Teaching Journal 4.27.18

# of Students Taught: 6

Ages: 1 frosh, 2 sophomores, 2 seniors, one college student

Instrument:  3 tenor trombones, 2 baritones, 1 bass bone

Materials: scales, tunes, & ear training; etudes, jury repertoire, etudes

Fundamentals covered: direction of lines and phrases, finding one’s ‘base volume’ (i.e. going for a full sound as a default, not always playing softly), energy and intention

Memorable moment: I have a newish student I really enjoy working with because he’s a cool kid, but he is a little bit on the…let’s say… lazy side. I think he hasn’t quite figured out where his attention should be in any given point in life, and on trombone his default volume is what my high school band director would call ‘mezzo nothing’. It’s too quiet, and while there’s a good sound under there, it has no energy to it. Today we worked on finding a default volume that was fuller and louder. I told him to match what I did, exactly, including the volume and quality of sound, and he did it, handily. I asked him if he had expended much more effort to create a bigger sound and he said no, not really.

Takeaways: Oftentimes I think weaker sound is not a product of not enough air, but not enough energy on the air. I encourage my students not to try harder or blow more, but visualize bigger, match what they hear. I think it works better in the long run then teaching them that loud = effort.

Teaching Journal 4.26.18

# of Students Taught: 8

Ages: 3 frosh, 3 juniors, 2 seniors

Instrument:  6 tenor trombones, 2 bass trombones

Materials: scales, tunes, & ear training; etudes, recital repertoire, jazz etudes and lead sheets

Fundamentals covered: clean, fluid articulation that matches shape of line and doesn’t halt airflow, tuning with drones, improvisation.

Memorable moment: Been musing about how best to redirect a student’s attention away from ‘how do I tongue properly’. Other teachers have called attention to the technical problems they perceive her having, and thus she’s been hyper focused on the ‘how’ and it’s getting in her way even more. Tonight I directed her attention back to the ‘what’- clean, fluid articulation is a product of a clear intention, good airflow, and solid time. We worked on her solo (which has lots of sixteenth notes) by just playing the rhythm on one note, hearing the direction of the line and delivery of the phrase, and then went back to the written notes.

Takeaways: She noticed a feel difference, and I noticed a sound difference. On her end, it felt easier to communicate the line when the air was moving freely and she didn’t hear as many cracks or need to take as many breaths. On my end I heard a much crisper phrase, with good musical direction and improved articulation to boot! A good reminder, again, that putting focus on a student’s technical challenges will only cause them to overanalyze and struggle to move past. Teaching requires us to distract them from this and put their focus back on the solution.

Teaching Journal 4.24.18 & 4.25.18

# of Students Taught: 9

Ages: 2 6th graders, 4 frosh, 1 junior, 1 senior, 1 adult learner

Instrument:  7 tenor trombones, 1 baritone, 1 tuba

Materials: scales, tunes, & ear training; etudes, recital repertoire, band music, chamber music

Fundamentals covered: playing as a chamber group, composition, stylistic interpretation of non-western music written in a western context, rhythms

Memorable moment: I coached a little chamber group today of frosh low brass players. They were working on a Schubert piece that they hadn’t really dived into yet. We started playing and while the first couple of notes were all unison, once it changed to chords it became a bit mushy (‘well, that was a hot mess’- one of the students). We worked on hearing what the composer and arranger had intended for that moment, and why it was so effective coming out of a unison line. We tuned up the chords and identified the important voices (all of them, in this case, but the first part lead the motion). By the end of the period we had a good little group going!

Takeaways: Chamber music is an important tool for developing not only our ability to play together but to refine our ears as well. We need to be ready to hear how our part fits into a smaller group, and not get lost or timid about making sure all the pieces fit together. It can be easy to hide in a big ensemble, but chamber music means you have to bring confidence to the table.

#TeacherFeature: Northside Advocate Teresa Campbell

Welcome back to #TeacherFeature! Every Wednesday this month I’ll be highlighting the work and career of one of my favorite educators and talking about how they’ve influenced my career and teaching philosophy.

Today I want to shout-out one my close friends, and someone I’ve known for a long time as a inspired, dedicated educator and musician. She’s turned her generous, compassionate heart to helping the underserved kids of North Minneapolis grow community and self-confidence through music. Please welcome to the blog Ms Teresa Campbell!

Teresa and I met at the University of Wisconsin when I was a freshman in 1999. I admired her ability to take on all styles of music, and in particular, her compositional bent. It was unthinkable to me that I would be able to present something that I wrote as musical viable, and watching Teresa perform her own music was part of a big change in my mindset. We lost touch over the years and reconnected in Minneapolis, sharing a common love of music and social justice education.

These days, Teresa performs regularly around the Cities as a violinist, including in the Stone Arch Collective (oboe, violin, viola, and cello), which was one of MPR’s ClassNotes Artists in AY1516. But her career really centers around the work she does as an El Sistema educator for MacPhail in the North Minneapolis schools Harvest Prep, Ascension Catholic, and the MacPhail Northside Youth Orchestra.

What I love about Teresa’s teaching is that it’s not about making her young string players flawless musicians, but rather, about building safe, inclusive communities in her programs and then encouraging her students to explore musical journeys they might not otherwise have access to. Her posts on social media frequently display her deep care and concern for the wellbeing of these kids, many of whom face poverty, broken family structures, and violence as part of their daily lives. Her orchestras offer a haven from these stressors, a place for kids to be themselves and grow as young, vibrant people.

Teresa and some of her students at Ascension 

In addition to her work in Minneapolis’ North Minneapolis neighborhoods, Teresa recently earned a second masters in English as  Second Language, and is an advocate for homeless youth through the work of Covenant House. I am beyond proud to call her a friend and a colleague and I know she is creating a lifelong legacy of compassionate music education that will touch many youth for years to come.

Teaching and Learning: Staying Relevant

Last week I wrote about how I learned to teach- not just by discovering a talent for teaching but by understanding the journey I had to take to be effective and earnest in my skills. This week I want to talk about the exciting process of lifelong learning: applying what I know about helping folks learn to my own educational opportunities.

I may dive more into this next month (the theme is all picked out: Music & Mental Health!), but over the years I’ve had some struggles not just with working to be an effective educator, but with managing the burnout and stress that can come with it. Not only is teaching music privately a career high in emotional labor and investment, it’s often thankless and frustrating financially.   It takes perseverance and dedication to make it all work, and an adaptability that can often be hard-won.

Even as I reflect on the last five years of private teaching, I’m looking forward to the next chapter. I know I can’t just maintain a private studio for the rest of my working life. There need to be new challenges and created opportunities that keep my mind and inspiration fresh. Here are some of the ways I work to keep my career energizing:

Be a student, too

This can mean taking lessons, classes, seminars, anything- but staying in the mindset of being a learning can help you understand how others are learning, and create better teaching moments for you. I’m not currently in lessons or otherwise, but I am working with amazing instructional learning designer Suzi Hunn (new website coming soon!) to put together my new clinic program and getting a big lesson in how course work is effectively and inclusively designed.

Observe other teachers/educational situations

I get some of my best ideas from watching other folks teach. Not only that, I can observe their language, interaction with the students, and strategies without having to be ‘on’ myself.

Stay in touch with mentors

Staying fresh on my teaching philosophy and connection to my own educational past means keeping relationships with my mentors and teacher open and healthy.

Get social

I love talking with other teachers, whether we’re kvetching, swapping ideas or stories, or just having a normal adult conversation without the added level of having to be an example and role model. Private teaching can be very lonely and isolating, and there have been days where I realized I didn’t talk to anyone over 18- not a terrible thing, but sometimes you need peer-to-peer chit chat to let your brain process its day and recharge your batteries.

Be Interdisciplinary

I often feel that some of the best inspiration I get is from sectors other than music. Books on entrepreneurship, philosophy, relationships, psychology, and science have all been extremely enlightening and motivating for me over the years. On top of that, it makes you a more interesting teacher- you can reference a broad range of topics that can either help you build rapport with a student or send them in a new direction.

Attend conferences, events, festivals, etc

Your state probably has a music educator’s conference. There’s the illustrious Midwest Clinic. Your instrument’s organization is probably getting ready to host a  festival this summer. A Trombone Day just happened in the Twin Cities last week. Or maybe it’s not music-related, per se, like the excellent Giant Steps  which happens in the Cities in October. If something interests you, go to it. Sure, you can network, but you can also listen, and get new ideas.

Strike a balance

I loooove teaching. There are days when I’m tired and worn out but after a few lessons I actually feel more awake and relaxed. There are also other days when I’m worn out no matter who I teach, and I struggle to stay on my game for the lessons. I’ve started to make sure that there is at least one day, preferably two, a week, where I don’t teach. It gives me a chance to recharge my spoons and feel like the next time lessons come around, I’ll be ready to offer my best educational experience.

Keep inventing

As I mentioned above, I’m in the process of developing a new clinic I can market. I’m thinking I’ll limit my studio population slightly in the next year and save some time for mini clinician tours and performances, starting with Minnesota. There will be more information about that soon, but in the meantime, planning for that is making me look forward, develop new strategies, and keep myself evolving and reaching as a teacher.

What kinds of things do you do to stay relevant and inspired as a teacher and learner? What’s worked and what hasn’t? What will you do next?

Teaching Journal 4.22.18

# of Students Taught: 4

Ages: 1 frosh, 1 soph, 2 juniors

Instrument:  3 tenor trombones, 1 baritone

Materials: scales, tunes, & ear training; audition music, etudes, recital repertoire

Fundamentals covered: polishing an audition piece, good time & rhythm, direction of lines

Memorable moment: I have a student who’s attendance at MN All State makes him eligible to audition for the All National honor groups, and we’ve been working on his etude for a few weeks now. He’s getting ready to record this week and send in his tape, and so today we really dug in on the finer points of a good performance. What I found most interesting was that, for as much musical flair as he gave the piece, his time was not ideal- a tendency to rush- and he didn’t seem to notice the places where it held him back. We spent the lesson with the metronome going, getting very accurate rhythm and tempo delivery in ever section. By the end he was playing so fabulously- all of the musical work he’d done now had room to breathe and remain under his control.

Takeaways: Good time is not an innate skill that everyone is born into. Although some might have an easier time keeping strict tempo or matching the beat, most of us work very hard to develop our timekeeping skills and must maintain adherence to that practice for our whole musical lives. I’m working on a theory that most of our musical problems stem from a tempo or rhythmic error. Music is an art that moves forward in time, and without accurate delivery, we change the meaning of the piece we’re performing. We also totally destabilize our brain’s ability to connect phrase to rhythm if our time is bad, and our brain can’t control the result if it’s uncertain where the line has gone. Lesson: put that metronome on. Listen to it. Count, clap, sing, before playing. Take it slow to decipher trickier rhythms. Make sure everything you hear is communicated in a musical fashion that makes sense to you.

Teaching Journal 4.19.18

# of Students Taught: 8

Ages: 2 frosh, 1 soph, 4 juniors, 1 senior

Instrument: 7 trombones, 1 bass trombone

Materials: scales, tunes, & ear training; jazz reading & improv, contest pieces, duets

Fundamentals covered: clean articulation of phrases, tuning with drones, sight-reading

Memorable moment: Never let it be said that I think I’m a flawless teacher. Today I realized in the moment that I was giving a student misguided advice and had to point out the error and help him get back on the right track (which he was on fine before I meddled). We were playing a jazz etude with some scoops in the middle of the phrase and every so often the amount of scoop he was giving it was putting him behind on the next part, so I said ‘start that scoop closer to the slide position you’re going to’, which is fine, I guess, if you haven’t just spent 5 minutes speeding up the whole phrase and are still at the slow tempo you started at. But introducing a new idea, particularly a technical change, at a faster tempo, goofs up your brain. He had trouble with the notes again and was frustrated.

 

Takeaways: I immediately apologized and explained where I went wrong. We went backward a few metronome speeds and tried again, this time listening for the correct timing with scoop so his technical delivery could match the music he wanted to make.

I’ve been kicking myself all day though! I should know better by now. Bloop.