The Creative Habit

I recently read The Creative Habit by Twyla Tharp. This was a great book with lots of applications to my life both as a teacher and as a musician. A model for transforming ideas into creativity is presented at one point in the book which I have thought about the great deal. I'd like to share that model and some of my thoughts about how it applies to my life as a teacher, conductor, and as a performing musician. I feel like this model points to the way many of my ideas have become something more. Of course, I didn't know this model until recently. But, when I think about the process I go through, this certainly clarifies the important steps.

From the book, page 94:
"Harvard psychologist Stephen Kosslyn says that ideas can be acted upon in fourways. First, you must generate the idea, usually from memory or experience or activity. Then you have to retain it—that is, hold it steady in your mind and keep it from disappearing. Then you have to inspect it—study it and make inferences about it. Finally, you have to be able to transform it—alter it in some way to suit your higher purposes."

Let's take a look at each of these four important steps: Idea, Retention, Inspection, and Transformation. Then, I will try to give some examples of their application in my creative process and in the specific areas of creativity in my professional life: music-making, pedagogy, and the rehearsal process. Perhaps you will find some similarities in yours.

IDEAS

I feel like we all have ideas. Some of them are good. Some of them are great. And some are better left undeveloped. The real trick is to retain them and ultimately transformed in into real creativity. This takes a great deal of mental effort and as well as physical effort.  But, I believe that we all have good ideas. String Pedagogue Jacqueline Dillon once told me that we all have ideas others are interested in.  The important next step is willingness to share them.  She suggested writing them down.  I took her words to heart and began a pattern of writing.  (This blog is an extension of that advice.) You have great ideas.  We all simply must commit to developing and sharing them.  The first step is to believe in the idea and the next is to retain it.

Examples:

• Pedagogy: "I should create a system for teaching upper positions."
• Music Making: "I am going to write a song for looped guitar and electric violin."
• Rehearsal Process: "I feel like this passage should be slower than the previous section to create anticipation."

RETENTION

I can't tell you how many times I have had a good idea while driving or engaged in some other activity and never came back to it.  How many great ideas in history have been left on the chopping block as a result of simply not following through.  I strongly believe in writing things down.  My e-mail inbox is littered with one-line notes to myself.  These include lists, ideas, and recommendations from others.  I have also become a fan of the voice notes apps for smartphone.  It is so easy to leave myself a voice note and come back to the idea later. 

I have shared this before, but it is worth mentioning again. The publication Goal Setting:  A Motivational Technique that Works, from the Center for Creative Leadership, Greensboro, NC explains a great model for getting goals and ideas to completion:

1. Setting Goal - 6-8%  likelihood of completion (have the idea)
2. Setting a Goal (idea) and Writing It Down - 25-30% likelihood of completion.
3. Setting a Goal (idea), Writing It Down, and Verbally Sharing It with Others - 55-60% likelihood of completion.
4. Setting a Goal, Writing It Down, Verbally Sharing It with Others, and  an ask a friend to hold you accountable - 85+% likelihood of completion.

We all have good ideas.  But, we must follow though and retain the idea.

Examples:

• Pedagogy: Start a lesson plan with a piece of paper and leave it front and center on your desk
• Music Making: Tell a friend about your idea for a song and ask them if they will listen when it is finished.
• Rehearsal Process: Mark the section in your score to come back to later

INSPECTION

This is another tricky aspect of the process.  We must always inspect our ideas and determine if they are valid and worth developing.  This is where the research comes in.  Is the idea really unique to you?  Is it a version of someone else's idea?  What do others have to say about the topic?  I once saw an interesting model of leadership that I have adapted to this topic.

• Ordinary ideas relate a traditional story as effectively as possible.  This is probably ~50% of ideas.  This could be a nice pop with traditional chord changes or a rock solid lesson plan for a class.  Traditional stuff presented effectively.
• Innovative ideas bring a fresh twist to a story that has been latent in the population.  (~10%of ideas) This could be a new and unique musical composition using a traditional orchestral instrumentation or a new and unique approach to teaching as playing technique such as  the Bornoff Cyclic Method.
• Visionary ideas create a new story (~2% of ideas) This might be the invention of the synthesizer or Schoenberg's rules of Serialism.

In the end, we must inspect our ideas and determine if they are worth pursuing.

Examples:

• Pedagogy: Learn all you can about the various systems and pedagogy for teaching upper positions.  Ask questions. Is my idea valid?  Is it efficient?  Is it sequential?  Am I providing context? 
• Music Making: Learn the chord structure songs that are similar that the one you want to write.  Listen to favorite artists and analyze their work.  Do you have the appropriate gear and experience?
• Rehearsal Process: Listen to multiple recordings of the work.  Can you  justify the tempo change?  Does your vision work from a historical perspective?

TRANSFORMATION

Once we have retained the idea and inspected it, we can then transform it into something concrete.  This is where our imagination meets our content knowledge, goals, background, and intuition.  We are compelled to take the fully inspected idea and let it become all that it can be. This requires thought and some dedicated quiet time.  I often find my quite and transformation time in the car with the radio off. Interestingly, I also find it in the early morning with a cup of coffee in the quiet and relative calm of the coming day.  In the end, however, this is where the idea develops into something I can ultimately use.

Examples:

• Pedagogy: Create your system and try it with students.  Is ti effective?  Make some changes or additions and try again.  This is a never-ending process.
• Music Making: Go to work.  Create a melody.  Put some chord changes together. Do you have a bass line or riff?  Do you still like it?  Try again.  
• Rehearsal Process: Give the idea a try and see how it lands for your players.  Does it create the desired effect?  Try is a little more or less subtle.  Is this better.  Again, this process is ongoing.  but, the idea has survived and has begun to take life!

Even this blog post went through this very process.  I read The Creative Habit by Twyla Tharp.  I made a note of the Kosslyn quote on page 94 right when I first read it.  In my case, I made the note in my blog app and figured I  would come back to it later.  In fact, I made that note almost 1 year ago.  But, in that year, the idea didn't go away.  It was written down for me to stumble upon later. And, that certainly happened.  Next, I inspected it. I ran across the quote in my notes a couple of weeks ago and began to ponder the idea.  I made a few notes, put it away, and came back to it several times. I decided it was worth pursuing as a result of some of the teaching I have done this summer and began the task of transformation.  As I began to transform the idea, I decided to work with my three primary creative areas: pedagogy, conducting and rehearsals, and music-making.  These made sense to me and gave me a frame from which to build this post.  And, here we are.  My original idea for a blog entry has turned into creativity by using this very model.  By the way, I would classify this as an "Ordinary" idea.  It is (hopefully) simply an effective way to relate a traditional story.  The framework of this idea is not my own.  It is Kosslyn's.  I simply tell the story in my own words to my own audience from my perspective.

I am wondering if this resonates with any of you?  Have you ever with taking an idea from the earliest stages to completion?  Perhaps some of these thoughts will help you with the process.  I welcome your reaction and thoughts.

Peace.
Scott

By the way, I do recommend The Creative Habit.  I picked up a great deal from the book.  I mostly found it to be affirming of the way I have approached creativity for many years.  In the end, it provides a sequential system with great nomenclature and certainly a harmonic underpinning.  (For those of you that know my work, you will recognize this.  If not, check out this post.

Its All About People

Hi all!
I am pleased to let you know that I was recently featured with an interview on the Critical Pedagogy Electrified blog, also known as MusicEdLove.  This podcast is run by my friend, Angela Ammerman, professor of String Ed at the University of Tennessee at Martin.  I am on Episode 12 entitled, "It's All About People."

The interview mostly deals with my first year of teaching and the ups and downs of a first year string teacher.  It was fun to think about those early days in my career.  Although, I must admit, some of the details are a little bit fuzzy after 31 years!!   I hope you enjoy it.

I encourage you to check out the rest of her blog and podcasts as well.  They are fantastic!

Peace.
Scott

Conn Selmer Institute

Hello to my new friends at the Conn Selmer Institute!  Welcome to my blog!

This week has been such a wonderful experience and I am so pleased to meet so many new friends. I am honored that you took a minute to check out my blog.  You will find everything from pedagogical thoughts, to repertoire notes, to  family thoughts, and philosophical essays.

For those of you that are not here this week, the Conn Selmer Institute is a magnificent 4 day professional in-service conference held in South Bend, Indiana each year. This year represents the first year that there has been a dedicated string track at the Institute. It has been a true honor to participate in this event and I only anticipate that it will grow each year. Conn Selmer works tirelessly to provide the highest quality professional development experience for educators. As part of CSI, participants have been treated to a full schedule of educational sessions. Those of us in the string track have been particularly fortunate to be led by my dear friend Soo Han, the new Director of Orchestral Activities at Baldwin Wallace University. Soo has a stellar reputation in string education and has been a wonderful leader for those of us involved in the string track this week. We have been treated to several conducting sessions with renowned conductor Larry Livingston from the University of Southern California. Larry has really invested in the string teachers that are in attending and given a us great deal of himself. Larry was also the keynote speaker for the conference yesterday. In addition there have been wonderful sessions on scope and sequence, festival preparation, getting "inside the music," the basics of mariachi education, and others.

Moreover, the community that has developed among the folks involved in the string track has been absolutely wonderful. It has been so great to meet so many new friends, to learn together, and to socialize together after the work of the day is done. As I find so often, the warmth of the string orchestral education community is palpable and we all seem to sense that we are all in this together.

In addition to the educational sessions, we had the pleasure of touring the Conn Selmer manufacturing facility in Elkhart, Indiana. I was moved by the level of expertise of all the workers and the level of commitment by this company to exceptional quality at every step of the process. It really gave me hope for the future of our country.

To my new friends from CSI:
If there are topics you would like me to address here, just let me know. I will be posting more thoughts about CSI in the coming days.

Meanwhile, it has been my true pleasure and honor to hangout with and learn from you all this week.

Peace.
Scott

A. Seasons and Finding Fulfillment

In recent weeks I have been thinking a great deal the various seasons that we experience in a career. It seems to me, as I complete my 31st year as a teacher, I have experienced 3 significantly different seasons in terms of how I relate to students and how students relate to me.

The initial phase is the first 5-10 years. For this article, I will call this “young teacher.”  The middle 15-20 years will be referred to as the “Advancing Professional.”  Finally, the 20 year plus teacher will be referred to as the “Seasoned Pro.” The transitions between seasons can be difficult and certainly have been for me to some extent.  I have realized that we must be mindful of the seasons and our role that we serve for our students and for our teaching community in each of these seasons.  If we are not mindful and reflective of these seasons, things can become difficult for us.

About 18 months ago I developed a conference session for the University of North Carolina at Greensboro’s Southeast String Teachers Conference. The session was created at the request of my friend, Dr. Rebecca McLeod, and centered around the topic of finding career fulfillment as a string educator. I presented the session in January, 2017 and it was very well received by college students and seasoned professionals alike. The session presented 7 different models for looking at career fulfillment and encouraged colleagues to consider which model resonated with them in the most profound way. I found the various models in books on the topic, on social media, through light research, and even created a couple of the models myself based on my life and experience, coupled with conversations with colleagues.

In May 2018 I was invited to give a session at the Music and Arts Directors Clinics in Fredrick Maryland. I was asked to present to a mixed group of music educators including orchestra, band, choral, and general music teachers. After thinking about it for a while, I suggested the Career Fulfillment session as one that might resonate with my colleagues from a variety of disciplines. I spent a good deal of time revamping the session and updating it to match with my audience and current thinking. As part of the updating process, I began thinking about how we find our fulfillment in different ways as we move through different seasons of our career. This grew from the knowledge that the college students at UNCG responded equally enthusiastically to the content of the session as did teachers of 25 years or more. My guess was that the teachers at the Music and Arts Directors Clinics would be of a variety of ages.  This, coupled my own experience of the past few years and, frankly, struggling with some fulfillment issues, made the preparation process challenging and enlightening.  For a look at the session handout and the 7 models, click here.

One of the models which I developed is called “The Journey Begins.” In this model, I ask teachers to consider their sphere of influence as it relates to their students and their professional community (colleagues at work and beyond). I ask them to consider what their sphere of influence is or what they would like it to be during each of their career seasons.   In the weeks since giving the talk, it has become more and more apparent to me in my transition from “Advancing Professional” to “Seasoned Pro,” I have realized that I have not been reflective about differences in how students might relate to me how I need to be comfortable with my current sphere of influence and skill set.  This reflection is certainly an important facet of career fulfillment.  Here is an example of the potential discomfort and transition:  I am now the age of my student's parents or older.  Lets face it. Kids relate differently to their parents and their parents' peers than they do to younger adults.  My role is no  longer Mr. Laird the "cool (hopefully) young"  teacher.  I really do think that was once me.  But, that really can't be me any more.  Now I aspire to be the compassionate parental influence in my students' lives.  But, in my conversations with young teachers and advancing professionals, I may have the opportunity to share some of my experience and provide information, inspiration, or insights to their situation.  I have walked in their shoes and come out the other side.  My role and sphere of influence has changed and will continue to change.  We must be reflective to find peace in that transition.  (Otherwise we might even become dissatisfied or bitter.  Did you ever know a teacher in that situation?)

I have been privileged to spend the last 4 days with a small group (30 or so) of string educators from around the country at the Conn Selmer Institute.  Is part of our time together, I have had numerous conversations with pre-service teachers from many collegiate programs, young teachers, advancing professionals, and seasoned pro colleagues.  Many of those conversations centered around career, career advancement, time management, and overall fulfillment.  All of us, in one way or another, are chasing fulfillment though impact.  And all of us are in different seasons and phases of our careers and personal lives.  What a rich tapestry of conversation and ideas.

I encountered a pre-service teacher while at CSI who told me that he used to be an Environmental Science major and had changed recently to Music Education.  I asked how the change was going.  His response was that his life is now so much more fulfilling!  That  really moved me.  He, of course, had no idea who I was or that I was interested particularly in the concept of fulfillment. He was simply at the conference, soaking up all of the information he could from the expert faculty, and making connections with other folks that were interested in the same things ye was interested in.  He was seeking out the fulfillment that he was missing in his previous major.   I applaud him for chasing fulfillment and not reputation, money, or fame.  I assured him that with fulfillment in his sights as a goal, he couldn't go wrong!

What season are you in?  Have you been reflective about transitions from season to season?  Have you experienced any of the discomfort I describe?

My Dad spend over 25 yeas as a school superintendent and retired over 20 years ago.  I was telling my him about this line of thought a few weeks ago.  As part of the conversation he mentioned that it reminded him of some of the research he did on Maslow and Self Actualization as part of his dissertation in the early 1970's.  Come back to my blog in coming days part part 2 of this article where I take a look at Maslow's research and theories and attempt to superimpose them on this concept of career fulfillment.

Meanwhile, I wish you all fulfillment in your career and life as a music educator or in whatever you do!

Peace.
Scott

Do Ensembles ALWAYS Need a Conductor?

Do large ensembles always need a conductor?

Or, to be clear, do they always need someone beating time?  Of course they don't.  But, so many  music educators who are leading school ensembles make the mistake of beating time, all the time.  Let me provide a bit of perspective.

I was recently at a public school concert where an ensemble of terrific young string players were being accompanied by a bluegrass band on 2 fiddle tunes.  The conductor of the group, who is a fantastic musician and teacher, was beating 4/4 time throughout the entire performance. It really seemed out of place and even detrimental to the success of the performance.  He would have been so much better served to get the pulse out of the way visually, and to give some other meaningful information from the podium. This might include musical cues or appropriate style and/or dynamic information.  Instead, he was waving his arms (almost furiously) and not really providing any real visual information that could be used by the young musicians.   Ultimately, the pulse driving the ensemble was coming from the professional bass player that was accompanying the group, not from the visual information the conductor was providing.  It was a shame that the kids weren't informed of this and encouraged to direct their listening skills in the bass player's direction for the pulse-portion of needed information.

So, when exactly does a conductor discontinue giving pulse and allow the musicians to find that information from a different source?  Here are some examples from my experience.

Drum set:  Any time a drum set is involved in an orchestral performance, I believe the conductor need not beat time.  So many of us string educators are programming eclectic styles repertoire nowadays and a drum set is often part of that instrumentation.  In my experience, encouraging the players to use the pulse generated by the drums as their tempo and rhythmic guide tightens up the performance.  I look at it this way: if the best rock bands in the world can stay together with a solid drummer, so can my ensemble. The conductor can get out of the way here and give other appropriate cues and style information.

Groove section:   If a section of the orchestra is providing a clear groove - perhaps repeated, regular notes, they are essentially providing the information that a conductor would provide with the stick.  This can happen in repertoire from Mozart to Beethoven to modern stuff. There is something about repeated eighth or sixteenth notes that can be a great groove for an ensemble to "lock-in" on rhythmically.   I refer to this as "the engine" in my conducting work with student groups . I find that if I can get all sections referring to the engine for rhythmic subdivision and tempo information, it makes the performance much tighter.

Pieces that are imitating alt styles that would not normally use a conductor.  (ie: bluegrass, jazz, rock)  Here, I just find it odd to conduct these styles in the same way I would conduct a more classical piece.  Again, if it wouldn't happen in the original concert hall setting, I wouldn't do it in the orchestral setting when we are imitating the other style.  At least not continuously.

Music with a heavy back-beat: The idea here is that if a section of the ensemble is providing back-beat, then I would encourage the ensemble to listen to and react to that for tempo and pulse.  No, to be clear, I (the conductor) might be working to be sure that the section providing the back-beat is together and steady.  But, that probably doesn't involve simply beating time.

Music that is essentially chamber music:  This again gets to the idea of being authentic with your performance.  If a string ensemble is playing a work that was originally a string quartet or trio, perhaps it doesn't need a conductor beating time throughout the performance.  Is this an opportunity for you (the conductor) to pick up and instrument and lead with an instrument in your hands?

Think: Authentic.   If the style would not use a conductor in it's original form, it probably doesn't need a conductor in the orchestral form.   It also comes down to listening purposefully. Musicians need to know when to look to the conductor for meaningful information as opposed to when to listen for meaningful information from other members of the ensemble . Similarly, they need to know when they are giving them information as well.   I sometimes called this knowing when you are the teacher or when you are the student. Everyone plays the role of teacher at some point in a performance. Sometimes it's the conductor. Sometimes it's the first violins. Sometimes it's the celli. Sometimes it's the violas or 2nd violins.  It is a very empowering concept.

I took a minute to look up "conductorless orchestra" on the web and really didn't find too much.  Here is the Wikipedia entry: https://en.wikipedia.org/wiki/Conductorless_orchestra
Also, here is a great conductorless ensemble: http://afarcry.org/



In the end, it comes down to the condutor providing meaningful information at all times.  If the information that you are giving isn't needed, then find something to give that IS needed. Always think about what you are doing and how that visual information is enhancing the ensemble's task and performance.

Peace.

Scott

Context

Context is so important. For those of you that know my thoughts on pedagogy, context is very similar to the "Harmonic Underpinning" aspect of my pedagogical model.  When we have context and/or harmonic underpinning, everything makes more sense.  We are not playing in a vacuum.  With context, we play with a sense of greater understanding and investment.  I believe that as educators, most of us really understand this.  But, it is easy to leave it out or move quickly past it.  We can't.  We must continually provide our students with the "why?" of the work we do and the lessons we assign.  Learning without context is pretty hollow.

For those of us that lead orchestras, it is absolutely vital that we provide context music that we play. Lots of pedagogical repertoire even provides explanations of the composition on the inside cover of the score.  This might include the story behind the piece, pedagogical priorities, and other composers notes.  But,  this wasn't the case in the time of Mozart, Haydn, or Beethoven.  My Orchestra is currently working on Mozart's Symphony No. 41, "Jupiter." We had been working on this piece for about four weeks leading up to the holidays. For the last rehearsal before winter break, I decided to take some time and outline the context of the piece.  I wanted the students to understand many of the intricacies of the composition and the wonderful little secrets that within the piece.

My remarks that day included things as basic as the date of composition (1788), other works that were composed the same year (Symphonies 39 and 40, as well as piano trios in E major (K. 542), and C major (K. 548), piano sonata No. 16 in C (K. 545), and violin sonatina K. 547), some of the details of Mozart's life during that time, and basic structure of the work. I also included obligatory explanations of form as it applies to a Viennese Symphony. We talked briefly about Sonata-Allegro form, structure of a Minuet and Trio, and other standard details of form.

We discussed many other interesting details surrounding this work. We discussed the significance of subtitle Jupiter. From Wikipedia: "The celebrated finale of the symphony is a re-working, albeit a majestic one, of the opening movement of Carl Ditters's symphony in D, Der Sturz Phaëtons (The Fall of Phaëton) of 1785. In those days of classical education, members of the Philharmonic Society, of which Salomon was a founding member, will have known that the planet that the ancient Greeks called "Phaët(h)on" is the same planet that the ancient Romans called "Jupiter."  We discussed the significance of this piece historically and we covered the great deal interesting details the composition itself

One of the coolest aspects of this piece is that the first movement includes a reference to an aria entitled "Un Bacio di mano"  (A Kiss on the Hand) to which Mozart composed the music earlier that year. There is a direct quote of the music that accompanies the aria at the end of both the exposition and recapitulation of the first movement.  It is a compositional joke that reminds us of Mozart's true greatness and mastery of the symphony and artistic expression of the time.  Tom Service from The Guardian calls it, "an intertextual gag of the highest musical and dramatic subtlety."  

We discussed the weaving of themes throughout all 4 movements, the direct foreshadowing of the first theme of 4th Movement Fugue found in the 3rd Movement Trio, and the great significance and compositional achievement of the intertwined sonata allegro form and 5 themed fugatta 4th Movement.  We also discussed the historical significance of the 4 note theme which is originally found in Josquin des Prez's Missa Pange Lingua from the 16th century and eventually in the work of Michael Haydn, brother of Joseph.

Honestly, there is so much more.  I was so glad that I took the time to do this right before the holidays.   One student, thanking me on the way out of class, told me that it was really meaningful to her.  And, I think that the information has impacted our performance of the work.  So often, students erroneously look at Mozart's compositions as light and even perhaps insignificant compared to the great Romantic Symphonies.  This simply isn't the case.  It takes so much control to shape every phrase and keep the performance elegant. There is nothing simple about it. Honesty, I learned a great deal by doing a little bit of light research and the kids were certainly the beneficiary as well. 

So this is my reminder for today. Provide context work the works you are preparing.  Whether you are working on  arrangements of great works, new pedagogical compositions, or the masterworks, provide the context.  Encourage your students to act and think like scholars.  (CAST)

Context increases our scholarship, our understanding, and our investment in the work.  It will certainly impact your performance and enhance your students' learning and appreciation of the music you are preparing.

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

Backbeats as a Vehicle to Steady Tempo (Groove)

Exactly where does the intersection of folk, rock, and jazz idioms and classical music lie?  To me, the answer to that question is "Everywhere."  Certainly, the experts in each of these genres can clearly articulate and perform their idiom's most important aspects.  But, how do we bring the best of each to the other.

I have been thinking about this a great deal lately, especially since my conversation with Chris Howes on his Creative Strings Podcast. 

Last week, my orchestra was in the middle of rehearsing the Double Clarinet Concerto by Felix Mendelssohn for our upcoming Concerto Concert. There are a couple of passages in the work that are very metronomically stable, but, somewhat rhythmically difficult to master. My string section was having trouble holding a steady beat without pushing the tempo. 

I decided to experiment a little bit with pulse and backbeats in an effort to provide context for my students to remain steady. This idea grew from the conversation that I had with Christian just  a few weeks ago.  Of course, I had done this before with student ensembles, but it has come to front and center in my thinking and it was time to get some data!  (Incidentally, I alwasy encourage my students to practice and rehearse like a scientist.  Limit variables and gain data with every pass though a section. )  

I decided to first have the students play the passage slowly without any oral or clapped pulse. Results: rushing and instability.  Then, I ran the passage, clapping on beats 1 and 3.  Results: about the same. Following the less than moderate success with that scheme, I decided to try backbeats. I clapped on two and four while the students were playing a very traditional classical piece. After running the passage 2 or 3 times the passage became beautiful and steady. The backbeats were the answer.  My friend Christian would be so proud!  He is definitely on to something here. 

I wanted to collect some more data, so I asked the kids about their reaction to the exercise. Here are some of the thoughts that they gave me:

1. "Initially it's more difficult because it's unfamiliar."  
2. "After getting over the initial shock and discomfort, it caused me to think more deeply about exactly what was happening."
3. "It provided something that I could lock in to rhythmically and I had to take personal responsibility for the strong pulse."
4. "It really helped to steady the tempo."

I am convinced that  there is something much deeper going on here, but am not sure how to articulate it yet.  I will need to do more study.  But, here is what I know anecdotally:  Providing backbeats helps to establish groove.  By the way, I am not talking about  swinging the pulse in any way.  We are simply providing backbeats or the "snare drum" in the pop/rock setting.  

Which brings me to my hypothesis.  Student musicians are used to hearing groove in dance music and there is always a backbeat provided there.  Conversely, in classical repertoire, the backbeat is rarely provided and students feel more compelled or premitted to "fudge" the pulse a bit.

More research is required here. but, I am interested in your experience with backbeats in classical repertoire.   Meanwhile, I will keep digging.

Peace.

Scott

Theology of Scarcity

I was having coffee with a friend recently and he introduced me to the concept and phrase "Theology of Scarcity." I had never heard this phrase before and ask him what it meant. As I understand it, it refers to limited resources. It reminds us that resources are limited, so we must hold on to that which we have. I did a quick Google search on the phrase and really didn't come up with a clear definition. It is clear that the concept grows from Biblical origins and is bounced around in church circles to some extent. I've been thinking a great deal about this phrase and related implications.

As I think about this concept, it reminds me of some of the precepts that I have laid for my career and life. First, let me say that I try to think in the opposite terms of this phrase. Through some light research, this would be known as the "Theology of Abundance." I have always felt like abundance is a better way to approach life, work, family, and relationships. I guess it really comes down to glass half full vs. glass half empty.  In music education, there are so many areas that we find abundance. I'd like to outline a few of the ideas here and see if you agree with them.

Just yesterday, I was we had a student recital in my piano and guitar class. We were talking about the concept of applause. I always remind my students that applause is free. Applause is essentially a thank you. It doesn't cost a thing to give and we can give it with abundance at no cost to ourselves. I feel like we live in a culture of tepid applause. One of my overarching goals in all of my classes is to encourage students to give applause freely and abundantly. This is a great example where the Theology of Scarcity has no place. Applause and gratitude must always be abundant. We can develop this as a habit in everything that we do in our work and personal life. We've all heard it said that thank you are free. And so it is with applause. It feels so great to receive the affirmation of applause and I will always encourage my students to give applause abundantly.

Another area that the Theology of Scarcity has no place is in that of ideas and approaches to pedagogy. I think about this all the time. There are an infinite number of approaches to teaching concepts in string education and music education in general. That's the beauty of it. We can give away our ideas abundantly and without fear of them being stolen. The fact is, all of our ideas and approaches to pedagogy grow from some other approach. We tend to take that which has been used with us as students and modify or refine it in ways that we feel are effective for our students. As a result, I always try to give away my ideas freely and in abundance. I encourage you to do the same. Share your ideas.  Don't hold them in. Give them away and let others try them. The fact is, that your personality is an integral part of the effect of nature of your ideas. Ideas are not proprietary. Personality plus ideas is. No one can take that from you. And, your personality is not scarce. It's what you have.

One thing that is in fact scarce, is time. I experience this everyday in my rehearsals, in my planning time, and in my family life. This is why I believe that efficient use of time is really important. And, if we can turn this idea on its ear just a bit, we see that efficiency is in fact abundant.   We can always be more efficient.  I am always pleased when someone asks me how I accomplish so much in a day or a week.  The fact is that I am an efficiency expert.  I have learned this at NCSSM for sure.  I have learned to be efficient in rehearsals due to short concert cycles and minimal rehearsal time in any given week.  I have learned that my students don't have time to waste.  We get in, get settled, and go hard for the allotted rehearsal time.  This has served me well in other conducting experiences.  I have to be efficient when conducting festivals, at camps, and in other environments.  Strong planning leads to efficient rehearsals.  Strong preparation leads to efficient rehearsals.  

So, the Theology of Scarcity is a really interesting theory.  So is the Theology of Abundance.   I think I will choose the Theology of Abundance.   How do these apply to your life, work, and family?

Let me suggest that in our lives, there should be no scarcity of

Patience

Caring

Goodwill
Smiles
Hope

Love

As musicians, there should be no scarcity of

Repertoire to practice, hear, and experience

Emotions to express

Enjoyment to experience
Satisfaction in the joy of music-making, teaching, communicating, and appreciation

Mark me down for the Theology of Abundance.  It is a better way to live.

Peace.
Scott

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

Artist/Educator

Back in May, I had an outdoor gig at local sports bar/restaurant, Devines in Durham. It was a Saturday night and happened to be prom night for my school, the North Carolina School of Science and Math.  Throughout the evening, I was delighted to notice lots of my students coming out of other area restaurants, on their way to the prom following dinner.  Many of them stopped in order to hear me play a bit and take photos of me and my fellow musicians.  The crowd that was at the bar to hear me play could see the joy and fun in the students eyes of seeing their music teacher in a performing setting, outside of school.  What a fun experience for all!

Today I am thinking about the importance of maintaining a life as a performing artist while pursuing a career as a music educator. In the weeks around that performance, I was involved in a series of interviews, seeking a new visual arts instructor at NCSSM. One of our stated priorities for the candidate was that they, in addition to being an exceptional experienced teacher, had a vibrant life as a working artist. We believe that there is true value for students in having a role model that is a working artist. (By the way, we certainly found that person and are thrilled to have her on Faculty today at NCSSM!!)

I have worked hard over the past 30 years to maintain an active performing life. Many of you know that I still perform as a violinist both in the classical and in a variety of improvisatory arenas. I perform regularly in churches, as part of a string quartet, as a solo artist, as a recording artist, and as part of numerous pop and rock bands around Durham & the Triangle region of North Carolina. I also frequently pick up my violin and perform as part of conducting appearances.

I believe strongly that modeling a performing life is a vital part of the educational process. Students want and need to see their teacher actively engaged in the art that they themselves are working so hard to master.

That Friday night was a really cool experience along these lines. I couldn't help but think that this was actually another important part of the educational process for my students. It is not often the students get to see me as my alter ego, improvising violinist. They're used to seeing me in rehearsal, conducting the orchestra, and running the various programs at NCSSM.  In the end, we all have a responsibility to maintain our life as an artist and practitioner in our chosen field. That's how students really learn. They see their mentors doing the thing they love. Students learn by example. And, they find an interest and passion in that same area as their mentors. For those of you that are young music teachers or perhaps even pre-service teachers, I encourage you to set concrete goals for both your teaching life and you're performing life. 

Don't ever let your chops deteriorate to the point that  you won't play for the public. Find time to practice. Find time to perform. And find ways to model your passion and expertise in performance for your students. Build advancing your performing skills into your professional development plans and time.  Use some of your summer time and other breaks for practice, lessons, or other performing opportunities.  You owe it to yourself and you owe it to your students!

Peace.

Scott

More Habits

A few weeks ago I published a post entitled Five Habits of Successful Musicians. A few days after that post was published, I was discussing it with my orchestra at Interlochen. The kids listened with great interest and really took the notes to heart. Following my remarks, the kids begin adding their own suggestions of habits that are important for successful orchestral musicians. I promised them that I would publish them as soon as I had some time to sit down and write the article. So, here it is. More Habits of Successful Orchestral Musicians as discussed by the Interlochen Intermediate Concert Orchestra in the summer of 2016.  The habit and the person that suggested it are in bold, followed by my commentary.

1. Stop playing immediately when the conductor stops conducting. ~Abigail. 

Nothing derails a rehearsal faster than students playing past the conductor's direction and wastes valuable time. It is such a good habit to stop immediately. Also, by playing beyond the conductor's direction, there really is a question as to whether the musician is truly mentally with the ensemble. Great advice!

2. Listen to each other at all times. ~Yael

It seems so simple. But, listening is key. So often, students get tied up in reading the notes and the part that they forget to listen. This habit must be developed very early in a young musician’s life.

3. Mark Your Parts independently without being prompted. ~Alma. 

Student who mark their parts independently are clearly demonstrating that they're thinking independently. Ultimately, that is the goal in any orchestra rehearsal. We want students to be independent musicians that are tied into the greater good of the group. And, we want them to mark their part so much that it will be impossible for them to make the same mistake the next time.

4. Ask questions when you are confused. ~Julietta.

This is such great advice. So often, if the student has a question, they worry about being the only one with that question. The fact is, if one student has a question, probably many are thinking the same thing. As hard as conductors try to be clear, sometimes it just doesn't happen. Ask questions when you're confused. More than likely, others need that answer as well.  We can handle it!

5. Practice the most difficult parts first outside of class. ~Charlie.

Human nature is funny. We want to practice the things that sound the best. The fact of the matter is that we don't need to practice the stuff we already can play. Go directly to the most difficult passages and practice them first when your attention is at its highest. Practice them slowly and accurately. Then go back and play the stuff that you can play well and like to play. Those passages are much better held until later in the practice session.

6. Make a plan for turning Pages. ~Katelyn.

So often, student musicians turn pages way too late. The inside player should always stop well in advance of the page turn and be prepared to get that page turned before the downbeat of the first measure of the new page. It is always the inside player's responsibility. Anytime the outside player feels compelled to turn the page, the inside player has dropped the ball. This is standard etiquette of orchestral playing and should be adhered to in every situation.

7. Be prepared for every entrance two bars early. ~Gloria.

I always instruct my ensembles to have instruments up and ready to play two bars before any entrance. This consistency helps everyone in the section know exactly when to enter. If someone has lost track of a long series of rests to be counted, they can jump back in if the entire section is bringing their instruments up exactly to bars early. Consistency is the key here.

8. Bring water to rehearsal. ~Eva. 

I am not sure that I would have included this in my list. But, at Interlochen where we were making the list, it is close to 100 degrees in many of the rehearsal spaces during the summer months. Hydration is absolutely key for these kids. And, as I think about it, having a bottle of water on the floor is actually a pretty good idea in any rehearsal setting. As long as it doesn't distract from the rehearsal, a sip of water can be quite refreshing in the middle of rehearsal and can actually provide a little bit of extra energy toward the end of a long rehearsal. 

9. Mark your mistakes so you can go back and practice them later. ~Eva.

It is always good to put a little note in the music on passages that need to be reviewed. This, again, demonstrates independent thinking and musicianship. Anything that makes practice more efficient is always welcomed by a conductor!

10. Look through the section not just at the conductor. ~Julietta. 

Musicians that get in the habit of looking not only at the conductor, but also at the front stand and those around them tend to be the most accomplished ensemble musicians. They should be paying attention to the bow placement of those around them, bow direction, style, articulation, and many other facets of the ensemble's work. This would include those in their own section and those in other sections around them.

11. Breathe into phrases. ~Yael

I always ask section players to breathe into every entrance, just as if they were playing in a string quartet. Every player is the conductor.  That breath and preparation into a phrase is vital to strong ensemble performances. And, it is a great habit to take to the chamber ensemble as well. (By the way, soloists need to develop this as well!)

12. Look the part.   Play the role.  ~Yael.

I always tell students that if they don't look like they know what they're doing, they probably don't. The first step is always to look good in an ensemble. That means sitting on the front edge of the chair, having feet firmly planted on the ground, and holding the instrument in a beautiful, perfect playing position. Other aspects of looking the part include bow hold, position relative to the conductor, general posture, and many others.

I hope that you find these helpful and encourage you to share them with your students.  What have we forgotten?  Please share your thoughts in the comments section.  

Best wishes for a successful 2016-2017 academic year!!

Peace.

Scott

The Advantage of a Diverse Perspective

During a recent conversation with my colleague Dan Teague, Math Instructor at NCSSM, we were telling each other a little bit about our respective personal and educational backgrounds. For those of you that don't know Dan, he is one of the most highly respected math instructors in the United States and is it true leader at NCSSM.  He is a humble and understated scholar who lives his life as a role model for others. Both students and colleagues look up to him in a variety of ways. It would be impossible to overstate the number of lives that he has impacted in his time at NCSSM, both through student interaction and teacher education, as well as curriculum development. He is certainly a trusted friend and respected colleague.

 During that conversation, Dan told me that as an undergraduate he was a physical education major. I was a little bit surprised at this and asked them to tell me a little bit more. His answer was really interesting to me. He went on to tell me that he had decided to go into physical education and was thinking that as a coach or athletic director he would be a bit more marketable in the world of education and have more career options at his disposal.  And, as a non-math major, he would be free to take whichever advanced math courses interested him, rather than taking the classical math curriculum that his peers in the math major path were required to pursue.  So, he did just that.  He enjoyed the a la carte nature of his math courses. In his words, he sometimes comes at math problems from a non-traditional perspective as a result. This non-classical training led to his unique perspective on math, problem solving, and math education which he has championed and shared for many years at NCSSM.   This has proven to be a great benefit to his students.  His diverse perspective has led him to develop strong teaching philosophies, methods, and curricula in math modeling, combinatorics, complex systems and a number of other advanced mathematical topics.

 As he told me about the benefits of his diverse perspective I couldn't help but think of the benefits that a diverse perspective in music provides as well. Music students that have a strong background in classical repertoire and technique certainly have a leg up on their competition. But when that is combined with a deep understanding of music theory and analysis, skills in improvisation, skills in composition and songwriting, background with both the melodic and harmonic role of their instruments, interest and ability to be creative with their music studies, or even multiple instruments, they are so far ahead of the game.  I strongly believe that the more diverse a musical perspective the student gains, the more functional that musician will be in the long run.  So, for me, functional musicianship is a primary goal for my students.  Classical training is certainly important.  But, when training in the classics is brought to life through functional experience and perspective, a true musician may truly develop. 

 I feel strongly that those of us that began our musical training with a Suzuki background and a strong philosophy of rote learning and ear training are certainly functionally ahead of the game. The ear to hand skills that I had the opportunity to develop as a six and seven year old music student have been invaluable throughout my life as a musician and music educator. The experiences that I had as a middle school student learning the bass guitar, drum set, guitar, and mandolin provided me a diverse perspective that I brought back to my violin studies on a daily basis. Every rock band that I played bass or drums in has made me a better violinist. Every day that I sang in chorus made me a better violinist, conductor, and musician. Every music theory class and lesson that I attended with Jeff McGee during my junior year of high school made me a better musician. I took those skills and began songwriting which definitely enhanced my functional musicianship. In high school and college I  played bass in jazz band which enhanced my violin playing and musicianship. All of the harmonies that I learned and sang in church during the hymns added to the skill set.  Even in my thirties when I began seriously improvising on the violin, I could sense my classical violin skills growing.  And, my classical skills certainly informed my improvisation and sense of melody. This diverse perspective makes me a better classical musician and my skills as a classical musician make me a better pop and rock musician. My skills as a conductor make me a better violinist and my skills as a violinist make me a better conductor. My understanding of the guitar, mandolin, and bass guitar fretboard definitely makes me a better violinist and conductor. All of these skills come together to build a core of functional musicianship for me.

 And so, I make this a priority for my students. I try to bring a diverse perspective to class every single day. In my classical guitar and piano class, I stress the importance of applying music theory to music performance.  I also stress both reading skills and improvisatory skills.  In my orchestra class, I try to stress understanding functional harmony and melodic line as they apply to the repertoire at hand and I encourage listening and rhythmic skills that improvisational musicians use on a daily basis. I often ask my orchestras to develop the type of listening skills that are used in rock and pop bands. In these types of performance settings, the players naturally listen for the inner rhythm and groove of a piece. This is an important skill that many students in orchestra have never been encouraged to develop.

 It was such an eye opening experience for me to learn of Dan’s background and diverse perspective. It gave me a greater understanding of his broad range of interests and the way he relates so perfectly to his students and colleagues. Many of us who teach at NCSSM aspire to the level of instruction that Dan demonstrates on a daily basis. And, through conversations like the one that I had with Dan, I feel like I have a more diverse perspective is well. He is always teaching. I will continue to learn.

 Peace.

 Scott

Finding and Maintaining Fulfillment in your Career in String Education

On Saturday, January 23, I will be presenting the session, Finding and Maintaining Fulfillment in your Career in String Education, at UNCG's Southeast Honors Strings Festival and Conference. Back in the summer of 2015, Dr. Rebecca MacLeod asked me to put a session together on the topic of "teacher burnout" and this is the result of that work. The abstract that I put together for the session (before the session was actually formulated) reads as follows:

In this session, participants will consider their level of fulfillment with their work and career in string education. The presenter will provide a variety of focus areas for consideration and models for identifying and assessing career fulfillment.  Attendees will be asked to consider (and perhaps share) their roles as  artists/educators, motivations for embarking on a career in string education, sense of mission in the school and community, complexity of their work, perspective on workload, busy schedules, and a balanced life. Participants will walk away with strategies to find fulfillment in their careers while balancing their personal and professional life. 

In preparing for this hour-long lecture/discussion, I have accumulated a number of models that look at professional fulfillment and I even generated one of my own. I have had numerous interesting and in-depth conversations with colleagues and have found a genuine interest and passion for the topic. It is so interesting to dig deep and see how folks think about themselves and the work where they spend so much time and energy, as well as the motivation for the pursuit of success and fulfillment. I hope to offer the attendees the opportunity to identify strengths and growth opportunities as part of the session and, in the end, have an enlightening discussion.

As part of the session, I have generated a small survey/pretest for the participants. I am thinking that it will be more of a primer for discussion than any sort of real research. But, I got to thinking that it might be fun to have some broader input to the results. So, I am asking you, my readers and friends, to feel free to take the survey. I am particularly interested in music educators' responses. However, if you are an arts educator, you may certainly take it as well, substituting your art in place of music. If you are a non-musician, feel free to take the survey and simply don't answer the questions that are arts-related. The survey will take only a few minutes. Again, it is simply a primer for our discussion. Then, in the coming weeks, I will write a longer post here that will fill you in on the content of the session and, perhaps, some of the results. Thanks in advance for your contribution to this discussion!

Take Survey

All my best.

Peace.
Scott

Just Listen

Just listen. I t seems like a pretty simple thing to ask of a group of young orchestral musicians.

But when you think about it we're really asking an awful lot of these young folks in a large ensemble setting. We are asking them to read and interpret the written page. We want them to utilize their knowledge of key signatures, tonal center, and intonation to play in tune and to make pitch adjustments at all times. We want them to play musically and think about the direction of musical line. We want them to interpret the gestures of the conductor and follow them every step of the way. We want them to move freely and express the sound and feel of the music in a visual way as well. We want them to interpret the rhythms represented on the written page and play them together in unison.  All of this is done while in an uncomfortable suit under really hot lights in front of an audience.   You get the point. We are asking an awful lot of student orchestral musicians. But, so often I am compelled to say "Just Listen."

 At its core,  listening is absolutely crucial. It seems like a simple thing to say and perhaps it even seems like a simple thing to do. After all, they are making sound. And, why would they do it if it weren't listening?  Of course they are listening. But, do our students really know what to listen for and how to react to the things they are hearing? These might be the larger questions.

In recent weeks I have been compelled to consider what I am asking students to listen for. In other words, I am trying to be very specific regarding cues that they may hear that will help them with rhythmic accuracy, tonal accuracy, and musical interpretation. I believe that good listening needs to become a habit in student musicians. The only way that good habits will develop, is for us, the instructors, to provide students with solid cues that lead to appropriate reactions by the players. When a student musician has success in following these new-found habits, they will be more compelled to incorporate those habits into their everyday playing life.

Let me give you an example. Today, I was involved in a performance of the final movement of Beethoven's 5th Symphony. At the beginning of the final Allegro, which is in 2 beats per measure, there is a dotted half note. The violins were leaving that half note way too early, getting to the next measure easily a 16th value early if not more, and causing a real rhythmic problem. Simply asking the students not to rush that note, was an ineffective request to make. It really didn't yield any better results. However, when the students were asked to listen to the inner rhythm of the viola's 16th notes, they then had something meaningful to listen to that provided much needed information. Now on that passage, when the students are asked to just listen, they know what to listen for and can react appropriately with the knowledge that by listening, the passage will stay together.

I'm convinced that there are so many times in all repertoire that students want to know what to listen for, but are simply unsure. We as directors, must be very specific in providing suggestions for appropriate listening in the context of an orchestral rehearsal. Our students have so many things to think about when playing. Specific instruction will really clarify the process.

Let me give another example. Today, I was conducting Convergence by Carold Nunez. This is a really cool piece of music that I've programmed many times over the years. Most notably, it has a dance-like 7/8 section in the middle that can be really tricky for the second violins and violas. Throughout the course of rehearsals this week and the students really fought to avoid rushing. The two sections have the eighth, quarter, and dotted quarter notes passages that must lineup between sections. At some point during rehearsals I decided to stop conducting to really forced the students to listen, not only to their own section, but also to the sections around them.  Through this exercise, the second violins came to realize that, if they listened to the 1/8 note passage in the violas, the inner rhythm during their dotted quarter notes, they would much more accurately place the next pulse of this complex rhythm. In fact, during the performance today, at that spot in the piece, I stopped conducting so that the students would "just listen."  The technique was effective. The students knew what to listen for. And the passage was very successful.

Simple, right? Just listen. Well, no. Not really. I would encourage you to think about ways that you might encourage your students to listen more effectively. Find passages in your repertoire where the students can receive meaningful information from another section and incorporate it into their effective performance. Find spots in the repertoire where you can stop conducting and place more value on the skill of listening. It is actually very liberating for a conductor. It takes a great deal of the responsibility off of the stick and places it more squarely in the ears of the musician playing the part. Another way that one might consider this is that it's really the chamber ensemble approach to orchestral music. Again, I think the real skill is knowing when to lift one's listening attention more specifically to another section, knowing what to listen for, and knowing how to react to the things that one hears.

 Obviously, sometimes it is way more important that each musician watches the conductor. So, students need to know when the most important information is visual, and when the most important information is aural. They also need to know when they are giving the information to some other section to listen for. That, too, is an important piece of knowledge for every musician to have. When that is the case,  the section with the passage that is providing information to the other section may more effectively point that information out.

Finally, I would point out that, quite often it is the rock and jazz musicians that are the real pros at just listening. They are the ones that don't have as much information written down in front of them. As a result, they are less likely to get so tied to the note reading aspect of music making. They are more likely to just listen (and react) in an ensemble setting. We, as orchestral musicians, could stand to learn a great deal from our friends in the jazz and rock world.

So there are some thoughts on the art of just listening. I hope that this provides some new insights for you or perhaps gets you thinking about listening on a little different level. I challenge you to encourage your students to listen this week. And also challenge you to think about how would you might specifically direct your students to listen. You might also consider putting down your stick in certain passages of a piece and force your ensemble to find the important information in other areas of the ensemble and to find the places where they are providing the important information.

I know that the students in the ensemble I conducted this weekend can all honestly say that they were encouraged to just listen. And, they really gave an effective performance that demonstrated their understanding of the skill of listening. I wish you the same success in coming weeks and months.

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