Rearranging the Furniture

When I was a kid, I used to love to rearrange the furniture in my bedroom. I would move the bed, my dresser, my stereo, and other important items in my life around to different places in the room about every 6 months. To me it represented something new, something different and fresh. And I always enjoyed walking in to a little surprise for the first week or so of the newly arranged furniture. When I moved into my first apartment, I did the same thing.  About every six months, I would move things around.  Now that we live in a house, have kids, and very busy lives, it doesn't happen as often. But, I still really enjoy the process of rearranging and redecorating. It keeps things fresh, less predictable, and a little bit exciting. My thoughts today are less about furniture specifically and more about changes in our lives. A few weeks ago I was having a conversation with a pastor at my church.   We were talking about some impactful personnel changes at the church and I told her about some other areas in my life where important people were coming and going. She said to me, "Wow! You are really rearranging the furniture right now!" Boy, was she right!  I have thought about that comment a great deal since then.  I have been keenly aware, over the past 18 months or so, that many of the stable friendships, relationships, and long-term pillars of my life have been shifting around a bit. This can be very disorienting. And, truth be told, it has been for me. But, in the midst of that shift, there is also good to be found.  There can be excitement, daily surprises, and potential for a fresh start. Let me see if I can explain.

School and Work

At NCSSM, I have enjoyed a very stable set of collegial relationships within the Music Department for about the past 12 years. My dear friend Dave Stuntz has been our part-time Choral Director and collaborator for 15 years. Philip Riggs, Grammy Award-winning Music Educator, has been NCSSM's Band Director and probably my closest professional colleague for the past 12. The three of us are all about the same age and had developed an incredibly stable and comfortable working relationship and rhythm over the years. Phillip announced his retirement in January of 2019 (and came back to NCSSM on a part-time basis for the 2019-2020 school year before retiring fully in May of 2020). Dave retired from NCSSM in May of 2020. We ran a search and successfully hired two amazing music educators to fill these positions. Carolina Perez and Chad Cygan have turned out to be magnificent colleagues and will carry on the great traditions we have in the music program at NCSSM for sure and certainly create new traditions of their own. But, that doesn't mitigate the shock to the system of two of my best friends and peers moving on to the next phase of their personal and professional lives. It changed my everyday life in profound ways.  

Blacknall Church

I didn't mention earlier that Dave Stuntz was also the long time Director of Music and Worship at Blacknall Presbyterian Church in Durham. I am a member of Blacknall and have participated fully in worship leadership as a violinist with Dave at the piano for the better part of the last 20 years. Dave also retired from Blacknall at the end of 2020. I was part of the search committee to replace Dave and we hired a wonderful music minister, Wen Reagan, to fill that role. Again, Wen is wonderful and I have enjoyed working with him so much. The church music program is in very capable hands.  But, it is different. It is still sort of a shock to the system every time I participate in worship leadership. To top that off, the head pastor at Blacknall also retired this spring. Allan Poole has been a incredible leader of our church for many years. He was there long before we began attending Blacknall in 2001. His steady voice, deep wisdom, and steadfast faith have been a constant in our lives for the past 20 years. We and the church will miss him greatly. The church is certainly in good hands with the remaining staff and I am sure that another wonderful pastor will be selected by the search committee. That doesn't change the fact that my furniture is being rearranged.

ASTA & EL SISTEMA USA

Many of you also know that I am deeply engaged in the work of both the American String Teachers Association and El Sistema USA. Around the 1st of this year, Monica Schultz, the CEO of the American String Teachers Association, announced that she would be leaving to take another position. I served on the search committee for that position and was pleased to be part of the committee who selected Lynn Tuttle to take over at the helm of ASTA.  Our organization is in good hands moving forward.  Additionally, my dear friend, longtime colleague, and former orchestra student at ERHS, Katie Wyatt, has recently stepped down from her position as CEO of El Sistema USA. I am currently treasurer of that organization and have worked very closely with Katie for the past 15 years on both the work of El Sistema USA and before that, KidzNotes here in Durham. Katie and I will certainly stay in close touch following her departure from El Sistema USA, but still, the furniture is being rearranged. Incidentally, El Sistema USA has selected a wonderful interim CEO in Angelica Cortez, and that organization is also in profoundly capable hands moving forward.

Home and Family

Here at home, my wife and I celebrated the graduation this spring of our youngest son, Cael. He had a tremendous high school career and is ready for the next step in his life. But, for any of you who have seen your youngest child graduate and prepare for college, you know that it isn't easy to think about those big steps. Particularly for the youngest one. It is different when it is the last one. To top it off, he is going a long way from home. He will be attending St Xavier University in Chicago on a baseball and academic scholarship. We are so excited for him and for his future. But, it doesn't change the fact that my furniture is definitely being rearranged at home, too.

So, today I have been thinking a bit about rearranging the furniture in my bedroom back when I was a teenager. I always loved that feeling of newness when I would walk in the room after rearranging it. I loved that little surprise of things being different. Of course, we all need stability and predictability to some degree. But, in the end, we have to embrace change and find the positives in it. As for the changes at school, I am so excited about the future and these wonderful music educators who have begun to take the lead on our program at NCSSM in Durham. They are bringing new ideas and new energy to the program.  I can now turn my attention to our new NCSSM institution opening in Morganton in the coming months.  Additionally, I am able to grow as a leader and supervisor in my new role as Fine Arts Chair for the two institutions.  There are a variety of surprises in my day and for now, many things are fresh and unpredictable.   At church, there is new energy as well. I have been participating in the new worship band format and am really enjoying the process.  We are learning songs and the congregation is being stretched with new ideas, a new way of doing things, and new leadership voices. While the search for a new pastor is only just beginning, this season will cause our congregation to stretch a bit. We will need to lean on each other more and the community will only grow closer. In my professional organizations, change is always part of the process. Boards change regularly. Volunteers change.  Staff changes. Leadership changes. My personal goal is to continue to be a steadfast presence in these organizations and to make the change a little bit smoother. Here at home, the changes are simply part of family life. Kids grow up. Seasons change. As parents, we must savor each season but embrace the change when it comes.  We must find the excitement in the new situation and embrace the possibilities.  

Through social media, I have noticed many folks rearranging the furniture in their own lives. I am noticing so many job and career changes, marriages, babies, folks changing cities, buying new homes, and other important life changes.  As your furniture is rearranged, I certainly wish you clarity to see the excitement of the new day and peace to accept the changes in your life. I will do my best to embrace the freshness of the newly rearranged furniture in my own life as well.

Peace.

Scott 

ASTA 2020

Hi Friends!
I am in the airport, heading home from the American String Teachers National Conference which was held in Orlando from March 4-7.  The conference was a huge success and, as always, included wonderful learning opportunities, renewal of old friendships, many new friendships, and a general spirit of community and love that many of us have grown to anticipate and appreciate on an annual basis at the conference.

I was thrilled to conduct the first National Conference Teacher Orchestra on Wednesday and want to thank all who participated.  It was so much fun and everyone seemed to really enjoy making music together. The performance at the opening reception was a blast! Special thanks to Jesus Florido for participating and soloing with us.  We learned so much from you in the rehearsal as well!

Congratulations to Jesus and all of the performers who brought the very first Electric Bowed String Concert to ASTA this year.  It was so much fun and we all appreciate the unbelievable musicianship that was on display on Thursday night.  I am so proud of my history in the electric violin community appreciate each of you!!  Jesus: your love and positive energy was the catalyst for this.  Thanks!!

I also wish to thank thank Brian Hellhake and the students of Freedom High School Orchestra for serving as a demonstration group for my session, along with Jim Palmer, on Sharing Our Secrets: Higher Order Thinking.  The students were magnificent and we really couldn't have asked for anything better.  Thanks, too, to Jim Palmer.  We have so much fun presenting together. We certainly missed Rebecca MacLeod this year.  She was judging the National Orchestra Festival this year, but I am sure our trio will reconvene soon!!

I want to extend a huge congratulations to the ASTA Staff for a magnificent conference.  Monika Schulz has really moved our organization to a new level of professionalism and prominence.  Susan Hoopes was invaluable in my preparation.  Tracey Kratt has been instrumental in forwarding our ASTA Connect social tool.   The whole staff is fantastic.  Also, the ASTA Ambassadors (volunteers from the profession) were such servant leaders. We all appreciate you so much!

I can't begin to name all the new friends and colleagues whom I connected with this week.  Please know that I value each and everyone of you.  The meals, coffee, and hallway conversations were all so valuable and perspective-changing.  Thank you all for your wisdom and encouragement!


And now we all go back our corner of the world to change string kids' lives one student at a time!! We are all filled up and ready to extend that energy to our individual communities.  I can't wait to hear the stories of success again next year!

Peace
Scott

Mountain Biking and Orchestra

Many of you know that I am really motivated by sports analogies when it comes to music and ensemble musicianship. I have written in this blog about parallels I find between coaching and conducting as well as parallels between baseball hitting technique and violin technique. There have been lots of other posts in the past that touch on approach and purpose as it relates to both sports and music.

Today, however, I am thinking about the act of playing in an ensemble as it relates to the sport of mountain biking. I was out for a ride recently on a beautiful trail single track trail at Brumley Forest in the Durham, North Carolina area and couldn't help but begin to count all of the parallels between playing ensemble music and mountain biking.

First, my students hear me talk about having active minds all the time. In order to really be a fine ensemble player (or soloist), one must always be fully immersed in the moment of music making. That can entail not only thinking about what you are doing at any given moment, but also thinking ahead. One must be prepared for what comes next, and next, and next. When mountain biking, if you are reacting the obstacle you are right on top of, you are doing it too late. The mountain biker has to look ahead and plan their approach to rocks, roots, twist and turns and other obstacles that they might encounter. This involves a complete connection between the trail, the bike, and the rider. Similarly, the violinist must have a complete connection between the repertoire, the instrument, and their mind and spirit.

In fact, aren't both activities of mind, body, and spirit?  There is nothing passive about navigating a great single-track trail.  The mind must be singularly focused.  In fact, I would say that any time my mind wanders when on the trail, I am destined to crash.  Similarly, when playing in an ensemble, one's mind must be singularly focused on the task at hand.  The musician's mind must be ready for all of the "roots, rocks, and twists and turns" of the piece and the performance.  If the mind wanders, bad things can happen!  

The body is the next step in the process; isn't it?  On the trail, as approaching an obstacle of loose rocks, I have to mentally prepare to keep my cadence going through the obstacle.  But that is just the first step. The body must commit to the experience.  It must flow with the trail and the upcoming obstacles.  The body must fight fatigue and stay in control with the unexpected happens.  Isn't it the same in music?  Your brain can tell you to play technical passages all day long, but if the hand isn't up to it, it won't happen.  Similarly, in slow passages, I can't tell you the number of times that the plan for tone and phrasing in my mind has been thwarted by some insecurity or inability of my left or right hand technique.

I mentioned pedal cadence in the previous paragraph.  This is critical to the cyclist.  It is critical to continue pedaling through obstacles.  It is less about the overall speed of the bike, and more about the steady cadence of the pedals through the obstacle.   Similarly, I find that young musicians tend to want to increase the tempo (cadence) through many difficult or "fast" passages when in reality, they call for steady even cadence.  The strength of the rhythm is much more evident when the tempo or cadence is consistent.  Approaching an obstacle slowly and accurately with a steady cadence is always better than approaching an obstacle in a fast, haphazard and sloppy manner.  So it is with music!

Here is one that non-cyclists might not think of: In both disciplines, one must listening carefully to the things that are happening around you.  First, it just makes the experience richer for the cyclist. The sounds of the forest are magnificent at all times of year!!  And, it really helps to know when you are approaching other bikers or animals (large or small) on the trail.   

Here's another one: Riding a trail for the first time is a lot like sight reading a new piece.  The first time through is a totally difference experience than, say, the fifth.  The first time, you have to figure out what is going on.  Perhaps stay a bit cautious.  Then, after you figure out the trail or the piece, you can be a bit more aggressive.  You have had to time plan out your approach, practice the hard passages, and prepare for the various aspects of the test ahead of you.  Practice and repetition change the way you ride and play.

Some others:

• Proper equipment makes a difference.  There is nothing like the feel of a great bike the first time you try one.  It feels different to ride: more reactive, lighter, faster, more controllable.  The same is true with an upgraded instrument or bow.  Better equipment is worth it!!

• Find joy and challenge in the obstacle. Both of these activities should inspire joy and satisfaction.  Oddly, I even find satisfaction in an occasional crash; both in riding and in music!

• Embrace the euphoria of the experience.  It is hard to put the mountain biking experience into words.  It is simply euphoric.  Those of us that play or conduct orchestras know that the music performance experience  is like a drug. We want more all the time.  There is simply nothing like it.  We are all chasing that euphoria!

• Embrace the dynamic nature of a trail and music. We all love to find that rise and fall in a trail and in music. Some mountain bikers may call this the "flow" of the trail.  It is dynamic and captivating.  And so it is with music.  There is always more to discover and find in a score or performance.  It keeps us coming back time after time!!

So there you have it.  These are the musings of a guy who can't get enough of either of these activities and they are so similar.  I hope you found some interest in this comparison.  What do you find parallels your musical experience?  Another sport?  Another activity?  I would love to hear from you.  As always, thanks for taking the time to read my thoughts!

Peace.

Scott

Florida Orchestra Directors - Friday Presentations

This post if for the folks that attended my sessions today at Florida Orchestra Directors Association.

First, thanks so much for coming to my session!  It was great to meet so many of you and really appreciate all of the interest and positive feedback!

I promised you a few resources.  So, here goes:

Presentations:

If you were in my Pedagogy from the Podium, I didn't get through all of the examples. If you are interested in more, here is link to the presentation

Here is the presentation from my Habits session

More on Finger Patterns as a vehicle to upper positions:

Link to Youtube Playlists

Link to Google Drive with written resources for Finger Patterns

Look over the materials on Youtube and in the Google Drive.  Handout on the Google Drive has more information. Also, be sure to read the text in the Finger Pattern Introduction Video.  It has even more information.  You will find backtracks for all of the Cycles of Finger Patterns in 3rd positions and Backtracks for 1 and 2 octave major scales. If you have more questions, just ask. My e-mail is laird@ncssm.edu

I hope this is all useful!
Again, thanks for your wonderful hospitality today.
Until next time,
Scott

NCDPI ArtsR4Life Conference

Yesterday, I had the pleasure and honor of speaking at the 5th Annual ArtsR4Life Conference on behalf of the NC Chapter of ASTA and came home inspired and renewed.  So, just a few words today about the event.

The North Carolina Department of Public Instruction partnered with Meredith College, the NC Arts Education Leadership Coalition, and the North Carolina Department of Natural and Cultural Resources hosted the fifth annual “ARTS R4 Life” professional development conference for NC K-12 Arts Educators in Dance, Music, Theater Arts, and Visual Arts.

This was an opportunity for arts educators to develop personalized learning experiences and have cross-sector learning and collaboration around the 4R’s:

• Rekindle your artistic spirit by participating in hands’-on arts experiences
• Reflect on the profession through deepening your understanding of the standards to support student learning and growth
• Reconnect with colleagues and professional organizations
• Renew your body and mind through expressive, contemplative, and rejuvenating experiences designed to promote your well-being

The conference took place on Saturday, September 8, 2018, and was be preceded by Arts Education Think Tank, Arts Education Coordinators, and Arts Education Leadership Coalition meetings on Friday, September 7th, 2018.  Educators had a menu of options and selected a personalized learning plan for their time at the conference.

I gave my session, "Finding and Maintaining Fulfillment in your Career in Arts Education" during the morning.  In this session, participants consider their level of fulfillment with their work and career in arts education and related factors. I provide a variety of focus areas for consideration and models for identifying and assessing career fulfillment.  Attendees are asked to consider (and perhaps share) their roles as  artists/educators, motivations for embarking on a career in arts education, sense of mission in the school and community, complexity of their work, perspective on workload, busy schedules, and a balanced life. Participants (hopefully) walk away with strategies to find fulfillment in their careers while balancing their personal and professional life.

I gave the session during two different time slots and was thrilled to have over 30 attendees between the two sessions.  Feedback was excellent and I feel my message was well-received.  Some other highlights of the day, for me included connecting with friends, new and old; the Keynote interview with Lauren Kennedy Brady, Producing Artistic Director for Theater Raleigh; A fun kinesthetic opening exercise led by Shannon Gravelle, Director of Choral Activities and Music Education Coordinator for Meredith College; and an inspiring dance performance by the Rainbow Dance Company to open the day.  In addition, it was great to spend some time with my friend and NC ASTA colleague, Bill Slechta, who has been instrumental in establishing NC ASTA's involvement in this conference for the past 5 years.  I was also happy to spend some time with my friend and colleague, Pat Hall from NCMEA offices.

In all, this was a great event and I am so happy that I was able to attend and participate at such a deep level and represent NC ASTA.

Asta 2018 Wrap-up

As I reflect on the 2018 the ASTA National Conference through my haze of exhaustion and happiness, I feel like there are a few takeaways that I'd like to share with you today. The Conference has become for me and many others somewhat of a a family reunion. It's a time where like-minded professionals and friends get together to share ideas, encourage each other, and enjoy each other's company. There are so many wonderful informative sessions at the conference that cover topics including traditional pedagogy, K-12 strategies,  eclectic style performance,  advocacy and many other current topics and issues to mention just a few. In addition to the conference sessions, there is an amazing exhibit hall where manufacturers of instruments, accessories, publishers, and others can share their products and receive feedback from the people who actually use their product on a daily basis. There are meetings of minds throughout the course of the four day event and many new ideas are germinated at this time.

For me, this year's conference was particularly moving in a variety of ways. First, I have been struck by the opportunities that we have at the conference to look at our past and honor the folks that laid the groundwork for this organization and the profession of string teaching. Some were at the conference this year and others weren't able to make it. But, throughout the conference there were conversations about the ideas that started with the pillars of generations before us. We heard many references to folks like Paul Rolland,George Bornoff, Marvin Rabin, Dorothy Straub,Shinichi Suzuki, and so many more throughout the week.

At the same time, I was struck by the incredible number of young people at the conference. I feel like the collegiate chapters of the American String Teachers Association are stepping up in huge ways. The youthful energy in the sessions, the jam sessions, and the social events, was energizing for me in many ways. I was thrilled to meet up with many students that I have conducted in various honors orchestras, camps, and other events over the years who are now string teachers in the profession. It was wonderful to hear about their ideas, their passions, and their aspirations for their students and their professional lives.  I am honored to play a role in their lives and truly desire to encourage and inspire them moving forward.

I am also really excited to begin a new role as Chair of the National Committee on Content Development for ASTA.  I had many conversations throughout the week with individuals and groups about the power of web content and the various modes that can include.  It seems that we all are thinking about web content and how it can be most useful  to those  in the profession.  I am honored to play a role in the next phase of these decisions and initiatives for ASTA.

Another important facet of the conference for me is spending time with my friends and deepening those relationships.   I was honored to present a session with my dear friends Jim Palmer and Dr. Rebecca McLeod from UNC Greensboro. It was wonderful to prepare our session together and share our ideas with the enthusiastic audience on Friday.  I also loved getting to know Jim's students who served as our demo orchestra.  I had so many other meals and conversations with some of my best friends from across the country. In many ways , these connections are the real value of this organization . I find and inspiration in these relationships and genuinely appreciate my colleagues in the most profound of ways. 

(Side bar: Congratulations to Jim Palmer for being named the recipient of the 2018 Elizabeth A. H. Green Award for Exceptional Accomplishments in the K-12 String and Orchestra Education.  This is certainly well earned and well deserved!)

I love gaining new ideas from the sessions I attend.  This year was no exception.  I picked up several nuggets this year and will implement them immediately at NCSSM and in my conducting appearances.  Similarly, I gain so much from presenting at the conference. This is important professional development for me and I truly appreciate all of you that attended my sessions and encourage me to be better each year.  I particularly appreciate all of you who attended my 7:00 AM STEM Concepts in the String and Orchestra Classroom session.  You are troopers!

Each year, after the conference, I come home with a renewed appreciation for my colleagues and my profession. We are so privileged to be string teachers and orchestra directors in the United States today.  We need each other.  ASTA is the glue that brings so many of us together and continues to make us better in so many ways.  If you have never been to the conference, try to get to Albuquerque next year.  You will be transformed. Until next year...

Peace.

Scott

Sectional Rehearsals

Sectional rehearsals are an integral component of any orchestral concert cycle.  Today was my first opportunity to hold sectionals with my new group of students at NCSSM.  Rather than to simply throw them into the sectional rehearsal experience, I thought that it would be beneficial to discuss the goals, important techniques, and values of the sectional rehearsal process.  We had a great discussion before they broke into sections and then we discussed the results at  the end of class.  Here are some of the thoughts and concepts that emerged in class today.

Goals of the Sectional Rehearsal:

• Details
• Fingerings
• Bowings
• Intonation
• Rhythm

These are the nuts and bolts of the section's work.  Most everyone recognized that these are the primary goals of the sectional rehearsal and following today's rehearsal, it was clear that these were the primary topics of discussion.  

• Tone/Sound

I would argue that this may be part of a sectional rehearsal later in a concert cycle.  Earlier sectionals with student musicians may never get to this point.

• Phrasing/Expression

Much of this work will be done in the larger group rehearsal and it is even possible that work in this area in a sectional rehearsal may occasionally run contrary to the conductor's vision for a piece.

• Ensemble

This is where the section may hear inconsistencies in style, articulation, and and rhythm; as well as see inconsistencies in bow placement, use, and distribution.

• Communication

One student noted that this is a perfect opportunity for student leadership and for students articulate original thoughts regarding the repertoire at hand.

• Corporate Gain

It is vital that every musician walk away with a sense that the time was well spent for the individual, the section, and the greater ensemble.

Vehicles that help reach the goals:

• Collaborate

Everyone must be willing to work together.

• Communicate

The sectional is more effective when folks communicate freely: ask questions, offer suggestions, and engage in the group goals.

• Active Participation: Invest!

One can not simply "go through the motions" in a sectional rehearsal.  The activity requires active engagement from all parties involved.  This is really tough in today's academic setting.  If find it more difficult each year to elicit active mental rigor from every member of my ensembles.  I will not give up the fight!!

• Listen

I feel that listening skills are not addressed enough in the orchestra rehearsal. We discuss what the player should "do."  Sectionals are a great vehicle for individuals to exercise listening skills.

• Assess

This is another great opportunity for musicians in sectionals.  They are, by nature, less conductor-centric than rehearsal.  In a rehearsal, the conductor is constantly assessing and the musician is adapting to the conductor's instruction.  Sectionals provide the opportunity for the individual musician to assess their work and that of those around them.

• Think like a scientist: Identify problems, develop a hypothesis, limit variables, address issues

At my school, this makes lots of sense!  I love to draw the comparison of a person practicing to that of a researcher.  It is an easy comparison to make.

• Slow Down

No - really - slow down!  Like - half tempo.  Or less!  Zoom into the microscopic level of rhythm and intonation.  Take time to really hear intervals.  So often in rehearsal, some members of an ensemble are "left in the dust."  It is part of the process of rehearsal.  So, seize the opportunity in sectionals to slow things down and meaningfully listen to the inner levels of the parts assigned to the section. 

Don'ts  (Things that make for a bad sectional rehearsal):

• Just run through passages

What a waste of time.  We can do that any time.

• Clam up

We have to communicate.  Take a chance.  If you are thinking it, someone else is too!  We all must lead and that comes in a variety of communication packages.

• Weak Leadership

Enough said.  Someone has to drive the train. My students all agree that a sectional where no one is willing to lead can be futile.

C.A.S.T.

• Citizen
• Artist
• Scholar
• Teacher

Many of you have read my previous posts on this acronym.  I believe deeply that after each rehearsal, any student should be able to look at this acronym and identify the areas that have been addressed. Have they enhanced their citizenship of the ensemble? Has their artistry been engaged?  Have they expressed or enhanced their scholarship?  Have they taken advantage of opportunities to lead and help, as well as learn from, colleagues.

As a result of this work, I intend to create a template for a good sectional rehearsal to use with my students in coming months and years.  This would provide a model and outline for the anatomy of a productive sectional rehearsal for student reference.

How does all of this hit you?  What have we missed?  What did we get right?  I would love to hear from you as I continue to develop the template for a great sectional rehearsal.   I will share it here in coming days and weeks.

Until next time.

Peace.
Scott

Essence

Last week in rehearsal we began talking about the concept of finding the essence of difficult passages in the repertoire. This is a rehearsal technique that I have been developing over the past several years and wanted to introduce to this fine ensemble. This technique is by no means uniquely mine. But, I believe I have created some wrinkles in the technique that allow for greater learning by each member of the ensemble, regardless of their technical proficiency.   (If you heard the Mendelssohn Sinfonia last night, you heard this without knowing it.)

In virtually every ensemble there is some range of technical ability exhibited by the members of the group. There will almost always be some who grasp the most difficult technical passages quickly and others who take longer to learn the passages or, perhaps even find those passages to be above their technical capabilities. This is the case this week and virtually every summer here in the Intermediate Concert Orchestra. Again, I would stress that this is the case in most youth and community orchestras.

So, as music directors, we have one of two choices. We can either program all music in which everyone in the ensemble can play every technical passage. Or, we can give the musicians tools for seeing the deeper meaning in passages and finding ways to adapt technically so that they are enhancing the orchestral performance, not detracting from it. In several of the conducting situations in which I find myself, the latter is the better choice. (Let me stress to young teachers that sometimes the former is the better choice. It depends on your particular situation and requires great thought in reference to the goals of the ensemble and the type of musician that you are reaching.)

My friend, conductor Scott Speck, put it this way: think of a meter in front of the orchestra. For every right note you play the meter goes to the right. That is good! For every wrong note you play, the meter goes to the left.  That is bad. If you don't play anything the meter stays straight up and down. No harm done. The goal for each musician is to make the meter go to the right constantly. That said, by not playing a wrong note, the meter is not impacted. I am trying to get young musicians to make that meter go to the right. If they play in correct rhythms or incorrect pitches, that meter goes in the wrong direction. It is hard to convince young musicians that they are helping The Ensemble by leaving stuff out. So, in response to this I created this rehearsal technique. If done correctly, the musicians that ought the for playing the essence not only serve a benign role of not hurting the ensemble. They also help the ensemble by stabilizing rhythmic and pitch information for the other players.

I called my technique finding the ESSENCE of a passage.  It works like this:

Many times in the repertoire there will be very fast passages of 16th notes, difficult fingerings or shifts or, perhaps, very high notes that are technically challenging. I can always tell from the podium when there are students who are struggling to keep up with the ensemble.  It is at this point that I invite the ensemble to step back, listen to the passage, think about the passage, and ascertain the essence of the passage. Sometimes when we are simply seeing a difficult fast passage or technical requirements that are above our level, it's easy to get lost in the forest and missed the trees. Many times in a sixteenth note passage the essence is the first note of the 16th . Or, perhaps if the passage is very high and require shifting on the part of the string player, simply taking note of the name of the note can be an enlightening activity. I always say that correct pitches are way more important than high notes. A pitch that is difficult to find up high on the fingerboard is better off being played an octave lower in a position that is accessible to a less-experienced string player.

In addition to finding these essence passages when left hand is in focus, I will also look for rhythmic essence at times. If an ensemble is struggling with a rhythmic passage, I try to look for the fundamental rhythms and break the difficulties down into manageable pieces. Sometimes this means adding sixteenth notes to a tricky eighth note passage that may be rushing or slowing down. Sometimes it means just finding the accented notes in a fast passage. Other times, it means clarifying who is providing the rhythmic information in the passage.  Really, it is the same process: find the technically difficult passage and break it down into manageable parts that still fit into the greater work.  After a while, musicians get quite good at doing this!

Please bear in mind that these are my values as a conductor and ensemble leader.  My thinking might be different if I was working as a private instructor on solo repertoire.  As a conductor, my ultimate goal is an accurate and moving performance.

Once I have established exactly what the essence of a passage includes, we go to work on using it meaningfully.

• We play the essence passage by itself. 
• We add the rest of the ensemble playing the actual part while the section in question is playing the essence. 
• Sometimes I will have the outside player play the written part and the inside player do the essence. 
• I will then reverse that. 
• Sometimes I will have the front three stands play the written part and the rest of the section play the essence. 

I typically give musicians the choice as to what they will play in a concert. In other words, a student might play The essence in rehearsal for several weeks while they are perfecting the difficult passage. I always make it clear that I would prefer essence in performance over a sloppy technically difficult passage. Essence always makes the ensemble stronger. Wrong notes make the ensemble weaker.  And, I always remind students that no one in the audience will have any idea that they are playing something other than what is written in the part.  At the core is the notion that each players' responsibility is to make the ensemble better!  Sometimes that means playing the essence.

So, this is a brief description of my thoughts on finding Essence in Ensemble repertoire. Sometimes it is absolutely imperative that this be defined and that students know that they can use it as a purposeful tool as part of the rehearsal process and perhaps even part of the performance . I welcome your comments and thoughts on the subject.

Until next time.

Peace.

Scott

What? and How?

This week in Intermediate Concert Orchestra, in the days prior to our performance, I asked my students to consider what inspires them when they see and hear a great orchestra and how can we work to emulate that in our performances.

Response: I can see Passion and Emotion in the performance.

The response that I received from my students was primarily that they can see and hear passion in a great performance and that they could see and hear emotion in a great performance. This interested me a great deal because neither of these words have anything to do with the difficulty of the repertoire being performed or the technical prowess or capabilities of the players.  My students (and all music consumers) want to be moved by a performance.  The want the performers to feel something and they want to in turn feel something.

How do we show or achieve passion in performance?

The larger question, of course, is what do we need to do to give that same experience to our audience. When I asked that question, the answer was significantly less clear. The students know what they want to see and here, but were certainly not sure how to get to the point of giving that to their audiences. They definitely knew that the first step was to play the right notes. They also had a good sense of the importance of finding the inner dynamic motion of a piece of music. So, I knew that I had begun to do my job as their conductor. These, of course, are the first steps in developing a fine ensemble. Students must know and demonstrate correct notes and rhythms, they must play with the appropriate technique, and the must know and demonstrate the shaping of phrases and dynamic contrasts . This, however, is still not the end of the process. There is so much more that an ensemble can achieve in order to truly demonstrate passion and emotion inner performance.

I have been reflecting on these same questions throughout the week. I want to be able to articulate a model to my students which they can fall back on in their process of preparing music . They are all at various stages of working towards a goal of artistry and greater proficiency on their instrument . But, if they don't have a sense of the path to giving passionate, emotional performances , it is possible that they will be less than purposeful in their practice and rehearsals. So, I have come up with a simple model that can begin to tell the story of this process.

I believe that an artistic, moving performance requires the following:

• Technique
• Artistry
• Purpose
• Perspective

Obviously, the technique aspect goes without saying. Many music students never get past this. The musician must focus on so many aspects of technique in their practice time. They must isolate various techniques in their practice. For a string player, this includes intonation, fingering, vibrato, bow hand and arm, bow technique, tone production, posture, intonation, shifting and many many more. As I said, it's easy to get stuck right here and never get past it. Technique is the first key to giving a moving performance.

Next, I would include all of the aspects of artistry. This includes shaping phrases, adjustments and variations of tone quality, dynamic contrast , fluency, and many more.  This is where the young musician begins to find a voice as a an artist. Their music begins to take on a personality and the process of true communication with the audience begins.

Now we get into the nitty-gritty . I list purpose next. Purpose, from an ensemble perspective, is having a clear understanding of the role of each instrument at every given time in the context of the piece. Everyone must know when they have the melody or a supporting role. They must know the purpose of each line , motive, and passage in the repertoire. Sometimes their voice must be the lead. Sometimes their voice is a response to a question. Sometimes their voice provides rhythmic underpinning. Sometimes a voice provides harmonic underpinning. Sometimes they are plaing the role of another instrument.  They must know when the tempo stretches and when it pushes. And, they must know how to demonstrate these variations within the piece.These larger questions in the preparation of ensemble and solo repertoire are vital. If a musician performs an ensemble piece in a vacuum, without regard to their role and the role of others, they really can't be part of a moving performance which requires that they interact with the other voices.

I would consider perspective to be a greater understanding of the history of a composition, the artistic possibilities of the composition, and a desire to emote all of the possible responses to the listener in both a sonic and physical way. I believe that listeners of live music take cues not only from the aural information that they are receiving, but also from the physiological information that they are receiving. We must look the part in order to convey the message. We must know the message before we can look the part. This, of course is not a fully objective task. This is where a great deal of subjective concepts and decisions come into play. It gets a little abstract. And, thus, can be a roadblock for a young artist.I was talking with a friend last night who was a jazz musician. He was telling me that in order for a jazz musician to perform a great ballad well, they must know the lyrics to the song. This, is perspective.  In order to perform an instrumental piece as a soloist, or as an ensemble, everyone must have a unified perspective on exactly what they are saying.

Almost 10 years ago, I gave a session to the American String Teachers Association and many other state organizations entitled "The Art of Developing Passionate Ensembles."  For that presentation, I developed the following model. It stated that in order to develop a passionate ensemble, the teacher/director had to provide and model the following criteria:

• The importance of the experience and the relationships between the members of the ensemble
• A safe artistic chemistry and environment in the rehearsal
• A clear understanding of the importance and value of the experience
• A clear demonstration of the human value and overall humanity of the process.
• The importance of the investment of self in the process

I feel like, after a decade, I still adhere to this model as an instructor.  I find it interesting that I don't list the technical aspects of the whole musician in this model at all.  I think that I believed it was understood. And, I find the variation in the models to be interesting especially as one is directed particularly at the person in the ensemble and the other is directed at the one leading the ensemble.  It is, I believe, an important distinction.

I will continue to consider these models as I move through the summer with ICO. I will continue to challenge the ICO musicians with these concepts. I will also bring them to my work in the fall at the North Carolina School of Science and Math. I welcome your input and thoughts on these and look forward to possibly hearing from some of you.

Here's to many passionate, emotional performances as we all move forward.

Peace.

Scott

Gratitude

Yesterday was the last official day of the Academic Year for faculty members at the North Carolina School of Science and Mathematics. As part of the daily activities, the Humanities Department had our final meeting of the school year. Rather than a formal agenda for the meeting, we were simply given a forum to express our gratitude for each other and for events that had occurred during the course of the year. This was an incredible exercise for me and I believe for many of my colleagues on the last day of school. We heard stories of gratitude for colleagues, for help during times of ill-health and family crisis, for curricular inspiration, for facilitation of professional in-service and ideas, for lovely unexpected gestures, and many others. 

How rare for a group of colleagues to have an hour to simply sit in a circle and thank each other!  I am so appreciative for that opportunity and for the opportunity to hear the thoughts of gratitude expressed by my friends and colleagues.  It was a beautiful way to end the school year.

So, in this post, I would like to express gratitude for a number of opportunities that have come to me throughout the course of the past year.

First, I am thankful for my family.  My wife is so supportive and literally adjusts so many facets of her life to accommodate my busy work and performing schedule.  She understands my priorities and challenges.  I couldn't do it without her and I truly appreciate her guidance and support in my life.  I am also thankful for my kids.  I have three sons who make me proud on a daily basis.  They are growing to be fine human beings, exhibiting compassion, work ethic and sensitivity on a daily basis.  We live in a harsh world and I know my boys will be part of the solution, not part of the problem.  I feel so fortunate to have a role in their lives.

I am thankful for the many conducting opportunities that have come my way this year.  I am so privileged to work with students all over the US and appreciate the opportunity to have a small part in shaping the musical understanding and passion of so many kids.  It is such a joy for me to travel and experience the excitement of orchestra events over and over.  I always knew that I wanted to do this and I am truly living my dreams.  If you had a part in providing me one of these opportunities, thanks!

Similarly, I am thankful for speaking and conference presentation opportunities.  These presentations keep me on my toes and fresh.  They give me the opportunity to articulate my pedagogical thoughts to other teachers and to gain constant feedback on my ideas.  In return, I gain motivation from their enthusiasm for my material.  Truly, I appreciate the opportunity to share my ideas with colleagues.

I am thankful for colleagues.  My colleagues at NCSSM support and inspire  me every day. We collaborate, discuss, share, laugh, and commiserate.  I couldn't ask for a better daily environment. 

My colleagues around North Carolina are an inspiration as well.  I look forward to our regional and all-state events, not only for the opportunities my students receive, but also to hang out with my friends!  We share laughter and common situations.  The string ed community in NC is strong and welcoming.  And, I am thankful for colleagues around the country.  It is so great to watch your accomplishments and lives via Facebook and other digital media.  And, of course, I love seeing you, hanging out, sharing meals, and touching base at conferences and other events throughout the year.  This community isn't that big and I am always reminded that this is our "tribe."   It is wonderful to be in this together.

I am thankful for NCSSM.  This institution has been so wonderful to me over the years.  The school's mission is a perfect fit for me.  The administration appreciates my talents and does all that they can to allow me to thrive and be my best at every turn. And, when I need a little latitude, they always provide me with what I need.

I am thankful for smiles from students.  There is no greater feeling than making eye contact with a student while conducting a piece and receiving that smile that says, "Thanks, Mr. Laird. This is awesome."  Similarly, it is great to just get that smile in the hallway or during a break in rehearsal.  Again, the community of string players and orchestral musicians is small.  It is so nice to be connected with young people by such a cool and meaningful pursuit.

I am thankful for the love and support that I have received from so many people in the past year.  It is truly awesome to have folks that care for us.  That has definitely been palpable in my life in recent months.  Thanks.

I am sure there is much more:  health, happiness, recreation, engagement, good fortune, and others.  I am certainly grateful today.  

Thanks to you for taking the time to read this.  Peace.

Scott

TMEA 2017

Hello to all of my new friends at TMEA 2017.
I am honored to be here to share some of my pedagogical thoughts with you and hope that you gained some new ideas from my sessions.  I am posting some documents and links here that you may find helpful!

Pedagogy from the Podium: Thursday 11:30

• Handout

• For those interested in finger pattern resources

Handout

Shared folder of resources

Backtracks and playlists

10 Practical Strategies: Thursday 2:30

• Handout
• Good Article

Teaching Habits of Mind of the Orchestral Musician: Friday 1:00

• Handout
• Presentation

Approach Arrive Depart: Friday 4:00 with Julie Post and the Bradley Middle School Orchestra

• Handout

Please let me know if I can provide anything else for you. I am always happy to share ideas and materials!

Peace.

Scott

PS A really great Spinach dip Recipe :)

INGREDIENTS
1 box (10 oz.) frozen chopped spinach, cooked, cooled and squeezed dry
1 container (16 oz.) sour cream*
1 cup Hellmann's® or Best Foods® Real Mayonnaise
1 package Knorr® Vegetable recipe mix
1 can (8 oz.) water chestnuts, drained and chopped (optional)
3 green onions, chopped (optional)
DIRECTIONS
Combine all ingredients and chill about 2 hours. Serve with your favorite dippers to your favorite people.

Fundamentals Are Critical

I don't know how many of you are football fans. But, if you are, you surely watched the Houston Texans versus New England Patriots game last night on CBS. I was really looking forward to this game . It featured a rookie quarterback for the Patriots going up against one of the most talented rosters in the NFL. I felt certain that the Texans were going to win this game going away and was completely surprised by the Patriots dominance by the end of the game. The Patriots won the game 27-0 and it was for one reason: attention to fundamentals.

When you watch the Patriots play, all of the fundamentals are in place. They tackle well. Their blocking schemes are basic but extremely well executed. They don't try to do too much offensively. They simply dominate with great fundamentals. This translates to wins on a regular basis.

Last summer I was at a picnic with a bunch of my friends from high school. My group of friends includes some fantastic athletes. In particular, my friend Harvey was a standout point guard on our high school basketball team. During a lull in the conversation and festivities, I went out to the basketball court in his driveway and was shooting the ball. I've never been a very good basketball player and that was showing in my shoot around that day. Two of my sons play rec league basketball and I have never been able to coach them very much due to my lack of knowledge of the fundamentals of the game. Harvey came by and I started to ask him about the fundamentals of shooting. He gave me a few tips . He told me to square my shoulders to the hoop, to set my feet, and to follow through on every shot. These three basic fundamentals completely changed my success rate. Suddenly, I was able to hit jumpers from all over the court at a much higher rate than before.

And so it is the same with bowed string technique. The fundamentals can never be ignored. Even the most advanced students require some reminders of the fundamentals from time to time . For me, and for my students, these include anchoring your feet to the floor, proper left hand and arm position, proper bow technique, and proper bow hold. If a student can master these basic fundamentals, they will be set up for much higher success with advanced techniques.

It is the same with orchestral and ensemble playing. I feel that there are some basic fundamentals for ensemble playing that, when adhered to, precipitate a much higher level performance. These include a well tuned group, feet anchored to the floor and proper seated playing position, effective orientation to the conductor, effective orientation to other musicians, fundamental understanding of uniform bow technique, and a commitment to dynamic contrast. When these basic ideas are in place, an ensemble is much better positioned to perform at a high level.

What fundamentals do you find to be critical? I feel like half the battle is knowing your own perspective on the basics and fundamentals. So many teachers get enamored with advanced techniques, but they neglect the fundamentals. It seems to me that we must be reinforcing fundamentals every single day. I'm sure that the New England Patriots do that. It seems like if it is good enough for arguably one of the most successful franchises in the NFL, then it is good enough for my orchestra. In the end, the most successful teams, athletes, musicians, and teachers, are the ones that make sure the fundamentals are properly taught and internalized for all students. 

As you move into your classroom next week, I encourage you to think about the fundamentals. Encourage your students to think about fundamentals. Where are your priorities? Where are their priorities? I believe that this will yield excellent results for you and your students in a variety of ways!

Best wishes considering these ideas.

Peace.

Scott

The Pedagogy of Positivity

The only thing we can do is play on the one string we have, and that is our attitude. I am convinced that life is 10% what happens to me and 90% of how I react to it.” ― Charles R. Swindoll Nearly 30 years ago, my wife gave me a framed print of that quote. It has lived on my office wall for my entire career. I have pondered those words on many occasions and feel they are a career-long friend. I have been told I am innately optimistic. It is apparently one of my best assets. I tend to see the glass as half full and embrace the opportunity to solve problems. Yet, we all have our optimism tested on a regular basis as educators. While in college and as a young educator, the concept of "style versus substance" was brought strongly to the forefront for me. While style is important, I became keenly aware it must be backed-up with the substance of solid teaching techniques, pedagogy, and musicality. I began a career journey of balancing the substance which is required of a master educator with my innate positivity that I want to share with students and colleagues. While never having lived or taught in Texas, I have a deep and meaningful connection to the state. I am certain my friend and mentor, Dr. Ken Raessler (1933-2015), former Professor and Director of the School of Music Emeritus at Texas Christian University, would be excited and proud that I am coming to the state he loved so much to present at TMEA in 2017. Dr. Raessler was Supervisor of Music in Williamsport, PA, back in the 1970s and 1980s when I student-taught as a pre-service teacher. Throughout my career, he remained engaged with me, supporting my various endeavors as a music educator and encouraging me to share my ideas with teachers around the country. He was a pivotal figure in my young teaching career, and I continue to owe him an incredible debt of gratitude. Among the many important conversations I had with Dr. Raessler during the time in Williamsport, none were more pivotal to my early teaching experience than our conversations regarding the ratio between a teacher's style and substance. Dr. Raessler always recognized I had a strong musical and performing background too lean on heavily as a teacher. He also encouraged me to find my style and incorporate it properly with my background in technique and performance practice. This consideration has continued to be important for me as I speak with teachers young and old around the country. It also has proven essential as I encounter young string students with a variety of backgrounds and levels of experience throughout any given school year. Content is important, but delivery is often what grabs their imagination! I recently encountered a colleague who had an opportunity to attend a large in-service conference. When I asked her more about the conference, she proceeded to tell me all the reasons she did not want to go. She emanated a negative attitude and seemed to be dreading the opportunity. As I pursued the topic further and asked her more about the details of the conference and her work, she began to articulate all of the wonderful things she contributes on a daily basis and how she might be able to share and learn as part of the conference. She began to consider opportunities for networking, obtaining new content, and implementing new ideas and requirements into her unique situation. Within a 30-minute conversation, her perspective on this professional development opportunity turned from generally negative to incredibly positive. I walked away from the conversation feeling very good that I was able to help her see all of the benefits of this in-service opportunity. But more importantly, I began to consider just how important our perspective is to the students we encounter on a daily basis. Those around us will be more open to our ideas when we describe our work and mission from a perspective of positivity. As we begin the new school year, I encourage you to speak authoritatively. Speak hopefully. And, approach your students, colleagues, and daily tasks with a can-do spirit and approach. It has become abundantly clear to me that when I approach my tasks in this manner, good results follow. With that being said, I am mindful of the fact I am not speaking of simple optimism. Rather, I am referring to a can-do quality true leaders demonstrate on a daily, task-by-task basis. But where does that quality grow from? I am convinced this mentality is a result of meticulous, long-term preparation for all that can possibly go right, as well as preparation for all that could possibly throw us off our planned path. I was reminded of this recently while reading An Astronaut's Guide to Life on Earth, by Chris Hadfield. In this book, Hadfield details the importance of extreme preparation for every possible scenario as an astronaut. Certainly the same is true for teachers. At its core, this is the "substance" I referred to earlier. We must be proactive in our preparation in order to exude positivity and a can-do attitude. When we react in the moment, we undoubtedly get frazzled in crisis. Teachers are dreamers. We dream of the highest expectations for our students' and ensembles' success. The realization of those successes hinges on our ability to prepare and remain ahead of the roadblocks we encounter. Teachers encounter four areas of interaction where this preparation leading to a positive approach regularly comes into play. These include: daily teaching and student interaction, involvement with colleagues, administrative duties, and professional development opportunities. Each of these areas presents its own unique challenges and will test our approach in different ways. There are several ways to accentuate the positive with students in our daily teaching. I have found a great starting point is showing interest in students' outside activities and life outside the classroom. The prepared instructor understands that time caring for individuals is time well-spent. I recently heard a fantastic interview with heralded Kentucky head basketball coach, John Calipari, who referenced what he calls, "You and Us." This is his system which rests on his belief that the power of YOU (student) first leads to US (ensemble) stronger. Secondly, I never understood the old adage that good teachers "don't smile until Thanksgiving." I actually bought into this during my 2nd year of teaching, and it failed miserably. Be prepared and be yourself. Your substance will gain you respect, not a negative attitude. Additionally, master teachers make a point to use students' names every class-period. (The Profile of a Master Teacher (1989) by Bob Culver) They need to know you truly know them and care about them individually every day. A couple of years ago, I noticed some of the wonder and optimism I regularly experienced in teaching throughout my career was not as palpable for me. I had a couple of years of ensembles that lacked top student leadership and, perhaps, I was experiencing a bit of a mid-career lull. At the beginning of the 2015-2016 school year, I decided when tempted to quickly and simply say “no,” I would think it over, and try to find a way to say “yes.” This was no easy task. I frequently had to step back and not respond to emails and requests immediately. I found after a few hours, there was always an affirmative option in my response. At the end of the school year, I was pleased to feel a renewed sense of accomplishment and success. I felt like my students responded to me in a much better way at every turn. Of course, this didn't mean simply letting students run all over me. It did, however, mean I was considering every possible way to support and affirm students and their learning experience in and outside my classroom. With colleagues, show a genuine interest in their work and look for opportunities to create interdisciplinary learning opportunities for students. In An Astronaut’s Guide, Hadfield reminds us, “Investing in other people’s success doesn’t just make it more likely that they will enjoy working with me. It also improves my own chances of success.” The ability to think outside the curricular box and get creative with colleagues has been immensely enjoyable and enlightening to my work over the years, and I have found it has enhanced my success both within and outside my institution. I find when we bring our respective expertise on varying disciplines and unique perspectives and passions, magnificent learning opportunities occur in the classroom. Look for common ground with colleagues that don't see eye-to-eye with your teaching style or specialty area. Be aware each of us come from a specific or unique culture and pedagogy and celebrate those differences. Success isn’t proprietary or finite. We can certainly support and encourage each other toward success for everyone. Professional Development opportunities are often the source of negativity when, in reality, they are intended to make us better. Approach institutional professional development exercises with a sense of openness and leadership rather than cynicism. If the material is not appropriate for you, it may be just what one of your colleagues needs. Facilitate their learning and never stand in their way. Enjoy the process and offer your expertise. This is an opportunity to share your ideas and perspectives and lead within your organization. A close colleague once encouraged me to come back from every conference with at least "a really good spinach dip recipe." In other words, the benefits of professional development can come in many packages: a new idea, a new professional contact, an opportunity to help other teachers, or even a well-deserved break from the routine. Administrative Duties can be very similar. These include paperwork, grades and comments, forms, recommendations, and other tasks that pull us from the task of teaching music. Be aware of the importance of these duties and exercise your expertise by performing them well and in a timely manner. This is an opportunity to "lead from within the section" and demonstrate a proactive approach to your colleagues and students. This is certainly noticed by time-strapped administrators and students as they rely heavily on our ability to handle these tasks with positivity and substance. Each of these areas, interaction with students, with colleagues, professional development, and administrative duties make up the majority of our work as music educators. When we are proactive and positive with our approach to the work, we will find true success and satisfaction in the process. I look forward to bringing many of my pedagogical ideas to the TMEA Conference in February and sincerely hope you will find a wonderful "spinach dip recipe" in one of my sessions. I hope, in fact, you find much, much more, and that I can bring a great deal of substance and information to the string teachers of Texas.

5 Habits of Successful Musicians

Today is the penultimate day of rehearsals for my current group of musicians at Interlochen. Our concert is tomorrow and we are ready to give a great performance.

Yesterday, in rehearsal, I wanted to give the students something very concrete that they could take home  to their school orchestras and individual work as orchestral musicians. In response to some of our conversations this week, I decided to give them 5 concrete recommendations of habits that top level musicians should develop. Make no mistake about it, these habits will not make one a great musician. But, they are part of the expectations of any good musician and strong leader in all musical contexts. Thus, it is better to develop them early and have them in your lexicon as you continue to develop as a musician.  I often encourage my own children "move with purpose" These are my orchestral "move with purpose" encouragements. So, without further ado, here are the 5 vital habits of a successful orchestral musician that I offered to my students yesterday.

1. Always have a pencil at rehearsal. Now, I know that every orchestra director in the world requires their musicians to have a pencil. But, the number of students that I see scrambling during rehearsal to find a writing utensil is unbelievable to me. I told my students yesterday that not only should there be one pencil on every stand, but, there should be one pencil for every person in the room. Every player should have their instrument, music, and a pencil as they go into any practice or rehearsal setting. Passing one pencil between two stands is simply unacceptable. It wastes time and is distracting to the entire ensemble.

I find that writing in music is one of the most important skills that I have developed over the years, both as a violinist and as a conductor. I try in all my rehearsals to tell the students what a musician would write in any given circumstance. And I encourage students to always be thinking about what they might write in a part without my prompting. So, it is vital that each student get in the habit of picking up a pencil every time they pick up their instrument.

2. Arrive at every rehearsal a minimum of 10 minutes early. It is vital that young musicians get in the habit of arriving at rehearsals with plenty of time to settle into the rehearsal space before the downbeat of rehearsal. This allows for time to communicate with stand partners, effectively tune their instrument, warm up a little bit, and simply to mentally settle into the task that is at hand. So frequently, I see musicians running into rehearsal at the last minute and never fully settling into the mental space of the rehearsal. This is certainly not an efficient way to maximize the time that they are spending in rehearsal. And, at the very least, and early arrival shows great respect for colleagues and leaders in the rehearsal setting. I know that I notice it as a conductor and really appreciate and respect those who arrive early.

3. Look at the conductor when you don't really have to. I tell musicians all the time that there are numerous opportunities for making visual contact with a conductor in the context of a piece of music. Of course, one must make visual contact with the conductor during important changes in a piece of music. These include tempo changes, style changes, and important articulations. However, I think it is also important that young musicians understand that it is important to make visual contact with a conductor during the more static passages as well. I encourage students to be cognizant of opportunities such as whole notes, repeated notes, and rests. These are times when an ensemble musician can let the conductor know that they are fully engaged in and on the same page as the other musicians in the room. This visual affirmation also gives the conductor full confidence to maintain the highest expectations of musicianship and expression for the ensemble. Thus, developing the habit of visual contact during static passages, while sometimes overlooked, is of the utmost importance.

4. Actually listen to the tuning note.  So frequently, when I arrive in a new orchestral setting, a tuning note is sounded and musicians begin loudly tuning their own instrument without fully listening to the pitch of the tuning note. Years ago, I became aware of some research that indicates that there is a significantly higher rate of memorizing a pitch with a minimum of 5 seconds of listening time. I always encourage my young musicians to listen to a tuning note for 5 seconds before beginning their own tuning process. Additionally, it is so vital that the tuning be done at a piano (quiet) volume level. The vast majority of young students that I encounter tune significantly too loudly. It distorts the pitch of the strings and does not lead to an exceptional sounding ensemble.

5. Prepare your own part outside of rehearsal. I recently saw a post on Facebook that simply said "rehearsal is not for learning your own part, it's for learning everyone else's part." This really resonated with me. It is vital that musicians get in the habit of practicing their ensemble music in the practice room and understanding that rehearsal is for just that: rehearsing. The art of rehearsal and the art of practice are definitely mutually exclusive. All too often, students play in ensembles where the expectation is that they do both simultaneously. This is inefficient at least and rude at best. Nothing drives me more crazy than hearing a student workout a passage while I am in the middle of rehearsal. That is work for another time. Much of this, again, goes to the concept of respect for peers and for leadership. If a young musician really respects those around him for her, he will take the time necessary outside of rehearsal to prepare the passages for performance. I never expect things to be perfect from the beginning. But, I do expect that there is an understanding of the difference between the two activities. Practice involves slow thoughtful repetition. Rehearsal involves broader concepts and developing an understanding of all of the pieces of the puzzle. It is a much more "macro" activity. I simply think it's important that students grow to understand the distinction between practice and rehearsal.

These are my thoughts for today. I hope that you have found them to be interesting and applicable. If you feel that your students might benefit from these from this list, please feel free to share it. I know that I will keep working to develop these habits in my students. I hope that you will as well.

Best wishes for rehearsal rooms full of students with exceptional habits of orchestral musicians!

Peace.

Scott

Pedagogy from the podium

This weekend, I have been conducting an Honors String Orchestra Festival at Austin Peay State University in Clarksville, TN. My thanks to Emily Crane and all at Austin Peay for inviting me.  It's been a wonderful event and, as a result of my rehearsals here, throughout the weekend I have been giving a great deal of thought to my upcoming educational sessions at a couple of different conferences. A session that all be presenting in coming months, including at the National ASTA Conference in Tampa, is "Pedagogy From the Podium." This is a session that I began giving many years ago while I was still teaching in Palmyra, PA, based on some of the "best" practices that I had discovered in my daily teaching life. But, as you can imagine, over the years the content and the approach have changed a great deal. 

 Those of you that pay attention to this blog know that last year I was strongly considering the anatomy of any strong pedagogy. I presented a model where there were four components of any pedagogical concept that needed to be addressed. Those components are as follows: 

1. A SYSTEM is developed 

2. The system is SEQUENTIAL

3. There must be strong NOMENCLATURE introduced to clarify the system

4. The instructor provides a HARMONIC UNDERPINNING to any skill that is introduced modified . 

So, my task over the last several months has been to consider the systems that I have developed over the past several years. As this has been in the front of my mind, I've become more and more aware of the myriad of systems that I've developed or utilized over the years. Last year, I spent a good deal of time discussing, creating resources for, and teaching about the system of Finger Patterns that I had acquired from other great pedagogues and modified to suit my particular needs. Continuing on that theme, I have become more and more aware of other systems that have become an integral part of my teaching over the years.  Some of these were developed by others, some I have modified, and others I have developed.

Those of you that attend Pedagogy From the Podium, will get a strong dose of my belief in the model for these systems, and a number of specific systems that you can use in your classroom which utilize the model. I am still weeding out the final content of these sessions, but right now these are the areas that I will potentially be addressing. 

• Ensemble Tuning
• Ensemble Playing Position
• Finger patterns as a vehicle to ensemble intonation
• Rhythmic stability and Inner Rhythm
• Watching the conductor and general ensemble awareness
• Movement and breathing into phrase
• Dynamics and the dynamic nature of ensemble playing
• Spiccato and other intermediate to advanced bow techniques
• Bow speed/placement
• Pizzicato accuracy and technique
• Musical "essence" and the art of self editing difficult passages
• Precepts of bow direction
• Bow weight as it relates to bow placement
• Bow style as it relates to historic era of composition

Obviously, this won't all be addressed in a one-hour session. So, as you can see, some of this will be "weeded out" in coming weeks and months. I hope that you find some of these topics interesting and truly hope to see you at one of the sessions. Please let me know if any of these areas particularly resonate with you, or if there is something missing here that you would like to see.  Here's what I can promise: I will certainly be thinking about these systems and my approach to the ensemble development in the coming weeks and months. I will do my best to offer specific and pertinent content for everybody who attends.

For those of you on the East Coast: stay dry and safe this weekend. To those of you here in Clarksville TN, thanks for an awesome weekend of music making, sharing, and collaborating. You all have been wonderful to work with and I know our concert today is going to be magnificent!

Peace.

Scott 

The Company of Angels: Dorothy Straub

I learned yesterday of the sad news that my dear friend and mentor Dorothy Straub had passed away. Dorothy Straub is one of the most influential individuals in my teaching life and certainly in my career trajectory in string education. From the day I met her, she encouraged me to think of my work in string education as an opportunity to positively influence lives, and to view my work as a mission, not just a job. As I reflect on my nearly 30 year friendship with her, I feel compelled to tell the story, from my perspective, of this wonderful educator who had so much influence on my life and the lives of other string students and teachers around the United States. 

I first encountered Dorothy Straub in the summer of 1988 when I attended a string pedagogy workshop at Central Connecticut State University. Dorothy was one of three instructors for that workshop along with the great Marvin Rabin and James Kjelland. Each of the three instructors had a specific influence on those in attendance and a clear role to play in the workshop. Dr. Rabin introduced me to the pedagogy of George Bornoff and the concept of finger patterns. Those of you that know me well know that I continue to give workshops built on that foundational material to this day. (In fact, I will be speaking on finger patterns at several conferences during the upcoming school year.) Jim Kjelland provided a more philosophical approach and outlook for those in attendance.   I remember him introducing me to the concept of Gestalt philosophy and thinking.  Again, those of you that know me, know that I have built on many of Jim's philosophical foundations and am a frequent presenter on topics that have grown from his ideas. Some of those include Habits of Mind, Ethics and Leadership, Core Philosophies, and others. I remember many late night discussions with Jim centering on his ideas about string education and larger ideas that could be related to our craft. 

Dorothy, however, had a very different role to play in the workshop. She played, in my opinion, the role of the quintessential traditional school string educator. In fact, I grew to learn that is exactly who she was.  She worked with us on the intricacies of teaching beginners, strong foundational techniques, more advanced techniques, and classroom management. She also introduced us to much of the great standard repertoire for young string orchestras. We dealt with various grade levels of repertoire and the challenges that the works provided for students.  In fact, I am certain that she introduced me to Percy Fletcher's Folk Tune and Fiddle Dance at that workshop. Every time I conduct that work I think of her. She was patient. She was encouraging. And, she was accessible. I asked questions. She offered strong responses built on a lifetime of truly best practice. But, beyond the content, she was so supportive of me as a young teacher with so much to learn. She let me know in no uncertain terms that she had faith in my ability to succeed with students and to become a leader in our field. She affirmed my musicianship and playing ability. Even though at times my ideas that were little bit outside the box, and she allowed me to grow through the course of that week both as a teacher and as a friend. 

Over the years, we've remained in very close touch. She would always attend when I was presenting sessions at conferences when she could. By the early 1990's, I was living in teaching in Maryland and working every day with her sister, Mary Ellen Cohn, the Executive Director of the Maryland Music Educators' Association. Mary Ellen and I developed a strong friendship and professional trust that always had her sister Dorothy at the center of it. That friendship continues to this day.

Interestingly, many years after the fact, Dorothy and I realized that she had an impact on my life even when I was a senior in high school in 1983. I had attended the All Eastern Orchestra Festival held in Boston that year, and she was the chair of that event. As I look back on that event, I can still remember the friendly, authoritative, articulate, sharply dressed woman who was running the event.  I could  tell from the start that she was a person that others respected and looked to for leadership.  Of course, it was Dorothy.

In later years, Dorothy, who served as String Music Supervisor for the Fairfield, CT public schools, invited me to conduct an all district event for her district. I was so honored to be invited to conduct by the great Dorothy Straub. I wanted to do such a good job for her. But of course that is who Dorothy was; someone who supported others and whom others wanted to please. I felt such a great responsibility to be an exemplary conductor and educator at that particular event. Interestingly, I can recall one young student who tested my patience right up to the moment of the performance. My recollection is that I didn't handle the situation very well.  Dorothy, in all of her wisdom, helped me navigate a difficult teaching situation with grace and love as she always did. 

In recent years, Dorothy was recovering from the effects of an aggressive brain cancer. I had the great pleasure of participating in a ceremony in her honor at a recent ASTA national conference. As part of that ceremony, and a new work by William Hoffeldt was commissioned in her honor. He entitled the work In the Company of Angels, and Dorothy was presented with this gift and honor at that time. Just a few short months after that ceremony, I was honored to conduct the first public performance of that work with the Intermediate Concert Orchestra at Interlochen Summer Arts Camp. That piece will always serve as a perfect remembrance of Dorothy and the spirit with which she approached all of her relationships and teaching. Those of us that knew her always felt that we were "in the company of an angel" when we were with her. I know that today I am comforted by the thought that she is now "in the company of angels." ( I have to take this moment to thank Bill Hofeldt for such an insightful title and beautiful piece of music that bears a dedication to Dorothy Straub.)

Of course, throughout the course of her life and career, Dorothy had many other important and influential roles. She served as president of MENC, a leader in the American String Teachers Association, and published many important articles on string pedagogy and education including  “The Impact of the National Standards on Music Performance.” in Teaching Music Through Performance in Orchestra, and "Strategies for Teaching String and Orchestra." She served as Chair of the MENC Committee for String and Orchestra Education, editor for “School Teachers Forum,” in American String Teacher, and Chair of the MENC String and Orchestra Task Force.  She was awarded the American String Teachers Association Citation for Exceptional Leadership and the National School Orchestra Association Lifetime Achievement Award.  

From her MENC vitae: "One of only two American String Teachers Association members to serve as MENC president, Dorothy Straub took office at a time when the national focus was on curriculum and standards. Her presidency was marked by concerns for advocacy and promotion of the National Arts Standards, and in March of her term, the standards were completed and delivered to Secretary of Education Richard Riley. Although many of Straub’s monthly president’s columns in Music Educators Journal and Teaching Music focused on the standards, she also wrote about the importance of providing each child with rewarding musical experiences. In her columns for American String Teacher, she encouraged string teachers to provide students with a challenging and enjoyable curriculum, calling it a “myth” that children learning string instruments could not produce good sounds for several years."

In the end, Dorothy was an advocate, friend, and mentor.  I simply can't articulate how much she influenced me throughout my professional life.  She was a dear friend and trusted colleague.  She supported and advocated for me.  She taught me how to be a whole teacher.   There isn't a day in my teaching life that goes by that her influence isn't felt in some way.  I only hope that I can be the advocate, friend, and supporter of young teachers the way she was for me.

I will miss you, Dorothy.  I hope that we can one day celebrate together again "in the company of angels."

Peace.

Scott