months, we start introducing duets where we take that confidence and then teach them how to do it with greater independence. By the end of the year, they move into a “full band” setting. Suddenly, you need to know what your responsibility is (melody, harmony, etc.) or else the pieces of the puzzle don’t fit together correctly.

I think this is a great metaphor for what students are going to experience in the future. I work on several teams throughout my different obligations, and not one of them is in the same capacity. Sometimes I am the decision maker (melody), other times my role is to support the decision maker (harmony). Being aware of what is expected of me and doing it to the best of my ability is what makes the team effective.

They do what it takes to get the job done

These words have lived in my mind rent-free since I first heard them almost ten years ago. Bring back the first point mentioned, professionals make things look easy because of their preparation. They are going to do what they need to get the job done.

Translate that to the middle school band hall, and it has led to conversations about not practicing something until you get it right, but doing it until you can consistently get it right. It’s a shift from “I have to work on this for ___ minutes” to “I need to work on this until I meet this standard”.

In recent years, our program has transitioned fully to reflect this mindset as well. Gone are the days of practice logs where you have to acquire a certain number of minutes to receive a 100, and instead, students work towards meeting their “benchmarks” throughout the grading period. Do some students end up practicing less than others? Sure. But our students have also expressed that this approach has made them feel that practicing is less of a chore and more worthwhile.

I hope you enjoyed a glimpse into our band hall. Since assuming my role, our priority has always been to teach life skills through music. It brings me immense joy knowing every student who passes through our doors carries these lessons and more forward. That, for me, is what makes teaching one of the most rewarding professions.

Wishing you a Happy New Year and the best to you in 2026!

Yours in service,

Matt

I look forward to the second half of a school year perhaps even more than the first because it offers a chance for course correction, much like a football team making halftime adjustments. Between Thanksgiving and New Year’s, I reflect and discuss with colleagues, mentors, and student leaders to enrich the student experience within our program.

With time always at a premium, how do we ensure we move in the right direction? We have a concert in six weeks, a fundraiser kicking off tomorrow, and we need to focus on learning Region Band music. Is it even worth revisiting what didn't go well? From my experience, the answer is almost always yes.

Dr. W. Edwards Deming, celebrated for his role in the post-World War II reconstruction of Japanese industry, once noted that "a system will produce exactly what it's capable of producing." After exploring his philosophy in my early years of teaching, I felt compelled to evaluate and tweak our methods and goals to align with our core mission. Are we using the best approach to meet our objectives? If not, what adjustments are necessary?

Just as the first reading of a new piece for a concert or marching from one set to another isn't perfect, our initial attempts at anything are rarely our best. Yet, there's always something to learn and improve upon. Developing processes that are both efficient and effective can take days, weeks, months, or even years, requiring patience, reflection, and constant refinement.

Below are the steps I've found effective after years of personal adjustments:

1. Create Your Initial Plan - Clearly articulate not just the 'what' and 'how', but also the 'why' behind the process. Also, devise ways to measure progress. If these aren't clear, pause and reconsider before moving forward.

2. Implement - Roll out the plan. There will always be some anxiety about unforeseen issues, but they're part of the learning process.

3. Check - After implementing the plan at least twice (if possible) with an emphasis on intention, gather feedback from your data, those directly involved (like colleagues and students), and external observers (mentors, state evaluations) to assess what adjustments are needed.

4. Adjust - Return to steps one and two with new insights. Sometimes, this means scaling back in one area to benefit another (choosing less challenging music to focus more on literacy skills).

I’ve learned over the years that I won't get everything right the first time, but the goal is to make as many correct decisions as possible. The first planning and implementation is like waiting for the perfect conditions to launch a rocket. Once we get into evaluating and adjusting, then we are performing mid-mission repairs like Apollo 13 ("Houston, we have a problem"). In this situation, if an opportunity for adjustment arises, I’ve found it’s best to act swiftly because time is precious. This might be the last chance this school year to make something better.

Ultimately, the steps we take to improve student experiences will evolve as we learn. We must give ourselves grace, not expecting perfection in developing our processes any more than we expect from students learning an instrument. Do your best, then check and adjust. Admitting we've been heading north when we should have been going west isn't easy, but it's better to reach your destination late than to never arrive at all!

As a teacher, I find nothing more rewarding than seeing students grow through our collective efforts to improve. This isn't just about me; it's about all of us in education striving to do better. Best of luck on your journey!

Yours in Service,

Matt

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Reflecting on my eighteenth month as a director of bands, I have experienced both challenges and profound rewards. Since I first stepped into my new role, I have been asked a few times, “When did you feel ready to become a head band director?” My answer has been “I’m still trying to feel ready”, and I have often been met with confusion.

The truth was, a position of that level had always been a personal benchmark for my career success but I never had a timeline for when I wanted to meet this. Given my position at the time, there wasn’t much motivation to either. I was working with incredible colleagues, taught amazing students every day, and had community support to achieve excellence.

I also had doubts about my abilities. Could I manage administrative aspects like a budget for a band program? Was I truly knowledgeable about the content that I taught? Or was I relying heavily on the resources that I had been afforded in my career so far? Would I be able to handle the ownership of being the figurehead of the band program? The list went on.

I found myself at a crossroads. I didn’t feel a hundred percent (or honestly, maybe even seventy percent) ready to take the next step in my career but found myself yearning for the challenge of pushing myself beyond something I had experienced before. That feeling ultimately led me to decide to take the next step and begin to apply for head director positions. In preparing for interviews, I had to rethink how I would approach each situation through a different lens. The decisions on behalf of hundreds of students would now fall onto my actions. After facing many of my doubts head-on and working through them by trial and error, I can confidently say that I am glad I took that leap of faith.

I often feel like every action we take is under the scrutiny of others in today’s digital world. We remove ourselves from situations that provide us opportunities to take risks safely out of the fear of being exposed that we “don’t have it all figured out”. We play it safe. We become blind to the thought that temporary failures serve as opportunities for us to learn and grow. I also believe, however, that it is only through pushing ourselves to experience and overcome the feeling of uncertainty and uncomfortable that we are rewarded.

So I encourage you to go for it! Try something new. Think outside the box. Learn from the mistakes you make along the way. Never give up. It may take you longer than others. It may take you shorter than others. That doesn’t matter. What does is that you are pushing yourself to new heights. Remember, the greatest things are just outside of your comfort zone… so what is something you haven’t tried yet because you aren’t “ready” for it?

Friends,

I apologize for not continuing to share my reflections regularly over the past year. Several personal and technological factors made it difficult to do so. I have thankfully migrated my site to be a part of the Substack platform now. This allows for more creative tools on my end and ease of access to the reader. I am still committed to keeping all content completely free. I thank you for your patience and look forward to sharing more experiences in music education together.

Yours in Service,

Matt

Earlier this month, I had the honor of meeting and talking with several groups of aspiring music educators during the Bands of America Grand National Championships. Beyond being an incredible opportunity to connect with the next generation of music educators, it also allowed me to reflect upon my time coming just out of college and what it felt like again.

One of the questions asked was, "What did you expect to be easier than it actually was?" which was probably the most thought-provoking for me. I hadn't thought about it in this way. After a few moments to reflect, I responded, "How patient you will have to be".

In my first year of teaching (much like most people's if I had to guess), I was ready to take on the world. I had studied very hard in college, said 'yes' to any opportunity that I could to give myself real-life experience, and felt very confident in the tasks my colleagues were asking of me. Yet, I found myself frustrated come the end of September when I felt like the group wasn't making the progress that we could have. Culturally, it felt like we were being held back but I couldn't figure out why. It didn't feel like the students disliked being in band or us (the staff), but something was still holding us back.

At a loss for what to do, I reached out to someone who a few days earlier I had seen a video of them having to shoo children out of the band hall. I had to ask them what they had done to foster this kind of environment. Their response was simple yet impactful: "It takes 25 miles to turn a cruise ship". Even if the position you are inheriting has a strong history of excellence, those students are used to a certain way of doing things that will be different in at least some ways from the way you do. What even may seem like a minor tweak can be tough in those initial few months.

I shared with the group that had asked the question to think of implementing change in these ways (and to be realistic about it as well):

1. What can be improved within this week?

2. What can be improved within this month?

3. What can be improved within this semester?

4. What can be improved within this year?

Sometimes, no matter the amount of information or determination, it just takes time for something to click. In the beginning, the greatest thing we can work on for our students, colleagues, and community is patience. Patience for us to understand their needs, and in turn, for them to understand ours. Yes, that may mean that you are not playing the program of your dreams in that first year (there is plenty of time for Music for Prague, I assure you).

So to my new friends that I made in Indianapolis, stay patient. Your drive and determination will still be strong but with experience will come patience and perspective. Keep your sights on your vision, lean on those who want you at your best, and always be willing to listen to a concern (sometimes through this discussion comes an even better solution). Your 25 miles will be a journey you won't forget!

Yours in service,

Matt

It's widely known that every profession comes with its own set of challenges, and teaching is certainly no exception. There are days when you leave the classroom feeling like you've conquered Mount Everest, and there are others when you feel like the Olympic favorite who didn't even make it to the podium. Let's not forget that life itself presents its own unique set of challenges outside of your career!

Throughout all of these experiences, I've come to believe that it's crucial to acknowledge the unwavering support that surrounds us. Below, I'd like to express my deep gratitude to the groups of people in my life who have been instrumental in keeping me on the right path, even during the most challenging times.

People who are music educators

I consider this my "focus group". We are all in similar situations and want what is best for our kids. Some of the best feedback/improvements I have made in my teaching have unintentionally been from the casual conversations we have on the phone, seeing one another at music events (marching competitions, region band auditions, etc.), or other interactions that then have inspired me to re-evaluate the way I am doing something with my students.

One of my favorite weeks of every year is when I can serve the Directors' Academy track of the Music for All Summer Symposium. It's a week-long event at Ball State University and I always look forward to meeting new people and reconnecting with returning members. I think a huge part of why this week is so special to all of us is how intimate it becomes. We eat all of our meals, watch concerts, and attend sessions together. Through it, we learn about each other's families, their programs, their struggles, and their celebrations. I always leave with new friends who I remain in contact with year-round and am there any time they need me to pick up the phone.

People who aren't music educators

I believe these people in our lives are equally as important as friends/family who understand what we do. They may not always be outside of the world of music, but their day-to-day is probably very different than what we do. Sometimes these people in our lives act as an outside well-needed perspective on things we struggle with within our profession. Sometimes they act as a way for us to take a step outside of our world for a few hours and enjoy the company of others without thinking about how to texture the trio of the march for the next concert. Regardless, I believe having people in our lives who are not engulfed in our "grind" 24/7 helps us keep perspective and balance in our own lives.

For myself, my wife and family help me in this capacity greatly. They possess a remarkable ability to keep me grounded and prevent me from becoming too fixated on any one aspect of life (ADHD at its finest), whether it's work-related pressures or other concerns. Their unwavering support is a constant reminder of how fortunate I am to have them in my life as we all navigate the hurdles of life together!

Mentors

Mentors play a critical role in our professional development. These experienced individuals generously share their expertise, insights, and guidance, helping us make informed decisions and navigate our personal and professional growth. In many ways, mentors resemble personal trainers at the gym, providing not only advice but also accountability.

Starting a mentor-mentee relationship, especially as a younger teacher, can be daunting. There's often a fear of admitting imperfection, which has become increasingly prevalent in our society (possibly due to the influence of social media). However, I've learned that the first step is to muster the courage to ask for help. Whether it's a nearby university professor, a retired band director, or a local colleague, reach out to someone! I recall someone telling me, "The worst thing they could say is 'no,' so just ask!" This advice led me to approach a nearby university director, who was more than willing to meet occasionally and discuss navigating the profession. He has since become one of my closest mentors, and despite my relocation, we maintain regular correspondence and make time for meals together whenever possible.

If you're unsure where to begin, you'll likely find several mentor networks already established in your area through organizations such as your local MEA, Phi Beta Mu, ACDA, ASTA chapters, and others. These organizations are dedicated to assisting teachers in their early years in the profession!

As you embark on your journey as a music educator, remember to lean on your friends, seek wisdom from mentors, and treasure the diverse perspectives of those outside our field. Together, they form a support system that empowers us to inspire the next generation of musicians and shape a harmonious future for all.

I want to extend my heartfelt thanks to all those who have inspired me to persevere, even during the most challenging times. We're all in this together!

Yours in service,

Matt

I recently was browsing my Pinterest feed (which my students assure me does not count as social media and that I am very "uncool" for having one) and stumbled across a quote that resonated with me. It was as follows:

Remember the difference between a boss and a leader; a boss says “Go!” – a leader says “Let’s go!” ~E.M. Kelly

When reading this, I was brought back to a moment that helped me change my perspective of my role as a teacher during my second year in the trenches.

We had a local clinician come visit the band hall one afternoon to work with the ensembles. There was great information shared but what was more memorable were the actions that occurred after the rehearsal.

After the last ensemble, we had to clear the band hall so that the color guard could use the space for their class period shortly after. To my surprise, our clinician jumped right in and began helping rack chairs and stands. I mentioned to them that the students would take care of it, and their response was "I wouldn't ask anybody to do something that I wouldn't be willing to do myself".

For me, this was a realization that as the leader of this group of students, I had not always modeled what I was asking others to do. It was a humbling experience and suddenly I began to reflect on my actions with a fine toothcomb. Every day since then, if I am in the room, I always help with tearing down/setting up the chairs and stands for a group.

You may think that doing something like this feels "below your paygrade" but in reality, you are showing that you as a leader are willing to do whatever the group needs at that time to be successful and it will be noticed and reflected in the actions of others. In the days that followed my epiphany, we went from having a handful of students do the work of everyone to everyone pitching in and I do not think this is a coincidence.

I had the wonderful pleasure of being a part of the Boy Scouts of America (now known as the BSA) in my youth and was able to experience things that I would probably never have been exposed to without it. One of my favorite activities during my time with the troop was watercraft.

The most difficult activity was hands down the canoe. In my first few outings, we probably spent more time in the water than on top of it. It takes an incredible amount of teamwork and communication to sustain an effective effort to travel the body of water you are navigating. Let's take a 6-person team for example and their roles (taken from the Kai Ikaika Paddling Club in Portland, OR):

SEAT ONE: Seat 1 sets the pace and the stroke. Seat 1 must maintain a good “feel” for the movement (glide) of the canoe, and adjust the pace accordingly. This means watching the water ahead, and paying attention to the feel of the boat. Seat 1 also changes the rate depending upon the conditions. This seat will often have a paddle 1/4″ to ½” shorter than the back seats.

SEAT TWO: Seat 2 works with Seat 1 in maintaining the timing of the canoe on the opposite side. Seat 2 will mirror Seat 1 in timing and stroke length and should be watching the water with Seat 1 while quietly communicating with them to confirm how the boat feels, stroke rate and length. Seat 1 and 2 should establish short signals such as,”reach” for a longer stroke rate, “up” for increased rate, and others, as needed. If Seat 1 disagrees with a recommendation from seat two, they simply say “NO.”

SEAT THREE: Seat 3 (and 2) calls changes and always be aware of what is happening around the canoe (in order adjust stroke count). There will be times when the count must change – stay on one side to prepare for a turn, start sequences, riding waves, etc.

SEAT FOUR: Seat 4 watches the ama in rough water. Seat 4 also must also pass messages up the boat. Seats 4 and 5 are to power the boat and maintain balance.

SEAT SIX: Seat 5 and Seat 6 must quietly communicate and work together. When the crew shoves off, Seat 6 (also known as the steersperson) is responsible AND liable for the canoe and it’s paddlers. The FIRST responsibility of Seat 6 is crew safety, the second is canoe safety and third is steering and navigation. Seat 6 also keeps the crew in time, focused and motivated. After that, Seat 6 is a paddler.

One (or maybe more) of these roles you can probably relate to your current experiences. Maybe you are the one that keeps the program balanced, sets the pace for others to follow, or simply follows the pace set out. Regardless of your role, each one is vital to team success, and more importantly: No role is above paddling the canoe (even if it is not their priority).

I firmly believe that we have to take this same mindset into the way we interact with our students if we are truly committed to developing the whole child. You do not have to be the person picking up every piece of trash in the band hall, but you should be helping along with everyone else. If you are expecting students to be in their seats five minutes before rehearsal, then you should be at your podium at that time too. Our students are a reflection of us after all. If we are unhappy with the behavior of the program, It may be time to do some self-reflection.

It can be tough to accept and admit our shortcomings but humility is something we have to model as well. We will make mistakes, face situations of disappointment, and have moments of euphoria. Good, bad, or ugly: our students will look to us to see how they should react and learn from the situation, which may be one of the greatest lessons we can teach them.

I hope you have had a wonderful Spring semester and I am wishing you the best of luck on your push to your state evaluation, festival, or whatever goal you and your students are striving towards. If you're not satisfied with how things are progressing, try creating an example of how you want things to be instead. This can help inspire change in the right direction!

Yours in service,

Matt

For a majority of teachers, we are approaching close to the halfway point of our Spring semester. Spring break is soon and yet so many things are still on the to-do list: recruitment events, concert evaluations, solo contests, you name it. It's easy to get caught up in the details that sometimes the path becomes unclear and we lose sight of the most important part of our job: the experiences of our students.

It can be easy for even the most patient and experienced teachers to become frustrated with how an individual or ensemble is progressing and feel waves of negativity. As I get further away from the age of my students, I have to remind myself more and more that I was not always able to see the light at the end of the tunnel either, and they need guidance even though the path may be well traveled.

Below are some reminders that I give myself often.

Students Are Not Lazy

I first heard this stated this way on a podcast that I was listening to. This was one of Michael Pote's assumptions from a philosophy he calls "Teaching from the Light" (I highly recommend you give it a listen when you have a chance). Now, if you are like me when I initially heard this statement, I wanted to point out two or three instances. As I have come to form a deeper bond with my students I have realized that not a single student would likely be sitting in front of me if they did not enjoy the experiences they are afforded and wanted to put forth efforts into it (especially with all of the other choices of activities they could be doing in and outside of the school day).

That being said... students are not always PATIENT. As our world is evolving into an instant gratification norm (remember when it was revolutionary that Amazon could get something to your house in 48 hours? Well now they can do it in 3 hours...), band might be the first time that a student has had to put an extended amount of time and effort into anything. I think along the same vein, the fact we can get everything in life faster leads us as their teacher into a mindset that things should happen faster.

The reality is: with some students it may only take two or three times for them to achieve an expectation, for others it may be the fifth, sixth, or even tenth time. I firmly believe that if we model patience and persistence in our growth as teachers, our students will follow suit.

Students Crave Structure

Whether they will admit it or not, everybody loves structure, knowing expectations, and even appropriate accountability. It is our job as their teacher to structure our learning environments in which students can be successful.

At some point, someone told me that "students will take as much time as you give them" which I have come to realize an absolute truth (provided the time given is realistic, of course). In my first year of teaching, I modeled the pass-off system based on what I had witnessed at the school where I had student taught. As long as everything was complete by two weeks before our state evaluation, you were in good standing as an ensemble member. It was with good intentions: I wanted students to not create bad habits by moving too quickly.

However, what I learned the hard way during that process was that what worked for one ensemble and community did not always transfer exactly to the next. I found myself spending my nights and weekends at the band hall nearly every day after Spring Break listening to every student. It was either do that or lower the standard of the ensemble and pass kids off just so there were fewer of them.

Without knowing, I had structured my classroom in a way that allowed them to "cram for the test". Since then, I’ve made drastic changes to how I set up the Spring to allow students to pace themselves better and in turn, better pacing for me to invest in them. I begin the semester by combing through every measure in sectionals and full band rehearsals to ensure that I have modeled how to practice and approach the trickier parts of our music. After about a month, I begin listenings with checkpoints along the way (you must have four of your top ten complete by this date, etc.). For students who are falling behind I am able to identify them quickly and give them the attention they need to feel successful. Those who are the high achievers of the ensemble now have the incentive to see how far ahead they can get. It's a win-win-win!

Celebrate the Little Things

As mentioned above, students may not always be patient and will need encouragement from time to time. After all, what gets rewarded, gets repeated! My professor in college called it "catching them being good" and I always loved the way they put it.

Even the students that you have to correct and redirect the most deserve to be celebrated from time to time. Even if it is the only time in the entire class period that they are sitting correctly or making eye contact with you, show them that you appreciate their efforts! Others will take notice and want to be praised as well.

A student came up to me last week and asked if I would be willing to start highlighting a section or student I thought did well that day at the end of rehearsal. I said, "of course!" and now wonder why I had not thought of this myself. A previous drum major of ours had been so great about this after every marching band rehearsal and yet I had neglected to carry on this tradition into the Spring. I am very excited to see where this leads in the coming weeks!

I challenge you to tell that student how much you appreciated them being on time today. Send an email to a parent about how much improvement you have seen in their child's progress. It makes world of difference in the culture of the ensemble.

I apologize for my lack of reflection in the last few weeks, between the wild schedule of February and my own insistence on sharing nothing but genuine feelings and experiences I did not feel that anything I was writing at the time was worth sharing. After receiving appreciation and encouragement from someone that I highly respect recently, I was reminded that we are only worth what we give away and knew it was time to share more.

I hope regardless of where you and your students are on your path that it is filled with the joys of growth, reflection, and gratitude for one another!

Yours in service,

Matt

Recently, our region had its annual clinic and concert for our high school ensembles. For me, this is always an exciting time because it gives an opportunity for me to observe a master teacher up close and personal. It's a time to learn, reflect, and improve your process to creating student success.

When a younger teacher comes to me for advice, I always recommend they watch other rehearsals outside of their campus (and preferably the level they teach). Whether it's a honor band, a sister school in the same district, or a program that you have admired from afar, there is something you can learn from every direction.

Priorities

When a student teacher first comes to our campus, one of the common fears they have is not knowing what to listen for on the podium or how to prioritize the feedback they should be giving. When you watch an honor ensemble such as a region band, you are able to see what the conductor values and prioritizes in the 8 or 9 hours they have to put the program together (of course, the members of these ensembles often make characteristic sounds which means they do not need to address quality of sound as much). In a normal public school setting, you get a glimpse into what a day-to-day process can look like and probably give you a few ideas to take home.

Sequencing of Instruction

My first year of teaching, I always started the day after breathing with a Remington  exercise. At some point in my band experience, that is what an ensemble I had been in had done so i just started doing the same without putting much thought in to it. About mid-January of that year, I went to observe another program in the area and noticed they structured their Remington exercise much later in their ensemble skills time. After the class period, I asked the director out of curiousity why they had placed it there. Their response was "it's a lot easier to accomplish our goals for it when the lengths of the instrument have been checked". I felt foolish, but thankful I had found new information that I could take home and make my students better. Sometimes, we are doing the right things but the order of it is the problem. By going out and seeing "how the sausage gets made", we can reflect and proceed with an improved process to help our students along the path to success.

Empathy

As social media becomes a larger part of our lives, it is very easy to fall into the "grass is always greener" mentality. The reality is, many programs struggle with the same things: Freshman that step off with the opposite foot, Clarinets playing on reeds that look like the New York Skyline, Trombones that have a better chance of finding the Holy Grail than they do 5th position on the first try, scheduling issues, students who are experiencing hardships... you name it. When you step into the band hall of another teacher, you can see how that teacher handles a challenge they are presented with, and often are willing to talk about it too.

How Do I Ask to Observe?

After I recommend to someone to start watching other groups it is usually followed by "so how do I ask someone?". My advice? Be genuine. Let them know a bit about yourself and when and why you would like to come observe. If they say yes, please be respectful of their rehearsal. Avoid technology or other distractions when possible. If you are able to take handwritten notes, that is ideal (and has been proven to help you remeber things better).

How Often Should I?

Another question that has been frequently asked. In reality, there's no magic number. Some of us may have the desire and ability to watch an after school rehearsal every week or two. Some of us may not. Personally, whenever I feel that I have hit a roadblock, it's time for me to go out and learn something new. Typically if I can do it once or twice a semester, I always have something new to digest.

Wishing you all a wonderful February!

Yours in service,

Matt

When we are fortunate enough to have a student teacher on our campus, I take great ownership in helping them find their voice on the podium. Even those coming in with ample experience through their undergraduate courses, teaching lessons, or teching for a marching band feel intimidated. Up until this point, their experience teaching has probably been mainly one-on-one, and the change to now rehearsing an ensemble can be daunting.

When prepping them for their first time to step in front of a group of 40+ teenagers, I offer them the advice that was given to me after my first full ensemble teaching experience: focus on the fix.

I had prepped for hours for this lesson. I was ready to take on any wrench that may be thrown into the equation. The score was marked with any alternate fingering they may need, chord responsibilities were labeled, and I even plotted time I wanted to spend on each section. When the class finished I felt very confident in how the lesson panned out, we had gotten to just about everything within my planned timeframe with only a few bumps along the way.

I got off the podium feeling great about how it had gone and walked over to one of my mentors to debrief about the lesson. He had been teaching for over 30 years at that point and I knew that the information I was about to receive would be priceless in my development as a young teacher.

He was very complimentary of my confidence in front of the students and acknowledged my preparation but brought to my attention something regarding my delivery of feedback. He said "you often highlight what the students were doing, but did not always explain to them what about that needed to change. You should guide your focus on what needs to be fixed".

I had essentially been doing the equivalent of an optometrist walking into the exam room, letting the patient know that their eyesight has gotten to the point that they need prescription glasses, and then sending them on their way without helping them solve the situation. Boy was that embarrassing! Identifying is half of the battle, and articulating the solution is another beast in itself.

As a music education major, if someone told me about a problem ("We are lacking clarity on notes in the Break Strain of the march", for example) I generally would have a possible solution (I must make sure my fingers and tongue are moving at the same time) through my personal experiences as a musician. Realistically due to the lack of years our students have compared to us, they may not have developed that heuristic process (If I hear X, then I do Y) quite yet. Therefore it is our responsibility to help guide them on what we would like for them to be doing rather than what they should not or are currently doing.

It took a lot of intentional practice for me to feel comfortable with actually being able to listen and say the right things to make the concept that needs the most attention at any given time better (and I am not perfect at this by any means. I have days where I am still stretched beyond my current abilities). There were several times that I would ask another band director if I could sit next to them at a region band rehearsal and ask them what they would fix first. I would drive to watch a band rehearsal and spend the whole rehearsal taking notes of what I heard, and what the director said about the process of fixing it. After a full semester of student teaching and about 2 years of teaching and still observing, I began to feel more comfortable about delivering feedback that would affect change. When this happened, I began to notice the amount of growth an ensemble could experience in a short amount of time might be exponential.

In no way do I consider myself an expert when it comes to giving feedback. If you are looking for someone who is, order a copy of the book Intelligent Music Teaching by Dr. Robert Duke. I was lucky enough for this to be a required reading in my formal education and find myself revisiting it often to this day.

If you are someone who has set out on the "Focus on the Fix" path as well - keep learning! It will come with time and intentional effort and will always leave room for growth!

Yours in Service,

Matt

Everyone loves the concept of individual ownership. The offensive line takes ownership in protecting the quarterback. A "Rigger" takes ownership of packing the parachute for the skydiving units of the Army. A master teacher takes ownership of the success of their students.

A few years back, my great friend Jerell Horton made a comparison that has stuck with me since: every student and staff member in a program is their own Lego piece. Without each one of them, you cannot see the set as it was intended. By itself, the piece serves a useful role, but together, it serves an even greater purpose.

So how do we do it? How do we create a collaborative environment where our students are afforded the ability to take ownership of their contribution to the group as a whole? It's a long and sometimes monotonous process to get there. It takes careful planning and patience but has a tremendous payoff to all stakeholders when achieved.

Setting up the environment

From my experience, students will have greater investment and ownership within the program if the classroom is an inviting place to learn. This first and foremost lands on us.

Numerous psychological studies have shown time after time that the benefits of positive reinforcement outweigh negative correction. I feel that it is important to highlight not only the improvements still needed for the ensemble or individual but also praise and recognize the growth that has occurred. I cannot say that I have witnessed a rehearsal where regular/frequent "tantrums" or visible frustration have contributed positively to the culture of the ensemble. I can say that I have witnessed compassionate and uplifting teachers dynamically change the students who sat/stood in front of them by believing in them (even If they did not believe in themselves sometimes). They praised the great things they heard and unemotionally redirected the areas of improvement. Their standards were not necessarily any lower, but their results almost always were greater.

If students are eager and willing to learn and improve because of the environment you have created within the four walls of the band hall (or band room), then the progress of the individual (and consequently the ensemble) becomes exponential and allows for you to begin paving the way for instilling a greater sense of ownership within each student.

Involving students in the feedback process

I remember the first time I observed a rehearsal where someone asked students questions about what they heard after a rep. To my shock, the student's ear's were just as keen as the adult that stood in front of them.

This director had a fantastic ability to make the students feel like they were a part of the instructional process. Students were not afraid to share their opinions (there were guidelines on how to voice them of course) and understood if they heard feedback from a director or another student, it was out of the desire to help them. When I spoke with the director after this rehearsal, they mentioned to me that the process began very simply. They started by asking simple guided questions (that most if not all students could answer, building confidence is a key factor) before leaving it open-ended like what I had witnessed.

Questions like:

"Which section had their sound touch the silence with the same energy?"

"Which section had the clearest start to their note?"

"Which student's sound was the steadiest when we passed it around the room?"

Every student is at a different level when it comes to being able to hear and recognize the achievement of musical concepts. Still, by teaching students what to listen for, suddenly there are 80 additional ears in the room listening for areas to improve rather than just your two!

Let students know of the plan

You always have a plan for what you are doing that day but do your students know your plan? Band kids by nature are people-pleasers (if of course, you have shown that you are invested in them and their well-being). If you say jump, they ask "how high?".

If you ask them to work on something for the next day, most of them will probably put forth their best effort to do so (if of course, as mentioned above, the environment is one that they enjoy being a part of). This can be done with any level of student, beginner to HS senior, as long as we are realistic about what we ask of them for where our students are in their musical development.

Listen to smaller groups/individuals... often

We have heard every phrase in the book (and probably repeat it to the ensemble as well): "A chain is only as strong as its' weakest link", "what you get into it, is what you get out of it", etc. But what have we done, beyond throwing out a phrase, to help ensure ownership at the individual level is taking place?

First and foremost, if presented correctly, listening to individuals does not have to be something students are terrified of. It is a valuable skill that has direct transfers such as performing a solo with an ensemble or for a solo contest, region band auditions, etc. Listening to individuals also develops a greater skill that students will need for the rest of their life: being able to present themselves in front of others. Every student may not play the clarinet for the rest of their life but they will have interviews for jobs, have to present a report to their boss or committee, or face another nerve-wracking situation.

I use playing "around the room" as an opportunity for students to practice this skill. In my first year of teaching, every student was terrified of playing in front of one another, so any time a student actually did, we clapped for them. By the end of the first month of us doing this, suddenly it was no longer scary for us to play in front of each other because we all had the agreement that we would support one another toward the end goal of excellence.

If a student was consistently struggling every time we listened to them, I would have a conversation with them away from their peers (they were probably embarrassed enough by the feeling that they were letting others down, I felt I shouldn't draw any more attention to it) to see how I could help them. They always ended positively and sure enough, after one or two conversations, they were back on track. Students are busy. They have other classes and activities they are involved in as well and sometimes band cannot take priority every waking moment. However, by you showing them how much you are invested in helping them, you will often see it become a priority once again.

I hope you found the information above helpful. There is no one way of creating a culture of ownership within an ensemble and often it is highly dependent upon the community you reside in. It will take time and patience but will pay dividends in the long run. Start with a small step and continue to implement as you feel your students are ready for it. Remember: "It takes 25 miles to turn a cruise ship". Best wishes!

Yours in service,

Matt

As the new year is soon approaching, many of us will be returning to the band hall (or band room) in a matter of days. During my first year of teaching, I was nervous out of my mind with the anticipation of what to expect. I had one concert under my belt but this was the "real deal". It was the beginning of our preparation for our state evaluation.

After that first week, I wrote myself some reminders for the years to follow. You will find those below with some explanation attached.

Be okay with practicing procedures

Our students (especially younger ones), like anyone, are creatures of habit. Returning in January, they haven't practiced entering a room quietly or raising their hand with a straight right arm in over two weeks. Be ready and prepared to help them reinforce those positive learning behaviors again!

This can look different for every ensemble. With a more mature ensemble, it may be a verbal reminder on the first day back about setup and rehearsal procedures. For less experienced members, it may be practicing once or twice per class so that by the end of the week all fifty students can set up with all of their materials out two minutes after the bell. Regardless of the ensemble in front of you, having upfront, clear, and consistent expectations will help your classroom be an inviting place to learn.

Be realistic and be ready to be flexible

Everybody has a plan of some sort of what they would like to accomplish. The best teachers I have ever observed are ready at a moment's notice to "check and adjust" to what the ensemble needs. The first week is no different.

Be realistic and flexible about what the ensemble can achieve in the time that you have. EVERYTHING will probably take longer than you had hoped. As a first-year teacher, I was convinced that we could get through the entire march by the end of the first week (HAH!). I found myself in the latter half of the week skipping major concepts of our fundamentals time to try to catch up to my grand plan. Spoiler: It didn't work.

I grew frustrated by the situation and at first wanted to blame the students when in reality, it was my fault. I had not set them up for success. They did not have the skills yet to be successful in their music yet I was plowing forward. That weekend I did a lot of reflection. With the help of my colleagues and a phone call to a mentor of mine, I was on the path to a much better week two.

Fundamentals should come first

As tempting as it can be to jump right into the program for the state evaluation coming up in a few months, an investment in building strong fundamental skills at both the individual and ensemble levels will pay dividends as the semester plays out.

We have a set of non-negotiables (breathing, long tones, articulation, etc.) that my ensemble completes every day. They are not always the same exercises but the concepts do not EVER change. They are selected because they serve the music we play in the latter half of our rehearsal time.

On the first day back, it may take over half of our rehearsal time for us to go through our non-negotiables. I want to make sure that students not only know what we are doing but also how and why. As the year progresses, the time needed to achieve our non-negotiables at a high level is less and gives us the flexibility to dedicate more time to either our state evaluation music or developing other areas of individual musicianship (such as sight-reading).

Have a great first week back, everyone!

Yours in Service,

Matt