Finding Joy at Work and in the World at Large

I have noticed in recent years that more and more folks are experiencing some sort of underlying unhappiness in and at their work. I felt it from colleagues quite a bit the last few years of my teaching career. Not me mind you. But some of those around me. I think I became more aware of this as I became a supervisor of other teachers a few years ago. 

Whether finding unhappiness in assigned tasks or in disapproval of words and actions of the people they are around, it is very easy to fall into a rhythm of dissatisfaction, grumpiness, and criticism of others. Folks are much more likely to take offense at words and phrases others use than they used to be; even when intentions are generally good or neutral at worst. 

I have been blessed over the course of my career to always have a certain kind of underlying joy at work. I feel very fortunate that I have, for the most part, appreciated the people that I work with and have enjoyed a great majority of interpersonal interactions. I am definitely a people person and very social. I generally always went to work with a spring in my step and a happy attitude. This has served me well over my career. I also am very fortunate that the tasks I've been assigned at work, whether primary or secondary tasks, have seemed generally reasonable and attainable. (I have seen so many posts on social media recently about beginning of school professional development days and how difficult they are for teachers. Obviously, I know this is the case in many places. They just never bothered me all that much.) But, I'm certainly aware that isn't the case for everybody. There are no shortage of complaints regarding menial tasks of professional development days and of mundane office and bureaucratic expectations. Folks are much more inclined to work to the letter of the law of a contract and either think or utter the phrase, " That's not my job." I have heard this phrase spoken directly to me and I have seen it in the actions of others.

I think there are a number of reasons for people's general unhappiness at times. It's very easy to look back at the period of time from 2020 through 2021, the Covid-19 era, and find some correlation between the pandemic and negative feelings about work and situuations. For some, that time of working from home and online was either really taxing and has been tough to get past or was so full of freedom that the routine of going to work changed drastically for them. I know that for me, I really missed the human interaction on a day-to-day basis during the lockdown. When we went back to work at the beginning of the 2021-2022 academic year, I was so filled with life being back together with students and colleagues again. For others in the business sector, having to put on their business casual attire and get back to the office was a heavier lift than I certainly experienced. 

There are some other patterns that I have noticed. The one that I've noticed the most strongly is a propensity for comparing one's self and situation to others'. In the field of education where I spent my entire career, I have often heard teachers of one discipline say how much harder their discipline is than another. Being a music teacher, I have often heard classroom teachers mentioned that music teachers don't grade papers nearly as much as an English teacher, for instance. On the other hand, English teachers don't have the pressure of concerts and public performance on a regular basis. Just yesterday, I heard some comments about the inequity between specials teachers and classroom teachers at the elementary level. It was a casual conversation, but the comment struck me as pertinent to this essay. We all get what we sign up for. I have often thought, if you want to be a music teacher, get a music degree and become a music teacher. If you want to be a math teacher, get a math degree. I guess the grass is always greener.

I have often felt that each discipline's task is unique and the process of comparing one's self to others in terms of the amount of work or type of work probably isn't healthy. We signed a contract to do a certain job. We should really commit to do that job to the best of our ability under the parameters to which we agreed and not worry so much about what others are asked to do or how much time it takes to do it. It's a much healthier way to live. I'm sure everyone has heard the famous quote which is commonly, albeit probably inaccurately, attributed to Theodore Roosevelt, "Comparison is the killer of joy." I believe in this quote to my core. Why worry about what the other guy is doing. Simply figure out your task and approach it with joy and vigor. The resulting satisfaction will override any feelings of inequity that might arise. 

I really think much of this is due to this notion that the world should be generally equitable. I guess I just have a problem with that as a core principle. Things are rarely equitable. We should all strive to do the best we can with what we have. They're many times in my life where I felt I really deserved to make much more money than I do. In the end, though, I would never trade my vocation for another one regardless of the renumeration. I have such an opportunity to do the things I love, with the people I love, as a string educator. I do my work as both of vocation and a mission. That really provides me a different perspective. Truly, when I make comparisons, I usually feel that I'm coming out on the winning end! But, isn't that really just a symptom of mindset.

I have also found that when people perceive some sort of slight, it is human nature to clap back with an equal and opposite remark or action. A number of years ago I decided to respond to perceived slights with some sort of opposite reaction; a kind word or a note of appreciation for something else they have done. It is amazing how life-giving that has been for me. This type of action grows from 1 Peter 3:9, "Do not return evil for evil, but instead return evil with a blessing." I have found that adhering to this policy has helped me to truly avoid any long-term unhappiness and perceived slights at work. 

Many of you know that I retired from full-time teaching in July. This is the first academic Year that I am not going back to school, dealing with professional development days, and anticipating the wave of busyness that goes with the start of school. For me, it is a time of reflection and new beginnings. I wish for every teacher starting the 2026 2027 school year a sense of happiness, joy, and mission in the task that you have ahead of you. I encourage you all to find joy in everyday. Find joy in the tasks, in the interactions, and in the mission that you have accepted. After all, those kids need you. And, they need you to approach them with that same spirit of joy, kindness, and grace-filled love.  Oh yeah, and don't return evil for evil. Instead, return evil with a blessing. It is a better way to live. 

You've got this! 

Peace. 

Scott

The Zeta Years

 What a gift: A Zeta Stratos 

Back in the early 1990s, I was enjoying a great number of performing and composing opportunities as a part of the progressive thrash metal band Believer along with other regular regional gigs.  I had completed my master's degree in violin performance at Indiana University of Pennsylvania in the spring of 1991 and really loved using the skills I had developed for a variety of performances. On the first two Believer albums, I exclusively used acoustic violin but always thought an electric violin would be cool for those recordings. I must have casually mentioned this to my friend, mandolinist Mike Marshall at some point.  I had been looking at advertisements in magazines and I was well aware of the groundbreaking work of Mark Wood and Tracy Silverman. I had also seen the pictures of Mark O'Connor skateboarding while playing in electric violin and thought that looked so very cool. And, of course, I had been listening to Jean Luc Ponty and the progressive violin sounds of Kansas since I was a pre teenager.

One day I came home to my apartment after work and found a box on my front porch. I opened it up and couldn't believe my eyes. It was a black four string Zeta Stratos electric violin. It had come from Mike Marshall. I called him to ask him what was up and he told me that this electric violin was in his closet gathering dust and he thought I would put it to good use. I was absolutely stunned. How generous!

From the second I plugged it in, I was in love with everything about it. I felt like I had finally found "my voice." 

I used that electric violin for recording the 3rd Believer record, Dimensions and was thrilled with the results. By this point, I was totally hooked. Dimensions garnered a great deal of national attention and was even nominated for a Dove award in 1993. I was feeling pretty empowered as an electric violin player at this point.

As Believer rode a wave of success with Dimensions, it began to be apparent that we would go on hiatus soon. I ended up buying a digital multi effects processor and dialed in some really beautiful chorus, reverb, and delay parametersat the suggestion of my friends Ted Hermanson and Joey Daub. I picked up a Lexicon Jamman unit that had the capability of looping for a total of 30 seconds. I recall that I also bought a DigiTech DHP 33 digital Harmony Processor. That unit allowed me to create diatonic triads out of single notes. Super cool! The three of us had been toying with the idea of an instrumental fusion trio featuring electric violin, bass guitar, and drums. The looper and the effects processors allowed me to create some pretty cool rhythm and harmonic underpinnings for the group. While that band never really got off the ground, it laid a firm groundwork for me to explore the possibilities of the electric violin much further. 

I started wondering what the possibilities of obtaining a corporate sponsorship with an electric violin company might be. Truthfully, the only company I was even aware of was Zeta Music Systems. They had a fairly robust advertising presence in some of the magazines I was reading, particularly Strings Magazine. I am pretty sure that Mark Wood was advertising in Strings as well at the time and I had perhaps seen an ad for Jordan violins as well.

I really liked the Zeta that I had been playing so I decided to reach out to the company to see if they would be interested in working together. I put together a package of several Believer CDs, photos, a biography, and other promotional materials that I had gathered. I was really hoping that I could acquire some more equipment that could be used in my performing life but also used to demonstrate what could be done with electric violins in the classroom. I had taken my electric violin to school a few times and my students were really interested in it. 

I started using the electric violin for some performances with my school orchestra. There was a piece for full orchestra by Václav Nelhýbel that included a violin cadenza in the middle of the work. I would have a student play the cadenza on electric violin and it would always be a crowd pleaser. 

Meanwhile. I wasn't hearing back from the folks at Zeta so I decided to call them and try to get a telephone meeting. Eventually, I had an opportunity to speak with Randy Shamber who was running the company at the time. We talked a little bit and it was clear that he really didn't fully understand what Believer was trying to do. That made sense to me. Believer was quite progressive for its time and the whole idea of progressive thrash wasn't really in the mainstream. About that time, I had proposed to give some conference sessions for the Maryland Music Educators Association. I proposed two sessions that would highlight the work that I was doing with electric violin and the way I was using it in my classroom. My proposals were accepted. The next time I spoke with Randy at Zeta, I'll let him know that I had booked two conference sessions and I would love to do it with Zeta. But, if Zeta wasn't interested I would move on to another company to try to garner some interest elsewhere. I think Randy was shocked that I already had sessions booked and that was enough to get me over the hump to begin a relationship with Zeta Music Systems. We put an agreement together that would provide me with some more equipment and in exchange I would work off the equipment by giving conference sessions at a particular dollar amount per conference session. 

About the same time, I convinced my school to purchase a quintet of Zeta instruments as well. We bought two violins, of viola, a cello, and an upright bass and almost immediately I started what I believe is the first ever electric string quintet in a public school, the Eleanor Roosevelt High School Zeta Ensemble. 

I gave those first sessions at the Maryland Music Educators Conference in Ocean City, MD. My school's Zeta Ensemble came out and performed as part of those sessions. We really were something new and different in the field of string education at the time. I had a small but enthusiastic crowd in the room and, again, I felt like this was the beginning of something big for me. I went to work on acquiring more speaking engagements.

Recording project Freeway 

At about that same time, the guys from Believer let me know that they were going to sell the ADAT didgial recording system they had purchased to record Dimensions. This included three eight track ADAT machines and a really nice 24 track mixing console along with a variety of other outboard gear. I listened with interest and decided to make an offer on the equipment. It was really a win-win for all of us. I would buy the equipment with the understanding that if they ever wanted it back, it would go right back to them. I really wanted to learn how to use all of this recording equipment and see how my creativity could thrive with 24 tracks of blank tape in my home at all times. 

Almost immediately, I began writing for my first solo recording. I had written a couple of tunes using the looping technology for that fusion trio a few years earlier. They would be foundational to the record. But, I also took the opportunity to collaborate with friends including Kurt Bachman of Believer and Glenn Fischbach who had been my student at Eleanor Roosevelt and at that time was studying at the prestigious Curtis Institute of Music. I spent quite a bit of time writing music, recording multitracks, and experimenting with effects processing while preparing that record. When it came time to mix the record, I called on my former student, David Prince, who was studying recording engineering at Peabody Conservatory. While mixing the record, David taught me so much about production concepts. He was just so fantastic to work with. I owe him a great deal. 

We had that record mastered at a small mastering facility in Fredericksburg Virginia and printed 1,000 cds. I quickly went to work booking solo performing engagements to sell CDs and hone my live solo performance act. As it turned out, Borders Books and Music was a thriving bookstore chain at the time and always had live performances on Friday nights. I must have booked 15 scheduled performances at different Borders locations around the Mid-Atlantic region. These performances were really successful. People bought my CD and I had sold 1,000 in a fairly short period of time.  Most nights I would go home having sold at least 35 or 40 CDs. It was a great time for independent music. 

By this time, I was beginning to develop a national reputation as a expert in electric and MIDI violin technology in the orchestra classroom. I had an article published in the ASTA journal and began to accept speaking engagement opportunities at state and national level conferences as well as retailers across the United States. During this time, I presented at the Midwest Clinic, the MENC (now NAfME) national conference, ASTA, and ASTA Sweden.

Another amazing part of this experience was helping to support different rock bands that were using electric violin. One day I received a call from the new CEO of Zeta Music Systems, Mike Replogle. He told me that there was a hot up-and-coming band in Charlottesville Virginia called the Dave Matthews band which included a violin. He wanted me to travel to Charlottesville with him to spend some time with Boyd Tinsley, the violinist. That sounded like a great idea to me. We traveled out to Charlottesville and I spent quite a bit of time with Boyd's string tech, Monk, and eventually with Boyd. I taught them about all of the technological possibilities that existed with these awesome instruments. I made a second trip to Charlottesville with Mike about a year later on the eve of thier Crash tour. We had an awesome dinner with the band and attended rehearsal afterwards. It was so much fun. These were really great formative times for all of us. 

Educator Workshops

At some point in the late 90s, we decided that it would be great to bring more educators into the fold as clinicians with Zeta Zusic Systems. We held Clinician Workshops in Oakland at Zeta headquarters 2 summers (1996, 1997?) in a row and laid the groundwork for some really good educational seminars moving forward. 

A number of things changed with zeta in the early 2000s. And by 2002 or 2003, it was apparent that the company wouldn't be around much longer. Things changed quickly and we separated ways. 

I will forever be grateful for all of the experiences I had with Zeta Music Systems. I loved the instruments, technology, and the company.  They provided me an amazing platform and huge exposure in my early career. I owe a lot of my career successes to the foundation that Zeta helped me generate.

Reflections on the VASTA Mid-Atlantic String Symposium and Birch Bay String Teachers Workshop

I returned to the East coast yesterday after a whirlwind week of teaching at professional development sessions for string teachers in preparation for the upcoming school year. My travels to Richmond VA and Bellingham WA were full of great interactions and lots of deep thought about string teaching and what we as string teachers aspire to bring to our students. I was honored to present at both of these workshops. 

First, I gave three sessions at the VASTA Mid-Atlantic String Symposium last saturday. This regional professional development conference drew approximately 50 attendees from around Virginia and neighboring states. The workshop this year included sessions on violin setup and associated equipment, reading sessions, a viola boot camp, and several other sessions. I presented on systems thinking and orchestra pedagogy, developing expressive ensembles, and functional improvisation. I was so impressed with the breadth of teachers that attended this conference. There were folks that are very early in their career all the way through veteran teachers like myself. 

After driving home from Richmond following a long but magnificent day of work, I jumped on a flight to Seattle on Sunday morning, rented a car, and made the 2-hour journey north to Bellingham WA. There, I was welcomed into the community of string educators from Washington and neighboring states at the Birch Bay String Teachers Workshop. This workshop has been held annually since 1959. It includes an exceptional community of friends and teachers with long-standing relationships. They clearly welcome new folks into the community with ease and regularity. This four day workshop includes an amazing amount of teacher orchestra reading sessions. I believe there were over 10 hours of music reading over the course of the four day workshop. In addition, there was a wonderful improvisation class held daily and a real commitment to instruction and advancement on secondary and tertiary instruments for all attendees. Other highlights included dinner every evening to debrief the days ideas, a beautiful picnic/ evening jam overlooking a sunset lit Birch Bay, and daily discussion groups on a variety of topics.  I was honored to be the featured clinician for this 4-day workshop and presented topics on systems thinking and orchestra pedagogy, the habit loop and applications to rehearsal strategy, carbon fiber bows, electric string instruments/applications to the classroom, and the concept of computational thinking and orchestra pedagogy. I was honored to have CodaBow International, NSDesign, Daddario, and Conn Selner all support this workshop along with many of my travel expenses. It certainly takes a village! 

There were common threads throughout both of these workshops that stood out to me: commitment to solid pedagogy, inclusion, wellness, respect, and healthy interaction.  The one aspect I want to stress today is how beautiful the community of friendships and relationships is for both of these workshops. I have believed for years that great music making and ensemble performance starts with great relationships among the people involved. This focus on relationships and collegiality was so strongly evident at both of these events, opening the door for successful learning and interaction. I was immediately welcomed into both communities and made to feel like an integral part. But, more importantly all of the attendees welcomed to each other and allowed all to live and learn in a very authentic manner throughout the events. I was so impressed with the spirit of both of these workshops. 

While I am really tired and ready to get some rest and recovery following a long couple of days, I come back filled up and excited about the future of our profession and my future as a string and teacher educator. The response to my ideas was so positive and I truly felt valued in the work I did to prepare for these conferences. I want to express my deepest thanks to the organizers of both of these events. This is been a great way to start my retirement and this new phase of my life.

Onward.

Peace.

Scott