Pirates! at Westminster College

I had a fantastic experience on Friday, October 26th at Westminster College with the Wind Ensemble.  It was an honor to have Pirates! performed by such an outstanding group of young musicians.  It was also very rewarding to hear the seriousness with which they took the privilege of making music.  In their pre-concert meeting in the band room, each of the three student conductors on the program expressed their appreciation to their peers for their efforts in rehearsal, and they encouraged each other to enjoy the moment and play their best for the sake of the music and for each other.  The group abounds with students who make great musical decisions instinctively in their playing, and their performance was fantastic.  Their program included some of finest literature in the band world (Zdechlick’s Chorale and Shaker Dance, Persichetti’s Paegant, Reed’s Hounds of Spring, and J. Clifton Williams’ The Sinfonians).

I have been very impressed with the quality of the Westminster College bands over the past 13 years, and it is a direct reflection of Dr. Greig’s hard work, dedication, and desire to set a higher standard.  Dr. R. Tad Greig has become a great mentor to me on the job, and I appreciate his advice, experience and perspective.  I know his students appreciate what he gives to them, and I hope Westminster College understands how fortunate they are to have a director like Dr. Greig at the helm of their band program.

The concert also featured part of a new piece by Senior Music Education Major Jacob Moon.  The one movement they presented, “Requiem” is part of a larger work he is writing for his Senior Project.  Jacob’s choice of texture and color to the score show a maturity well beyond his years, and I am very eager to hear the completed project.  If you have not had the opportunity to make it over to a concert at Westmisnter lately, please do yourself a huge favor – GO AND ENJOY IT!

Bowling for Mozart

I revisited a favorite story of mine from several years ago after talking with a couple of dejected students following chair auditions at Mercer. I had written this story down as part of my portfolio that I presented at Duquesne University. As much of our actual time is building students up, what happens when they get knocked down? And how can it be that when a student experiences a taste of failure, they actually get better? Read on, true believer….

Not every concert needs to be big!

This is part blog/part advertising so bear with me as I do a little promotion for my students, and offer some ideas to the new community of music educators who are not afraid to talk about ideas and issues that can have tremendous impacts upon our program. Thanks to the support of my administration I was able to institute a section of students within the high school wind ensemble that would receive weighted credit. These students have additional requirements beyond those of the regular Wind Ensemble students, and for their academic preparation and performance receive 1.1 credits. One of those additional requirements was to perform in a chamber recital with their peers last spring. Despite a tornado warning that delayed the start of the program (as we were in the hall observing our severe weather plan), it was a wonderful evening full of great music. As I sat and listened, and made introductions and remarks to the audience (45 to 50 people) I kept coming back to the same thought: these students have made tremendous strides musically. The thought kept going on as I drove home and I began to wonder: What would an ensemble sound like if every student studied some chamber music and would get it ready for performance?

Auditions anyone?

It must be that time of year – football seasons are half over (except those of you football teams is boasting a 5-1 record like yours truly) , homecoming dances are playing their last slow dance (here’s hoping it’s Stairway to Heaven), and directors of ensembles everywhere are thinning out paperwork and are finally able to find portions of their desk (except yours truly). But the other item that is drawing upon us (and sometimes surprising quickly) are auditions. Auditions in the school ensembles, auditions for honor groups, auditions for college and university bound seniors – the list goes on and on. It can be a stressful and fretful time for directors and student alike, and if not handled correctly can be the cause of a groups’ loss of synergy and cohesiveness.

One of the first things I address with each of my own ensembles is the rationale for auditions. I have found that students carry misconceptions about why they have to audition, and it causes undo anxiety that adversely affects their performance. My first point to the group is that this is a collection of data about their current abilities. I want to put them in the best possible position for growth, development, and ultimately success as a musician. The formative data collected from auditions allows me to plan individual instruction (in lessons), and ensemble rehearsal plans based on the strengths and weaknesses in each group. It is also a factor in the selection of music – is this the right year to showcase the clarinets? What song would best develop the young low brass section? Does this piece give the ensemble an educational opportunity to develop musical expression and sensitivity? Some years the results of auditions let me know I have a lot of work ahead of me. Other years it has let me know to keep setting the bar a notch higher than the students’ think they can reach.

At 3:15 p.m., class is just beginning…

Much of my recent non-music writing has been in the area of music advocacy. This article should come as no surprise that I am once again waving the flag, but this time I am looking to get the attention of a different audience. As I look ahead to my doctoral studies at Kent State University, the area of music advocacy is one area that I feel that music educators (and future music educators) must take greater care in developing as part of our profession. We must strive to make every class (like that being offered by the creative Owen Bradley) and every academic and extra-curricular ensemble provide a meaningful connection with music for our students and grow within them a respect and admiration for this art to which we have given our careers.

Of all the battles I have faced during my tenure in the public schools, this is the easiest. We sometimes are the most consistent factor each day in a student’s life – and like Uncle Ben said to Peter “With great power comes great responsibility.” It also just so happens that we teach the most dynamic, cross-curricular, aesthetically appealing unique subjects in the history of the world – and if you missed it earlier reference Peter Parker’s uncle listed above. Our students may have trouble admitting it, but they want this exposure to everything that music can offer them: Appreciation as an individual? Step up to the mic and play over the changes Coltrane Jr. Contributions to a team that can achieve great things? Ask the GCC Marching Band how they felt after the Clarion County Festival a few weeks ago. Experiencing the height of human emotion and beauty? How about the Vaughan William’s “Variation on a Theme of Thomas Tallis”, Morten Lauridsen “O Magnum Mysterium”, or even “October” by Eric Whitacre (yes, he’s a youngster, but he is so good!). Power? Intensity? Drama? Mahler, Beethoven, Respighi. This is the easy battle. It’s when they leave the school day at 3:15 p.m., or after marching band, or show choir, or district festival practice….the battle at home begins.