Category Archives: Jazz

Whiplash—Conquering Complex Time Signatures in Jazz

Erik Morales

Erik Morales

“Whiplash”

Conquering Complex Time Signatures in Jazz

By Erik Morales

10/09/2014

A new movie hits the cinemas this fall, Whiplash. This highly acclaimed film is about a young student drummer and his relentless pursuit of perfection. The title of the film is borrowed from a jazz band composition by Hank Levy of the same name and is featured in a key scene of the film. “Whiplash,” composed by Levy for the Don Ellis band, is a notoriously difficult piece. This is due largely in part from the time signature that prevails: 7/4. Don Ellis was a pioneer in championing music that had odd meters. But the difficulty does not necessarily arise from the 7/4 meter.

The challenge of this arrangement and many other odd meter pieces in any genre lies in how the individual measures of 7/4 are subdivided. In order to perform this piece effectively all members of the band must understand how each measure is sub-divided or broken down into smaller parts. Specifically, each measure is subdivided in groupings of two or three eighth notes. Of course the eighth note groupings are arranged in a manner that always equal out to seven full beats (14 eighth notes). These groupings are illustrated in the following manner: (2+2+2+2+3+3), (2+2+3+3+2+2), (3+3+2+2+2+2), (3+3+3+3+2), and so on.

Luckily, most of “Whiplash” is based on the (2+2+2+2+3+3) subdivision of the 7/4 meter. Another variation to count this subdivision is a measure of 4/4 plus a bar of 6/8. Levy’s genius shines in his ability to save the more complex subdivisions for later sections of the work including the head-spinning ending. I was lucky enough to create an arrangement of this work for Belwin Jazz (00-30647).

Whiplash

The Levy arrangement was out of print so hopefully I was able to bring new and fresh light on this terrific tune. My version of the work attempts to be as close as possible to the original version but remain within the standards of today’s modern jazz ensemble. The producers of this film could not have found a more appropriate title. Whiplash lives up to the billing as both a brilliant movie and a musical masterpiece.

I highly recommend students and educators step out of the common time “box” and explore odd meters. It is a great way to expand the focus of meter and time in general.

Most importantly, have fun playing jazz!

Erik Morales
http://moralesmusic.com/

Click Here to see all of Erik’s Belwin Jazz arrangements.

The Band Director’s Afro-Cuban Survival Guide

Joe McCarthy

Part 1: The Clave

Welcome to the first installment of “The Band Director’s Afro-Cuban Survival Guide” for percussion and the drumset.

Afro-centric rhythms and instruments are present in virtually all styles of music and it is imperative for band directors of all levels to understand the core functions and applications of these rhythms. When studying this genre, one must turn to Cuba because of its unparalleled contributions to this style of music. Since the 16th century, Cuban music has been a melting pot of African and European harmonies, melodies and musical instruments. Of particular interest are deep connections to many Cuban drumming styles where enslaved African people were able to maintain their sacred and secular drumming traditions. These traditions created an essential bond between music and language.

You’ve heard this term before, but I’d like to simplify this topic so you are totally comfortable and understand it completely. This way you can explain it to your students.

Stay with me now:

One of the most important and unique characteristics of Cuban music is the clave, which translates to the “key.” Clave is quite simple and easy to understand. The clave is the structural core of Cuban music. I am referring to clave as a concept, not the percussion instrument the claves, although the rhythms of the clave patterns are played on the claves. You hear it and feel it constantly in all styles of music including classical and pop. It is a rhythmic cell or pattern which is the foundation of most Cuban rhythms. In a nutshell, the clave is the glue that holds this music together. In the Afro-Cuban style and related music, all instrumental, melodic and harmonic phrases should be in sync with the clave, this includes phrases that are improvised. The clave concept is a 5-note (5-stroke) cell or pattern phrased over two measures. The clave pattern is either 3:2 or 2:3, which means there is a 3-side and a 2-side of the clave. These numbers simply indicate which side of the clave the phrase begins.

The next step: The son clave and the rumba clave are the common types of clave. Son clave is heard primarily in salsa and popular dance music, while rumba clave is heard primarily in folkloric music and Latin jazz. Although the rhythmic structure of son clave is similar to rumba clave, the difference is the rumba has a little syncopation of the last note on the 3 side which adds tension to the music.

I’ll demonstrate the son clave, both the 2:3 and the 3:2 in 4/4 and then in cut time.

Here are three short video clips to further explain:

Now, in this short video clip, I’ll demonstrate the rumba clave and clearly show you the difference between the son and rumba clave.

How do you know which clave is correct or which one to use? Typically the 2-side clave corresponds to a melody containing less syncopation. Conversely, the 3-side clave typically contains more of a syncopated melody. There are exceptions of course. The direction of the clave is either 2:3 or 3:2 and the direction is dependent upon the rhythmic and melodic structure of the tune. In other words, begin by determining whether the rhythmic structure of the melody has a tendency towards the non-syncopated 2 side or the more syncopated 3 side of the clave.

Not every melody will outline the clave exactly, so listen for accents and figures, many of which are characteristic to this style of music. Once the clave is internalized, this concept will make more sense, as you will relate the phrase to the clave. How does this happen? LISTENING. Investigate Cuban folkloric drumming, salsa and Latin jazz. The clave is there.

Next: It is also very important to understand that clave is a fixed pattern, which means the direction of the clave does not change! Stay with me now: However, because it is an even-numbered phrase, a common technique is to incorporate an odd-numbered phrase to give the illusion of a “change” in the direction. In other words, the next phrase starts on the other side of the clave, tricking our ears into thinking it has changed, but it hasn’t. Another odd-bar phrase will return the clave to the “original” direction. I refer to this as “Moveable 1”.

Check out these short videos to further explain and demonstrate the “Moveable 1.”

Take a few moments to internalize the clave so you are able to hear and feel the pattern. Share it with your students too.

Look for the next segment in a future Alfred Ledger Line. It’s easier than you think and all the rhythms associated with the clave will make much more sense with this foundation in place.

Thanks. Keep listening and most importantly, have fun!

Joe McCarthy

Check out more instructional videos from Joe McCarthy on his YouTube playlist:

Check out his books and DVDs here.

 

What’s a Jazz Play-Along?

What’s a Jazz Play-Along?
A question and answer approach.

Peter BarenBreggeAn example of a modern jazz play-along is Freddie Hubbard & More (book and DVD-ROM). This jazz play-along features jazz standards composed by jazz trumpeter Freddie Hubbard plus jazz standards by other jazz composers. Each tune features a written-out melody, written-out sample jazz solo, and written chord changes for soloing. The innovative, easy-to-use TNT2 Custom Mix software on the accompanying DVD-ROM allows you to customize a demo or play-along track, loop a section for specific practice, slow down or speed up the tempo, and more. The pro rhythm section and horn player demo tracks provide examples of jazz interpretation, articulation, and improvisation. By removing your instrument part from the track mix, you can play along to practice with the rhythm section. Tips and suggestions for improvisation are included for each jazz standard.

Q: What is a jazz play-along?
A: A jazz play-along is a practice tool to help you improve your jazz improvisation skills. The music is typically based on jazz standards, i.e., jazz tunes that are frequently played by jazz musicians.

Q: How does a jazz play-along help me learn to improvise?
A: Essential concepts to learning/improving jazz improvisation are: 1. listening and, 2. “hear it—sing it—play it.” For example: if you play a C, B-flat, E-flat, or bass clef instrument, here is a simple plan for each jazz standard in the play-along using the Freddie Hubbard & More Jazz Play-Along. Sample pages are provided here.

  1. Listen to the demonstration performance (by trumpet or saxophone) of the melody and sample solo on the play-along DVD disk. Repeat as needed.
  2. Sing along with the melody and sample solo using simple “dah” or “doo” jazz syllables. Repeat as needed.
  3. Play along with the demo track of the melody and sample solo and imitate the style and concept played by the pro jazz player.
  4. Play the melody and sample solo with the rhythm section only—mix out the demonstration trumpet or sax. Repeat as needed.

What have you accomplished?

  • You will have listened to the melody and sample solo played in a jazz style.
  • You will have sung along with the melody and sample solo. This has opened your ears to some musical nuances and allowed you to delve deeper into imitating the demo performance.
  • You have played-along with the rhythm section to imitate what you have heard and sung.

Q: What about improvising on the chord progression? I’m used to playing only written notes, I don’t know what to play when I see chord symbols.
A: Essential concepts to begin to improvise. 1. learn the form, and 2. learn the chords and melody, and 3. learn to play using your ear—not the written page.

  1. You have learned the form from listening/singing/playing.
  2. You have heard and recognize when the chords change and learned the melody by listening/singing/playing.
  3. With the melody and sample solo mixed out, play the root of each chord in the chord progression with whole/half/quarter notes depending on the duration of the chord. Then play the third of the chord, then the fifth, and so on. Repeat as needed.
  4. In the solo section with chord changes, play the sample solo numerous times with the rhythm section. This written-out sample jazz solo provides you with motifs, ideas, snippets, and devices that you can use in your solos to get you started.
  5. As you begin to improvise, start slowly and simply by playing the root, third, fifth and seventh tone of the chords. Embellish the melody rhythmically and melodically, use snippets and ideas from the sample solo and the melody. Slow the tempo down as needed.
  6. As you become more familiar with the melody and harmony, close the book and play by using your ear. Trust your ears!

Final comments:

  • Jazz improvisation is not an overnight learned skill, it is a lifetime quest!
  • To become a jazz improviser, you will need to spend time listening, learning, transcribing solos, and imitating. Immerse yourself.
  • Books and jazz instructional media are valuable tools, but in conjunction with listening and imitating.
  • Play songs by ear.
  • Depending on your experience level, using this play along and following these steps will get you going with jazz improvisation.
  • The written-out, sample jazz solos are not necessarily a definitive solo but merely examples of how to improvise on the given chord progressions.
  • For a rhythm section player (piano/bass/drums), there is a corresponding book/DVD for rhythm section instruments.
  • Check out the Freddie Hubbard & More Jazz Play-Along published by Alfred Music.

Have fun playing jazz!

Pete BarenBregge

Including Your Students in Concert Repertoire Planning

By Jan Farrar-Royce 

Jan Farrar-RoyceWe all know that choosing a balanced program for our ensembles includes searching for pieces that contrast in tempo, mode, styles, and eras.  We also want to choose programs that are entertaining and include some musical and/or technical challenges.  Finally, we want to find music that our musicians will be excited to play,  and even practice, especially since we will spending so much time working on them!

Particularly for teaching students in the first three years, using pieces that everyone will recognize, notably ones with lyrics, can help students and their families enjoy their lesson and ensemble pieces more.  These tunes can include well known songs for children, folk tunes, some popular songs, and some of the tunes used in the General Music classes.  Building on this common repertoire encourages students to use their ear to help them become more skilled at playing more complex rhythms and better in tune.

Your students may even recommend songs that you wouldn’t have considered. If some of these pieces are a little beyond their current technical level, feeling like they have some input into what they play may further motivate students to be more invested in their practice, and encourage them to learn new notes and techniques.

You or a parent can help monitor internet research so that your students can earn extra credit by learning about “the story behind” the tunes you play, or about the composers who wrote the music.  This kind of investigating can be especially satisfying with living composers who will sometimes write back to students who ask them questions through the composer’s own or their publishers’ web pages! Use this research to create program notes that can be included in the printed program or read to the audience by a student before playing a piece.

Using familiar tunes and empowering your students to choose some of your ensemble materials may help them to be more invested in their practice, leading to better intonation and rhythmic capability, and more willingness to learn new techniques so that they can play the tunes that they have chosen!

Playing Melodically: A Different Approach to Teaching Phrasing

By Todd Stalter

During my first semester in college, my studio teacher gave me what seemed like an insurmountable amount of technical studies to prepare for every lesson which, frankly, I enjoyed in a perverse sort of way—being able to play rings around everybody else was certainly on my mind as an ambitious freshman trumpet player (as if that was all there was to it).  During second semester, however, he tacked on some simple melodies in the back of the Arban Method for each lesson as well, saying, “I think it’s about time you learned how to play a melody.”  Of course, I thought I already did…boy, was I in for an education.  Thanks to him, I was initiated into my first truly detailed study of music.

One of the most important concepts we try to teach our ensembles is to play with good phrasing, but we often become frustrated when we don’t hear our groups playing phrases consistently.  I believe that part of the reason for this can be traced to our students’ first experiences with full ensemble music. They may be unconsciously making a distinction between that music and the material in their lesson books, which is naturally almost 100% melodic in focus.  You can’t really blame them; it’s hard to convince a young trombone player playing whole and half notes all day long, or alto sax and French horn players with an awkward middle voice part that sounds weird, that they actually have a melody of any kind.  And, to be honest, if we’re not careful, we directors can relegate phrasing pretty far down our priority list when rehearsing (guilty as charged).  After a few years of playing Grades 1 to 2.5 ensemble music with little or no attention to melodic playing, it becomes even harder to get good musical phrases out of them when they are in an ensemble capable of playing Grade 3 music and above.

We all know that for an ensemble player of any age, playing a good phrase requires knowing what the melody actually is, who plays it, and how their part relates to it.  I think too many directors get caught in the “melody vs. non-melody” trap while teaching phrasing, and are in fact unwittingly telling their students that when their part is not the melody, they should play “non-melodically,” which is exactly the opposite of what creates good phrasing in the first place.  I believe part of the answer to effectively teaching phrasing lies in convincing EVERYONE that their parts are melodic. Realizing that sometimes they may have the “primary” melody, a “secondary” melody, or even a “background” melody of some sort helps them find their place in the musical texture.  Using this approach, every member of the ensemble is focused on melodic playing, and is instinctively trying to phrase it musically, which gives the director something audible to work with, as in “Hey trombones, did you hear how the euphoniums played the part you share?  That’s how I want you to phrase it.”

Not only does this approach foster better individual and ensemble musicianship, but it teaches students to be more creative musicians and “think it” before they play it, which is a far more gratifying artistic result for both the director and their students.

Be an Active Listener

By Jeff Coffin and Caleb Chapman,
The Articulate Jazz Musician
Authors

calebchapman_jeffcoffinIn our new book series, The Articulate Jazz Musician, one of the first skills we discuss is the ability to listen. Listening is fundamental! We believe it is the most basic fundamental in music and ultimately essential to success. To participate, we like to think of the listening process as “the act of listening” or, better yet, “active listening.” To get the most from a practice activity, you need to be focused and involved. We would like to share some of our ideas on becoming better listeners, as well as some important recordings to listen to and share.

1. Listen with the Whole Body

Have you ever had goose bumps while listening to music? Where do they come from and why do they happen? Goose bumps come from a WHOLE BODY listening experience. Hearing and feeling music through your body can be a profound experience. Learn to appreciate the sensations of music on your arms, legs, feet, chest, hands, and face—they’re all vibrations and we can “hear” those vibrations with our bodies.

2. Listen to Your Surroundings

Learn to listen around you. Close your eyes, be silent, and pay attention to what you hear. It may take a few moments to perceive your surroundings but there is a lot there! The better your perception is, the better your listening skills will become. There is a big hint in the fact that the words “listen” and “silent” contain exactly the same letters.

3. Listen to an Expanded Range of Styles

It’s important to listen to and enjoy different styles and types of music. A wise person once said: “All listeners are equal in their opinions.” Just because you like something doesn’t mean someone else will feel the same way. The opposite holds true, as well—just because you don’t like something doesn’t mean it’s not valid. And similarly, just because something is new or is in a style that is unfamiliar, don’t dismiss it! Give it a listen, not just once but a few times. You might be surprised at how your appreciation for the music changes as you spend more time with it.

4. Listen More than You Practice

A good rule is to listen twice as much as you practice. Music is a language and we need to hear it in order to assimilate its sounds, articulations, rhythms, and emotions. It’s not realistic to expect children (or anyone) to learn a language without first hearing it and imitating it. Music is no exception. It takes time, effort, imitation, and listening.

5. Listen with Others

What is some of the most unusual music you have heard? Have you shared it with your students? Have you asked them to share theirs with you? Listening with others will give you a fresh perspective on what you are hearing. People enjoy talking about what they have heard. It’s important to ask the question, “What did you hear?”

Start a dialogue about music and about listening. Be sure to listen to your students’ comments. This is important even if you don’t agree with them or if their assessment seems a little strange to you. Experience is a beautiful teacher and we can all learn something from communicating and listening to one another.

Chances are that you, your friends, and your student musicians have some favorite current jazz artists that you are listening to. However, sometimes the vast catalogs of earlier recordings can be intimidating—often students will inquire about what to listen to. Below are a few recommendations from us of some great music to hone those listening skills on!

Small Group Recommendations from Jeff Coffin

Louis Armstrong & the Hot Five – anything!

Miles Davis – Kind of Blue

John Coltrane – Ballads

Sonny Rollins – Live at the Village Vanguard

Keith Jarrett – Standards Vol. 1

Cannonball Adderley – Something Else

Alan Lomax’s field recordings (These are online for FREE).

www.folkstreams.net (Great folkloric documentaries for FREE!)

Ali Fakar Toure – anything (He’s a guitarist from Mali, Africa.)

Aretha Franklin – Aretha Sings the Blues

Large Ensemble Recommendations from Caleb

Toshiko Akiyoshi – Long Yellow Road

Count Basie – April In Paris

Duke Ellington – Jazz Party

Gil Evans and Miles Davis – Miles Ahead

Maynard Ferguson – Birdland Dreamband

Dizzy Gillespie – Birk’s Works: Verve Big Band Sessions

Benny Goodman – Live at Carnegie Hall 1938

Fletcher Henderson – 1924-1925

Joe Henderson – Big Band

Woody Herman – Keeper of the Flame: Complete Capitol Recordings

Thad Jones/Mel Lewis – Live at the Village Vanguard

Stan Kenton – Cuban Fire

Charles Mingus – Let My Children Hear Music

Buddy Rich – Roar of ’74 

Groove Development Through Stylistic Coordination

By Joe McCarthy
Joe McCarthy

Most drummers with some experience will eventually encounter the situation in which they need to create a groove for a new composition. Sometimes it’s an obvious decision what to play, sometimes not. How do we prepare ourselves for these situations? Listening to and studying as many different styles of music as possible is essential in understanding the effect these different grooves have on any particular style. Physical and mental control of the drumset are also essential components to successful groove development. The result of extensive style analysis and mastery of the drumset is that it allows us to approach grooves more organically, meaning we can play what the tune needs, not just recycle a generic beat we have memorized.

I would like to share an exercise with you from my new DVD, Joe McCarthy’s Afro-Cuban Big Band Play-Along Series, Vol. II. This exercise will help you develop a combination of skills required to internalize the concept of groove development. I refer to this as “stylistic coordination,” simply because it can be utilized to develop whatever style you are studying or wish to play.

For our purposes, we will target a clave-based groove. Here’s the concept: to establish an ostinato and cycle through a series of permutations, focusing on limb alignment, sound quality, overall performance consistency and multi rhythm execution. This process will also target concentration, our most valuable resource, which must be developed just as our limbs are. Playing these exercises for long periods of time with a metronome trains us to “stay in the game” which is essential when we are performing something as basic as a tune, a concert, or even a tour or long-running show. Mastery of this concept allows us to focus on all of the moving parts of the ensemble we are performing with, while sustaining a high level of performance.

Let’s take a look at the components of the exercise:

1. For the ostinato in Exercise 1 we will be using is a 2:3 rumba clave pattern. Put this in the hand you normally use to play your ride pattern. You may play this on any instrument you wish, although a jam block would give you the color of the claves.

2. Hi-hat plays on beats 1 and 3.

3. Bass drum plays the “and” of beat 2, also known as “bombo.”

This exercise will be played in cut time, so we will feel it in two. The hi-hat will be the “big beat.”

Summer Hits

4. The permutations (variations or rearranging) will be played with your other hand in conjunction with the other three voices. Begin on the beat playing the snare drum and orchestrate to the toms as you master the rhythms. Please play each rhythm many times before cycling through all of them in succession. Once you begin cycling through them, start with one measure phrases of each and continue to expand to 4 and 8-measure phrases.

Summer Hits

Take your time and focus on remaining relaxed. Relaxation is the key to control!

Please refer to this segment of the DVD to see and hear the exercise. The play-along montuno track is provided for you to practice with.

This exercise is simply an avenue. These are not “beats,” but are rhythmic possibilities that will enable you to tap into an infinite variety of ideas, instead of being limited to repetitive 1-and-2 bar ideas.

Continue to experiment with any combinations you wish. The result will be a more creative, supportive and interactive approach to musical drumset playing.

Have Fun!

Joe McCarthy is the Grammy Award winning drummer with Afro Bop Alliance. Please visit his website, www.joemcdrum.com

7 Steps to a Killer Music Program

Caleb ChapmanBy Caleb Chapman

Starting a Music Program from Scratch
Back in the fall of 1998 my wife, Alison, and I went for a lazy Sunday drive that changed my life. I was an undergrad student at Brigham Young University in Utah completing a music degree with plans to pursue an MBA. On that drive, Alison suggested that instead of me pursuing a business degree, we should open a music school. To me it seemed like a crazy idea with little chance of success, but I learned a long time ago to listen to my wiser partner. So, just one month later, without much experience, without money, and without any significant business training, we opened a tiny music school in Utah.

Onward and Upward
Today that tiny music school has grown into a program with 13 ensembles and close to 200 top-notch young musicians, ranging in age from 10-18.

Our flagship group, a jazz ensemble called the Crescent Super Band, has received international attention, thanks to the program’s 22 DownBeat Awards, and appearances at venues from New York to the Netherlands. In fact, the band has been named Utah’s “Best Professional Ensemble” in any genre by Utah Best of State for 8 consecutive years – pretty amazing for a bunch of high school kids.

In a very short period, our graduates have landed significant scholarships in many of the nation’s top music schools – Berklee, North Texas, Miami, USC, the New School, and many others. In fact, each year our 20-30 graduates from the program rack up well over $1,000,000 in scholarship offers.

I just got word that an upcoming show for the Crescent Super Band at Jazz at Lincoln Center’s Dizzy’s Club Coca Cola has already sold out and our headlining debut at Carnegie Hall has almost sold out a month before the concert. I had to pinch myself when I got this news! How did we go from that Sunday drive in 1998 to having a full house at one of the world’s most famous concert venues?

A Recipe for Success
As I took a moment to reflect, I realized that there are several key philosophies that have served us well. They are not genre-specific and I am confident that the success our program has experienced can be duplicated anywhere when these principles are implemented. And, while none of them are “groundbreaking,” when combined, they provide a powerful recipe for a successful music program.

1. Keep music fun
As soon as studying music becomes something our musicians have to do—a chore—we have lost the battle. And this isn’t true just for our students; music needs to remain fun for the educator as well. Think back to what sparked your own passion for music. How can you instill that in your students?

2. Instill pride in the product
Music programs are cool! How can this be communicated properly, and the pride shared with the students and community? It comes from a mix of culture, programming, recruiting, professionalism, and other aspects. It starts with the way you, your students, and the public view the program. What can you do to position your group as a cultural resource to your community?

3. Remove students’ perceived limitations
Young musicians don’t know what the limitations on their ability are until you tell them. Don’t be afraid to set the bar high and keep notching it up. You will be amazed at the results!

4. Practice (and rehearse) for perfection
You already know that when a student practices while allowing mistakes, all he is doing is getting better at making mistakes! Create a culture that strives for as much accuracy as possible in rehearsals as well as performance and select the repertoire that will allow you to do that. What motivates your students to strive for perfection?

5. Empower your musicians with clear guidelines for learning the repertoire
It’s the old “teach a man to fish” analogy. A good educator can teach students how to play any piece of music. A great teacher will educate those students on how to accomplish this on their own. This approach allows them to learn new music during their individual practice time and not just when they are in rehearsal. For example, something that worked great for my jazz students was establishing a set of “rules” for articulation, which they apply to every piece they sight-read or play, whether in class or at home.

6. Surround yourself with a powerhouse team
Start with mentors for yourself; assemble an all-star cast of musicians and educators that have the skills that you want to develop who are willing to coach and guide you. Then, build a dream team for your students—clinicians, a network of private teachers, parent volunteers and boosters, and a staff of specialists. We’re all in it for the same reason: the students. Let’s help each other succeed.

7. Listen. Listen. Listen.
Encourage your musicians to learn the language of music through active listening. Provide information on area concerts in all styles, not just the one they are focused on in the classroom. Assemble listening recommendations and a forum for them to share their current interests and artists they have discovered.

As an educator, I love hearing about how other educators help their students succeed. What are your tips to helping your students achieve their best? Share in the comments below.

Caleb Chapman is an award-winning performer, author, music educator, and producer. His new book, The Articulate Jazz Musician co-written with Grammy-winning saxophonist Jeff Coffin, was released by Alfred Music in 2013. For more information on Caleb’s projects and educational innovations, visit CalebChapmanMusic.com.

Finding Meaning in Your Teaching Career

George Megaw
By George Megaw
Belwin/Pop Concert Band Editor

I’m reminded of two former students that brought meaning to my teaching career. Beth was an outstanding clarinet player and contributed to the high school band program above and beyond. She pursued music as her passion and career; she eventually earned her doctorate and is now teaching at the university level. It’s always gratifying to see a former student of this caliber share our passion and succeed, or even surpass their teacher.

Conversely, Ron was a good trumpet player who had lost his father at a young age and was brought up as the only child of a single mother. One weekend, I chose to take him flying with me to give his mom a break from being both parents. The afternoon had nothing to do with music or band. Fast forward about 20 years to when I was reading the newspaper while waiting for an early commercial business flight, when I became aware of a uniformed flight crew member looking at me from across the waiting area. As he approached me, I was sure I was going to end up on a no-fly list or something… but it was Ron…the Captain on my flight. That Saturday flight in a little airplane so long ago inspired his career choice as a commercial airline pilot.

I can’t tell you which former student I’m most proud of, and there are many more. (The first-class upgrade was certainly a nice treat though!) Every teaching day we have a critical impact on our students’ lives. Sometimes it just takes years to learn about them.

In our role at Alfred, we’re here to help you make those gratifying teaching opportunities more frequent and easily available. Thanks for considering the Belwin concert band catalog for your teaching and programming needs.

We Do It All for the Students…

Richard Meyer
By Richard Meyer
Highland/Etling String Editor

When asked in an interview recently to give advice to new teachers, I remarked: “Remember that you are teaching people, not music.” As teachers, we are so lucky. Every day we are given the opportunity to influence our students’ lives for the better and we have at our disposal the greatest vehicle for change known to humankind: music. Of all the subjects in the entire school curriculum, I am convinced that it is music that best teaches our students the most important life skills.

As every school year begins, we meet new students who are anxious to learn to play an instrument. They sign up for our classes because they know that they want music to be a part of their lives. What these eager beginners don’t know, however, is that once they start playing music, their lives will never be the same. They don’t know of the real life lessons that lie ahead or how music will change who they are. They don’t know.

But we know. Oh, how we know! We see them change daily and, with music, we help them develop skills they will carry with them for the rest of their lives—self-discipline, cooperation, teamwork, determination, goal setting, and leadership. The list goes on and so does our passion for teaching, renewed each year by a fresh batch of students who look to us for guidance. As year unfolds, we celebrate the musical progress our students make. Primitive, unrefined sounds slowly become recognizable tunes. Recognizable tunes eventually become basic ensemble pieces and, if we are all very diligent, ensemble pieces gradually turn into music.

As you celebrate the musical growth of your students, please don’t forget to celebrate those other ways in which they are progressing: the person they are becoming and the progress that each of them is making as a human being, as a leader, and as a caring citizen in a world that desperately needs caring citizens. Celebrate what you, with music, are doing to enrich all aspects of your students’ lives.

Recently, one of my beginning cellists was packing up after only her second lesson. She paused for a moment and said, in all seriousness, “I think I’m going to play the cello my whole life.” I hope she does. But even if she doesn’t, I am proud to know that music will have made her a better person.