Tag Archives: music performance

Balancing the Physical and Musical Aspects of Instrumental Music

Blog-InstrumentalMusicAsPhysicalEducation_April2017_BG_Proof3

By Thomas J. West

Most public school music ensembles spend 95 percent of their classroom time preparing for public concerts. It takes many hours of repetition of the music in order to program the body to perform the music accurately. Band and orchestra directors basically run rehearsals for a living and become very good at providing the repetitions necessary to program the physical movements required to perform the music accurately.

When I began writing articles for my website, I focused on sharing music practice tips. The majority of these were strategies designed to help maximize practice routine efficiency, garnering more successful repetitions of the music. What I have only recently realized, however, is that the majority of time and effort spent practicing a musical instrument has more to do with programming the mind to physically control the instrument accurately and reliably. There is more “physical education” involved in instrumental music making than actual “music education”.

In most traditional high school bands and orchestras, the vast majority of rehearsal time is spent drilling the music in order for ensemble members to develop some level of physical proficiency in performance. Teaching basic musicianship concepts like reading notation, understanding pitch, and so on, is left to the elementary music teachers to handle. High school ensembles focus primarily on ensemble techniques such as pulse control, section and group intonation, balance and blend, and so on. Those concepts are touched upon and then drilled, drilled, drilled until the ensemble can perform them accurately.

The Marriage Between Physical and Aural

One of the amazing things about studying music performance is that it elides the physical skill of operating a musical instrument with the mental skill of perceiving and instantly processing and reacting to sound. Singers do this as well, but the need to physically train the body is quite different. Instrumentalists spend a great deal of time simply becoming proficient at manipulating the contraption that makes the musical sounds happen.

Students of music have to not only become proficient at the physical movements, they also have to use their aural skills to assess their own physical performance. The actual musical part of instrumental performance is all mental, and it requires training and skill building just like the physical training of operating the instrument.

Over-Programming the Physical Part of Performance

Because it takes so much time and repetition to program the body, musicianship and listening skills often take a secondary role in many school performing ensemble classes. This is compounded by the fact that many high school band and orchestra directors choose repertoire that demands a high level of technical proficiency on the part of the performers. Technical wizardry (those fast sixteenth note runs, screaming high notes, rapid tonguing or bowing passages, and so on) are engaging and exciting to listen to, and many directors want their students to have the experience of performing exciting works with a lot of technical fireworks.

The trade-off, however, is that technically demanding repertoire often consumes the majority of available class time simply to get the ensemble performing proficiently. Even then, traditional band and orchestra programs lean on the students with the higher music aptitude and skill development to carry the weight while their peers hang on for dear life or fake their way through the difficult passages. Add to that fact the more important consequence—the students rarely have time to improve their musical skills in favor of improving their physical skills.

Audio Gym Teacher?

If ensemble directors, for whatever reason, continue to program technically demanding works that constantly stretch the boundaries of what the students are capable of, they are providing their students with more of an “audio physical education” than a “music education.” Technical ability is only part of what makes up an effective musical performance. It is far better, in my opinion, to choose repertoire with easier technical demand that can be mastered in a shorter amount of time, leaving room towards the end of the preparation period to work on ensemble playing techniques, expressive phrasing, and communicating the intent of the music to the audience.

Quite simply, if by concert time students are not able to look away from the sheet music for more than a brief glance at the baton in order to be able to perform the piece, the technical demand is probably too high.

There certainly is a need for repertoire that “pushes the envelope” and gets students to reach for a new level of technical ability, but I have seen too many band and orchestra programs that try to stretch the ensemble with every single piece they perform. Slaving away on demanding parts is enjoyable for only a minority of students—most are turned off by such hard work, especially if that level of demand is constantly upon them.

Physical training in the band and orchestra is a major component of instrumental performing music and is constantly being addressed. There needs to be a balance, however, between the physical aspects of instrumental performance and the mental aspects of listening, audiating, and understanding music as an art form.

TomWest

Thomas J. West is an active music teacher, composer, adjudicator, and clinician in the greater Philadelphia area. He has eighteen years of experience as a concert band director, marching band director, jazz improvisation instructor, choral director, orchestra director, private instructor, and marching drill writer. Learn more about Thomas at www.thomasjwestmusic.com. 


 

Brass Quintet Swing: It’s All about That Bass

Zachary Smith

If you have ever heard a brass quintet plod its way through what is supposed to be a “swinging” arrangement of a standard and wondered why it doesn’t feel right, the answer is simple: It’s “all about that bass”…or more accurately, the bass line and the tuba playing it.

In a typical “classical” brass quintet, the tuba is treated as one of five voices which come together to paint a sonic picture. To create an effective “swing” quintet arrangement, a composer has to write for four voices which will play over the top of a tuba bass line. Listen to a jazz small group and you will realize that the bass almost never stops playing—often playing a “walking four” as horn players solo over the top. The tuba has to embrace the same role for a brass quintet to swing and to maintain accurate time.

“Walking four” is the art of playing long strings of quarter notes which provide the chordal or harmonic foundation of a swing tune. One issue for the tuba player playing a walking bass line is that there seems to be no opportunity to breathe. A composer can address this problem with skillfully placed quarter or eighth rests, and the tuba player must learn to take quick, efficient breaths. Planning and practicing where to breathe should not be overlooked when rehearsing a swing tune.

Connecting notes is also critical when playing an effective walking bass line. When an acoustic bassist plucks a string, it rings until the next note is plucked. Many tuba players have a tendency to leave space in between every note they play. The result is a stilted bass line that sounds more like ragtime than swing. In the quintets I have written for Alfred Music I frequently write legato marks over the quarter notes for the tuba as a reminder (or plea) to use a “doo” tongue and connect the notes. In addition, the “doo” articulation will provide a smoother, more connected line, therefore a more effective approach to the quarter note line. If your quintet isn’t swinging, work on it from the bottom up—because it truly is, “All about that bass!”

Zachary Smith
See all titles from Zachary including his three new brass quintets here.

Whiplash—Conquering Complex Time Signatures in Jazz

Erik Morales

Erik Morales

“Whiplash”
By Erik Morales
10/09/2014

A movie hit the cinemas, 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.

Piece of the Week: A Very Respectable Hobbit

Jack Bullock

Jack Bullock

Blog provided by:
www.smartmusic.com/blog

From Academy Award winner Howard Shore’s score for the 2012 movie The Hobbit: An Unexpected Journey, this piece will delight students and audiences alike. The first of Peter Jackson’s Hobbit trilogy, The Hobbit: An Unexpected Journey introduces audiences to the characters and themes of the fantastical world of Middle Earth, a setting already familiar from the beloved Lord of the Rings franchise. This arrangement features the Hobbit’s main theme, a folk-like tune that depicts the pastoral life of Bilbo Baggins and his fellow hobbits of the Shire, and hints at the adventures and conflicts to come. This easy and fun piece is available in both a concert band and string orchestra arrangement.

Audio Sample:

Audio provided by Alfred Music.

Composer Biography:

Howard Shore is among today’s most respected, honored, and active composers and music conductors. His work with Peter Jackson on The Lord of the Rings trilogy stands as his most towering achievement to date, earning him three Academy Awards. He has also been honored with four Grammy and three Golden Globe awards. Shore was one of the original creators of Saturday Night Live. He served as the music director on the show from 1975 to 1980. At the same time, he began collaborating with David Cronenberg and has scored 14 of the director’s films, including 2012’s Cosmopolis, The Fly, Crash, and Naked Lunch. His original scores to A Dangerous Method, Eastern Promisesand Dead Ringers were each honoured with a Genie Award and Cosmopolis was awarded for score and song “Long to Live” with Canadian Screen Awards. Shore continues to distinguish himself with a wide range of projects, from Martin Scorsese’s Hugo, The Departed, The Aviator and Gangs of New York to Ed Wood, The Silence of the Lambs, Philadelphia, and Mrs. Doubtfire.

Shore’s music has been performed in concerts throughout the world. In 2003, Shore conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington. Since then, the Symphony and The Lord of the Rings – Live to Projection concerts have had over 285 performances by the world’s most prestigious orchestras.

In 2008, Howard Shore’s opera The Fly premiered at the Théâtre du Châtelet in Paris and at Los Angeles Opera. Other recent works include the piano concerto Ruin and Memory for Lang Lang premiered with the China Philharmonic Orchestra on October 11, 2010, the cello concerto Mythic Gardens for Sophie Shao premiered with the American Symphony Orchestra on April 27, 2012 and Fanfare for the Wanamaker Organ in Philadelphia. He is currently working on his second opera.

Shore received the Career Achievement for Music Composition Award from the National Board of Review of Motion Pictures, New York Chapter’s Recording Academy Honors, ASCAP’s Henry Mancini Award, the Frederick Loewe Award and the Max Steiner Award from the city of Vienna. He holds honorary doctorates from Berklee College of Music and York University, he is an Officier de l’ordre des Arts et des Lettres de la France and the recipient of the Governor General’s Performing Arts Award in Canada.

Howard Shore’s biography courtesy of http://www.howardshore.com/biography/

Arranger Biography:

Jack Bullock holds undergraduate, graduate and doctoral degrees in the field of Music Education. As a performer, he studied trumpet with Harry Glantz, James Ode and Craig McHenry, and performed with the Miami Philharmonic Orchestra and the Miami Opera Company. He also performed statewide with New York show and territory bands, and nationally with traveling dance bands. A prolific composer and arranger, Dr. Bullock has written more than 600 publications for a diverse group of ensembles, including concert band, orchestra, jazz ensemble and marching band. He is the co-author of the Belwin 21st Century Band Method, and was a contributing arranger for the recordings of Music Expressions, the innovative school music curriculum published by Alfred Music.

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.

 

A Few Tips on Selecting Your Halftime Show Music

 

story

By Michael Story
Composer, Arranger, & Editor

Times sure have changed since I was in high school band. We used to perform a different halftime show for each home game. Nowadays, most bands perform just one show a year, which makes it even more important to select a show that truly fits your band. Although marching band students are not exposed to as much music as we were, the advantage to doing just one show a year allows for a much higher level of achievement in performance quality. Here are few tips to help you in your halftime music selection:

  • Type of Music: Although many bands have had success with original compositions for their show, there are many good reasons to consider a show based on pop music. Sure, there is good and bad pop music (just as there are good and bad original compositions), but many popular songs offer great teaching opportunities. The added benefit is that you will generally have a better opportunity to connect with your audience.
  • Difficulty Level: You want to choose music that is neither too easy nor too hard. Students will become bored with music that is too easy, and discouraged with music that is too difficult. Choosing music that is right at your band’s ability level (or slightly easier) allows you to focus on increased musicality and polishing the drill.
  • Quality: Are ALL the parts (not just the melody) interesting, musical, idiomatic, and written in a comfortable range for your students? Has the composer or arranger chosen an appropriate instrument or section to play the melody? Do the interior parts, countermelodies, and bass lines make musical sense?
  • Form: Does the show achieve a balance of REPETITION and CONTRAST? Examples of repetition include recurring themes or ideas, or an ending reprise of the opening melody to tie the show together. Contrast is achieved not only from varying the musical content, but also through textural and instrumental changes, including solos or ensembles within the show, musical highs and lows, and percussion or other section features.

Good halftime show music can come in all shapes and sizes–there can be great educational opportunities in all genres. Whatever music you choose, have fun with it, and have a great year!

The Creation of Missa Festiva

John LeavittBy John Leavitt, Director of Choral Activities and Professor of Music, MidAmerica Nazarene University

Missa Festiva began in 1987 with the commission of a festival piece for the International Choral Symposium in Kansas City, Missouri. The Sanctus (“Festival Sanctus”) of this Mass was the result of that commission. Other individual parts of the Ordinary followed—the Kyrie and Agnus Dei. The Gloria was finished in the fall of 1990. The Credo, the centerpiece of the Mass, which weds the work together, was completed in the spring of 1991. At that time, the five separate movements were orchestrated and assembled into one large work, approximately 15 minutes in length.

Since that time, the piece has been performed around the world, both by sacred and secular choirs. More recently, on the 20th anniversary of “Festival Sanctus,” I began working on an expanded chamber orchestration that enhances the musical texture and color of the work, featuring parts for woodwinds, strings, and percussion. The result of that effort also yielded several new voicings of the various movements, and the full work is now available for SATB, SAB, SSA, TTB, and 2-part choirs.

The outer movements, Kyrie and Agnus Dei, are set in a lyric, neo-romantic style that features modal inflection. The inner movements, Gloria and Sanctus, are set in a rhythmic, ebullient style, featuring mixed meters and syncopation. The middle movement, Credo, uses ancient chants to distinguish the three persons of the Trinity. While this work does not purport to be a liturgical Mass, it uses texts from the Ordinary, both altered and unaltered, to conscribe to musical considerations. These Latin texts, time honored through many centuries, are embraced for their richness and provide a vehicle for excellent choral singing.

Editor’s Note: Equally affective in concert and worship, Missa Festiva is a wonderful addition to any school or church library. Click here for more information.

Keep Your Students Playing This Summer

BPhillipsBy Bob Phillips
Director of String Publications

Have you ever had a student return in the fall and tell you they have forgotten how to play? One cute little second year student told me that the teacher last year (me) hadn’t taught reading. Of course, they really haven’t forgotten and we really did teach the skills – the students just need to play again and review.

The Hobbit Play-Along books are great for summer, to keep your students playing! Check out these fun books here. Perhaps even send a note home to parents suggesting they check out the link for great summer music activities that will keep the kids playing!

The three charts from The Hobbit: An Unexpected Journey that are featured this month will fit a niche in your concerts. Use each to build interest in your concerts as well as to simply enjoy the music!

For me, best teaching practice means including all styles of music in order to touch the hearts of more students. People all have different tastes and the music they are exposed to through the orchestra can be wide and varied. Whether it is Mozart, fiddling, Broadway, or The Hobbit, teaching opportunities and the chance to build a love of music abound in them all.

Bob Phillips

Instrumental Music as Physical Education

TomWestMost public school music ensembles spend 95 percent of their classroom time preparing for public concerts. It takes many hours of repetition of the music in order to program the body to perform the music accurately. Band and orchestra directors basically run rehearsals for a living and become very good at  providing the repetitions necessary to program the physical movements required to perform the music accurately.

When I begin writing articles for my website, I focused on sharing music practice tips. The majority of these were strategies designed to help maximize practice routine efficiency, garnering more successful repetitions of the music. What I have only recently realized, however, is that the majority of time and effort spent practicing a musical instrument has more to do with  programming the mind to physically control the instrument accurately and reliably. There is more “physical education” involved in instrumental music making than actual “music education”.

In most traditional high school bands and orchestras, the vast majority of rehearsal time is spent drilling the music in order for ensemble members to develop some level of physical proficiency in performance. Teaching basic musicianship concepts like reading notation, audiating pitch, and so on is left to the elementary music teachers to handle. High school ensembles focus primarily on ensemble techniques such as pulse control, section and group intonation, balance and blend, and so on. Those concepts are touched upon and then drilled, drilled, drilled until the ensemble can perform them accurately.

The Marriage Between Physical And Aural

One of the amazing things about studying music performance is that it elides the physical skill of operating a musical instrument with the mental skill of perceiving and instantly processing and reacting to sound. Singers do this as well, but the need to physically train the body is quite different. Instrumentalists spend a great deal of time simply becoming proficient at manipulating the contraption that makes the musical sounds happen.

Students of music have to not only become proficient at the physical movements, they also have to use their aural skills to assess their own physical performance. The actual musical part of instrumental performace is all mental, and it requires training and skill building just like the physical training of operating the instrument.

Over-Programming The Physical Part Of Performance

Because it takes so much time and repetition to program the body, musicianship and listening skills often take a secondary role in many school performing ensemble classes. This is compounded by the fact that many high school band and orchestra directors choose repertoire that demands a high level of technical proficiency on the part of the performers. Technical wizardry (those fast sixteeth note runs, screaming high notes, rapid tonguing or bowing passages, and so on) are engaging and exciting to listen to, and many directors want their students to have the experience of performing exciting works with a lot of technical fireworks.

The trade-off, however, is that technically demanding repertoire often consumes the majority of available class time simply to get the ensemble performing proficiently. Even then, traditional band and orchestra programs lean on the students with the higher music aptitude and skill development to carry the weight while their peers hang on for dear life or fake their way through the difficult passages. Add to that fact the more important consequence – the students rarely have time to improve their musical skills in favor of improving their physical skills.

Audio Gym Teacher?

If ensemble directors, for whatever reason, continue to program technically demanding works that constantly stretch the boundaries of what the students are capable of, they are providing their students with more of an “audio physical education” than a “music education”. Technical ability is only part of what makes up an effective musical performance. It is far better, in my opinion, to choose repertoire with easier technical demand that can be mastered in a shorter amount of time, leaving room towards the end of the preparation period to work on ensemble playing techniques, expressive phrasing, and communicating the intent of the music to the audience.

Quite simply, if by concert time students are not able to look away from the sheet music for more than a brief glance at the baton in order to be able to perform the piece, the technical demand is probably too high.

There certainly is a need for repertoire that “pushes the envelope” and gets students to reach for a new level of technical ability, but I have seen too many band and orchestra programs that try to stretch the ensemble with every single piece they perform. Slaving away on demanding parts is enjoyable for only a minority of students – most are turned off by such hard work, especially if that level of demand is constantly upon them.

Physical training in the band and orchestra is a major component of instrumental performing music and is constantly being addressed. There needs to be a balance, however, between the physical aspects of instrumental performance and the mental aspects of listening, audiating, and understanding music as an art form.

Thanks goes to Thomas J. West Music for letting us use his blog!

Thomas J. West is an active music educator, composer, adjudicator, clinician, and award-winning blogger.
thomasjwestmusic.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.