Should music educators be experts in jazz or American folk music?

Experts…..may be a stretch, but music educators should at least be competent in the subjects of jazz and American folk music.  They should definitely recognize the importance of these subjects and insure that students understand their significance in music history and their impact on the music of today.  

For aspiring performers, this exposure is critical.  There is more and more demand for the “commercial” player who can move through various styles with ease.  Someone who can play Souza in the morning, Coldplay in the afternoon, and Ellington in the evening.  I may be a bit bias about this but I think it’s for good reason.  I auditioned hundreds of musicians for the Navy Music Program and although many of them passed the audition, not all of those who passed were suitable for the rigors of professional music.  As Navy Band’s shrunk in size over the years, due to budget cuts, musical versatility became more important than ever.  A trumpet player couldn’t just be a good “legit” player; he/she had to jump from the wind ensemble or ceremonial band into the jazz or top 40 groups, and play just as well.  For me, as a trombonist, this was a daily reality:

0800 - Wind Ensemble rehearsal

0930 - Ceremonial Band gig

1230 - Jazz Band Rehearsal

1430 - Top 40 Band Rehearsal

1800 - Jazz Combo gig

This is the reality of more and more professional musicians: Cruise ships, “pops” ensembles, recording studios, community bands, etc, are all in need of versatile players.  Exposure to and performance of Jazz and American folk music at the grade school levels arms students with the tools needed in the competitive world of professional music.

This list from the "Get America Singing, Again" Campaign contains many songs that students should learn.  

Volume I 1. Amazing Grace 2. America (My Country, ‘Tis of Thee) 3. America the Beautiful 4. Battle Hymn of the Republic 5. Blue Skies 6. Danny Boy (Londonderry Air) 7. De colores 8. Do-Re-Mi 9. Down by the Riverside 10. Frere Jaques 11. Give my Regards to Broadway 12. God Bless America 13. God Bless the U.S.A. 14. Green, Green Grass of Home 15. Havah Nagilah 16. He’s Got the Whole World in His Hands 17. Home on the Range 18. I’ve Been Working on the Railroad 19. If I Had a Hammer (The Hammer Song) 20. Let There Be Peace on Earth 21. Lift Ev’ry Voice and Sing 22. Michael (Row the Boat Ashore) 23. Dona Nobis Pachem 24. Music Alone Shall Live 25. My Bonnie Lies Over the Ocean 26. Oh, What a Beautiful Mornin’ 27. Oh! Susanna 28. Over My Head 29. Puff the Magic Dragon 30. Rock-A-My Soul 31. Sakura 32. Shalom Chaverim 33. She’ll Be Comin’ ‘Round the Mountain 34. Shenandoah 35. Simple Gifts 36. Sometimes I Feel Like a Motherless Child 37. Swing Low, Sweet Chariot 38. This Land is Your Land 39. The Star Spangled Banner 40. Take Me Out to the Ball Game 41. This Little Light of Mine 42. Yesterday 43. Zip-A-Dee-Doo-Dah

Volume II 1. All Through the Night (traditional) 2. Auld Lang Syne (traditional) 3. Both Sides Now (Joni Mitchell) 4. Camptown Races (Stephen Foster) 5. Clementine (traditional) 6. Down In the Valley (traditional) 7. Edelweiss (Rodgers and Hammerstein) 8. Erie Canal (traditional) 9. Ev’ry Time I Feel the Spirit (traditional) 10. Five Hundred Miles (Hedy West) 11. Follow the Drinkin’ Gourd (traditional) 12. Getting to Know You (Rodgers and Hammerstein) 13. Guantanamera (Pete Seeger & Jose Marti) 14. I Love the Mountains (traditional) 15. I’ve Got Rhythm (George Gershwin) 16. Irene Goodnight (Huddie Ledbetter) 17. It’s a Small World (Shermans) 18. Jamaica Farewell (Irving Burgie) 19. Kum Ba Yah (traditional) 20. Let It Be (Lennon & McCartney) 21. Let Me Call You Sweetheart (traditional) 22. Make New Friends (traditional) 23. Midnight Special (Huddie Ledbetter) 24. My Favorite Things (Rodgers and Hammerstein) 25. Old MacDonald Had a Farm (traditional) 26. Over the Rainbow (Harold Arlen) 27. Peace Like a River (traditional) 28. Precious Lord (Thomas Dorsey) 29. Red River Valley (traditional) 30. Rock Around the Clock (Max Freedman & Jimmy DeKnight) 31. Side By Side (Harry Woods) 32. Take Me Home, Country Roads (John Denver/Bill Danoff/Taffy Danoff) 33. To Every Season (Turn! Turn! Turn!) (Pete Seeger) 34. Try to Remember (Harvey Schmidt & Tom Jones) 35. The Water Is Wide (traditional) 36. We Shall Overcome (Horton, Seeger, Carawan) 37. What a Wonderful World (Theile Weiss) 38. When Johnny Comes Marching Home (Patrick Gilmore) 39. When the Saints Go Marching In (traditional) 40. Where Have All the Flowers Gone (Pete Seeger) 41. Yankee Doodle (traditional) 42. You Are My Sunshine (Davis/Mitchell) 43. You Are the Sunshine of My Life (Stevie Wonder) 44. You’re a Grand Old Flag (George M. Cohan) 45. You’ve Got a Friend (Carole King)

“Creating Musical Flexibility Through the Ensemble”

Article critique

This article challenges the relevance of the traditional music program and poses some interesting questions.  Why can’t students be performers and composers? How can we meet all of the standards if we only focus on performance?  How do we balance these things? Mr. Schneider highlights the challenges of building a new music program, through his experience,  and offers great “outside of the box” solutions that can help programs of any size.  

On the subjects of musical discipline, technique, theory, and composition; Mr. Schneider points out that students should be able to transpose and cover parts when needed.  The expectations should not be limited to just being there and playing your part well.  Students should know their instrument well and develop a good ear.  They should all have a good understanding of melodic and harmonic theory and be able to compose their own music.

As a member of a large powerhouse high school band, I was never exposed to any of the concepts above except for listening and developing a good ear..  There was no apparent need for me to play another part other than my own and there was no time for theory.  The expectation was: you will play your part well and help ensure we get superiors and win.  Win, win, win.  There was no time for switching parts around or discussing theoretical concepts.  Downbeat was five minutes after class starts and horns were away five minutes before the bell.  Rinse and repeat.  The results were great for the music program and school district.  Many of my classmates went on to college level music programs and/or professional careers in music.  I went directly into the Marine Corps Music Program.  That being said; I​ ​agree​ ​that​ ​students​ ​should​ ​be​ ​as​ ​well​ ​rounded​ ​as​ ​possible.  I could have benefited from the methodology that Mr. Schneider outlines in all four areas.  It certainly would have helped my overall musicianship.  There have been times in my career that would have been easier if I was armed with more of those tools.

How do we know is someone is a good musician?  This question probably elicits a wide spectrum of responses, as it should.  I’ll be fairly straight forward with this.  

The answer is in the audience.  Smiles, foot tapping, swaying, grooving, dancing, etc…..A good musician will connect with and move the audience, even if the audience is just a friend in the room.  I don’t think there are many “great” musicians, but there are many “good” musicians that constantly seek improvement….and that’s what makes them good.         

 

Clarinet Lesson Reflection

Like many others, I spent much time trying to figure out the most efficient use of the first five minutes of the lesson.  Considering that there would be another 35 minutes left, my primary concern was how to capture and maintain the students attention.  

I have a personal philosophy: "Inspiration fosters aspiration."  Thats why I decided to start the lesson with a recording of Eddie Daniels playing a portion of "Spring 1" from his album The Five Seasons.  I think it was effective, however, there are several things that could have made it more exciting and really "set-the-hook" better.

1.  Professor Schneider recommended having the instrument already put together, ready to be place in the students hands.  What a great way to enhance  the experience!  I could give the clarinet to the student right away, play the recording, and then persuade him/her to move with the music.  Then I could record this on my phone and send it to his/her parents (as per another suggestion by Prof. Schneider).  This would definitely help inspire the student and leave a lasting impression.

2.  Professor S. also hit most of us on talking to much.  This is a long-standing habit if mine.  In this case I could the let the instrument and music do most of the talking.  It's unlikely that the student will be able to play any distinguishable notes on the clarinet in 40 minutes, but they could have fun while trying.  A funny video (like the clarinetist swinging on the pole) may help fill time and keep the students attention too.  Perhaps let the student guide the discussion from there.

One of the most helpful parts of this particular class was the opportunity to watch other classmates teach their lessons.  I was filling my toolbox with some great ideas!

        

     Core Values

      I believe that the performance and study of music develops better humans, reveals our sense of purpose, and prepares us to cohabitant, participate, and thrive in a diverse world.

      I believe that music should be taught in a loving and nurturing environment, with an appropriate amount of structure and support.  Music students should be introduced to a vast library of musical styles and genres, and encouraged to explore and develop their own unique artistic identity.

      I believe that we have a responsibility to reinforce, elevate, and perpetuate the position of music in society, by educating the next generation of listeners, performers, and musical leaders.