The challenges facing music education, particularly band programs in schools, in my opinion, are deeply rooted in traditional practices and expectations. A significant concern is the exclusion of students who cannot read standard band music notation or who wish to play non-traditional instruments. Music educators inadvertently diminish their band programs by sticking to traditional practices that exclude students who do not conform to these norms. This expectation to read standard music notation not only discourages students who are passionate about music but may also lack formal training in reading music. Additionally, the insistence on playing standard band instruments can alienate students who either cannot afford these instruments or who have a strong preference for other instruments they already own. This can also apply to the standard traditional music that students may not have no connection with.

Ensuring that all students feel valued and safe in band programs, regardless of their musical background or instrument choice, is a must and as Anyichie et al., (2023) says, “educators can create inclusive and equitable classrooms wherein every student is respected, experiences a sense of belonging, feels safe and is empowered to learn” (p. 2). I'm tired of hearing about students who are told they cannot participate  in band because they do not meet certain technical requirements, such as reading music or playing specific instruments, they feel undervalued and excluded. This exclusion is detrimental to their sense of belonging and motivation to participate in the band program. 

Students leave band programs for various reasons, many of which are tied to the lack of inclusivity and flexibility in these programs. The lack of inclusivity, flexibility and the failure to accommodate diverse musical interests and backgrounds leads to a loss of potential talent within the program and discourages students from continuing in the program, leading to declining numbers and reduced program vitality. The insistence on standard band instruments also excludes many students who either cannot afford these instruments or who prefer to play other instruments. Such exclusionary practices are contrary to the principles of inclusive education, which emphasize the importance of providing opportunities for all students regardless of their background.

To address these challenges, it is essential to create band programs that are inclusive, flexible, and responsive to the diverse needs and interests of students. As Villegas and Lucas (2002) suggest, providing opportunities for all students, regardless of social background, ensures that every child can experience the many benefits of music education. Being accomodating, inclusive, and diverse in your band rooms, can be part of the solution that will make band programs more accessible, thereby enhancing the educational experience for all students and revitalizing music education in schools. While continuing with doing this website, I'm motivated to advocate for changes that will allow every student to experience the benefits of music education. 

Be more of a facilitator than a teacher:

• Get opinions from your students in front of you

• Ask the students what they want to learn

• Ask them what they want to play

• Let them take charge of sectionals, small group work, circle exercises

• Give students the opportunity to do small performances during class (up to the students choice) - this gets them practicing more outside of school and with other students. This also shows leadership.

Adapting your mindset:

Normalizing the idea of having adapatations in the band class, and for band students to help them succeed, or adapting teaching methods to allow students to learn music in a varitey of learning styles (auditory - by ear - or, visual - by sight, etc.) Therefore, including more students in the band room.

Adapting students music:

Having uniform scores for all students in a grade-level band isn't always feasible due to the varying levels of musical ability within the class. Adapting scores to meet students' individual needs is sometimes essential. With notation software, you can modify the music to be either easier or more challenging, ensuring that every musician can still participate in playing the same pieces as the rest of the group. By tailoring the music to challenge the more advanced students, you help them gain even more from the band class, fostering growth for all members. (Please see one of my examples below)

Euro-Centric mindset:

Normalize non euro-centric instruments in the band class and non-eurocentric music - pop songs, rock, country, Disney! The students will build their connections to this music, and they can learn more and will enjoy the process. Open your mind to allow more students who do not focus in a euro-centric mindset. If students are interested in music, why would we exclude them? 

When given students rules, or an already decided choice, you are confining kids within a box instead of letting them be creative, artisitc, and unique which is what music should be.

Always recruit, always accept:

Always allow students to join the band program at any point during school. If a grade 8 wants to join band, and they've never played an instrument before, great. Set some one-on-one time, have a student leader teach them, and re-write their parts so they can join the band and have a place in the band room. 

For high school programs: there are no prerequisites for joining band. Even if a junior high student has never participated in a band class, they can still join the band in grade 9 and continue with music in grade 10. Simply adjust the instruction to match their abilities, ensuring they can fully engage in the course.

My grade 7 band performed "The Tempest" by Robert W. Smith. Within my clarinet section of 20 students, there was a wide range of skill levels. Some students were new to band and were a year behind in experience. To accommodate this, I re-wrote parts based on each student's ability. The students, who hadn't played as much, received the "Beginner Part." Most students played the "Original Part," while the advanced students took on the "Enrichment Part." This approach ensured that everyone had a role to play and was challenged in a way that suited their level.