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What is this 'spark joy' nonsense?
What is this 'spark joy' nonsense?
As a music teacher, I often miss the art of studying a single instrument or creating beautiful music with peers. I spent my first two years teaching both elementary and high school strings in Tucson, AZ, in a whirlwind of self-discovery and adaptation. As I settled into my teacher-self, I found that I desired more in order to feel fulfilled. I wanted to make art again, but this time I wanted to find a way to enhance my own feeling of community while doing so.
I have decided to profile different types of "extra-curricular fulfillment" for teachers and musicians that may not make a living playing or conducting, but still desire to do these things for their own happiness. I will share interviews from ensemble members and personal observations from rehearsal-shadowing and recorded experiences.
Coincidentally, the Netflix show, "Tidying Up with Marie Kondo" became both a personal favorite and meme sensation, leading me to seek something that "sparks joy" in me. Are you seeking that spark, too?
Screenshot of Finale 2005.
Week viIi: Freelance Arranger
Week viIi: Freelance Arranger
Hey y'all! It's been a wild three weeks since I've last checked in, and my life has been full of great things! I have wrapped up my Masters recital and comprehensive exams, and I am looking at the last 2 weeks of school!
As I also wrap up the research portion of my project, I wanted to explore the world of freelance music arranging. This field is exciting because of the opportunities that it can provide for you as a teacher as well as benefit your students by presenting them with new and exciting materials for concerts and sight-reading sessions.
Sibelius logo.
There are three main resources for arranging. The first two, Sibelius and Finale, are both paid subscription software packages, but offer the full spectrum of music arranging and publishing software. While you will end up paying anywhere from $150-200 on access to the software, the functionality and professional interface is unparalleled.
The last resource I wanted to discuss for arranging is Musescore, a free resource where you can arrange music as well as collaborate and view the arrangements of other artists like yourself. The downside to this software is that the free version does not offer full functionality, like the ability to split the score into individual parts.
Screenshot of Musescore.
Obviously, once the music is written and arranged, you'll have to find a group to perform it. I have the privilege of having 2 high school orchestras that are great sight-readers, but you could also contact the artistic director at a local symphony or another school's orchestra director to arrange for a reading session.
As we wrap up the formal end of this research project, I am really satisfied at the variety of opportunities that I have found for professionals here in Tucson.
I've included a video as a brief summary of my project an a little insight to my my life. Thank you all so much again for being with in through this journey!
The Danish String Quartet.
Week vii: Recital Musician
Week vii: Recital Musician
This week, I performed my own solo recital, and I thought I would share my experience as a solo player and chamber musician in conjunction with teaching full-time.
Besides choosing repertoire, practicing, hiring and rehearsing with a pianist, and successfully performing the music, there are a lot of other things to consider when planning a recital:
Where is the venue? Do you have to pay to use the space?
Do you have to contract a sound engineer or lighting specialist through the venue?
Is there a piano on-site, or will you have to rent one?
Have you designed and printed programs?
Will you be recording or live-streaming the event?
Do you have internet and electrical access to do this?
How do you advertise for this event?
Will you host a reception afterwards for the audience?
Will you charge admission?
Do any of the works you are performing require public performance permissions?
Do you have a friend that will set out programs, attend to reception food, and help with clean-up?
You should have a definite answer for each of these questions at least 2 weeks before your recital.
This information is also applicable if you are in a chamber ensemble and plan on playing in public. You should also have each musicians explicit written consent to record or perform to cover yourself for liability purposes.
At the end of the planning is the recital, and you should remember to have fun and project your enjoyment to your audience.
A sample student recital poster.
A luthier in her workshop.
Week vi: Instrument repair specialist
Week vi: Instrument repair specialist
Hey y'all! This week I explored the realm of instrument repair. As a high school orchestra director, I do a lot of basic repair and adjustment for my schools and our small district, but I don't receive any supplemental pay for this. There are, however, avenues to earn income through repairing instruments.
Instrumental educators can seek training as luthiers, or string repair and builders, or as woodwind, brass, or percussion technicians. There are also opportunities to study piano tuning and earn a significant income through this avenue.
Few institutions offer degrees or training in instrument repair, but some of the schools that do offer them include Berklee in Boston and Minnesota State College Southeast.
Most degrees in string repair stem from experience in instrument making. The most well-known institution for violin making in the United States is the Violin Making School of America in Salt Lake City, Nevada.
Shinichi Suzuki, 1979.
Week V: Suzuki instructor
Week V: Suzuki instructor
Hey y'all! This week, I chose to explore teaching in a private studio, specifically the Suzuki International method for instrumental instruction.
My first encounter with Suzuki as a method was hearing peers who started violin lessons before me. They often performed exciting pieces at our middle school orchestra concerts as soloists, and this grabbed my attention immediately.
As I began teaching in the public schools, I found the method to be the most efficient teaching tool for beginning strings, even if I didn't use the method district-wide. It is based on teaching musical instruments the same way we teach language - beginning with mimicking sounds, then naming individual pitches, then singing pitches, then reading pitches. The repertoire in the method is standard with instructional tools included for specific techniques included therein. The method also allows for greater focus on posture and musicality with the standardized repertory as well.
Tucson is home to two well-known Suzuki-certified studio teachers, Laura Tagawa and Alice Vierra. These teachers specialize in violin and cello instruction, respectively, and also are active members of the Arizona Suzuki Association's leadership team.
Suzuki teachers must first participate in the introductory course (Every Child Can/ECC) before they are able to register for individual book certifications. Suzuki teachers, once registered, can charge any rate they would like and set their own schedules. This works especially well with teachers and musicians that may be employed in other fields.
Suzuki Violin Institute, 2013.
For more information regarding the Suzuki Method, see below:
Week IV: Educational Conference Speaker
Week IV: Educational Conference Speaker
Hey y'all! I've just returned from the American String Teachers Association National Conference in Albuquerque, New Mexico, and I am reeling from all of the amazing sessions and performances that I was fortunate to witness.
Educator conferences such as the ASTA conference provide awesome opportunities for educators to hone their skills and share ideas with colleagues from other parts of the state or country. These conferences also another fantastic supplement to a teaching career - an opportunity to showcase new techniques or research to peers.
Many university-level educators present at these conferences, as do many veteran teachers. They share research on the best practices to adopt to serve poorer school populations, warm-up techniques that are congruent to specific standard repertoire, and new approaches to technique and musicality.
These presenters must submit samples of their presentation to the organizing committee of the respective conference, and after approval, they are allowed to present at the conference. It is helpful for presenters to prepare handouts and samples for the attendees, including information about sources of additional resources to consult and contact information for the presenter.
Scott Laird of NC School of Science and Math presents techniques for enhancing musicality, March 7, 2019.
Conferences specifically for music educators in the Southwest include:
Week III: Community Symphony Musician
Week III: Community Symphony Musician
Hey y'all! In our quest to find what "sparks joy" for hobbyist musicians like myself, I profile two Tucson community ensembles, the Civic Orchestra of Tucson and the Tucson Repertory Orchestra, and share with you all of the exciting opportunities for performers.
Image retrieved from: https://www.eventbrite.com/o/civic-orchestra-of-tucson-12922954861
The Civic Orchestra of Tucson is a 75-member symphony that was founded in 1975. The ensemble recently welcomed a new artistic director, Dr. Charles Bontrager, who leads the orchestra in their performances of both standard repertory and pops music.
The ensemble is a stellar example what a community orchestra should be, as they open their concerts to the public, free of charge. Given Tucson's poorer demographic, the group meets their audience in their neighborhoods, making the performances even more accessible.
The group recently collaborated with Flowing Wells High School in October 2018, working with the students of the advanced orchestra and performing a full concert in the school's auditorium. The ensemble's administrative leadership strives to do outreach specifically to underserved student populations, constantly seeking to nurture the potential in young people.
The ensemble meets on Tuesday evenings from 7-930 pm at Church of Jesus Christ of Latter-day Saints, 1540 E Linden Street in Tucson. Their season runs from August to May. Their next performance will be on March 16 and 17 and feature pianist Rex Woods. More information can be found at: https://www.cotmusic.org/
Tucson Repertory Orchestra offers a different flavor than COT. This ensemble specializes in sight-reading repertoire, often times in sessions immediately preceding a Tucson Symphony Concert. Many of the string players from the TSO attend the rehearsals as an opportunity to get an additional rehearsal prior to the concert cycle.
The ensemble also offers an additional service: it serves as a place where conducting students and local conductors can hone their craft with a live ensemble. The group is traveling to Japan this summer, touring the country and performing during the month of July.
Photo retrieved from: https://tucsonrepertoryorchestra.org/
TRO's upcoming performance program for Japan 2019.
The ensemble meets sporadically and at various venues. The group is led by Toru Tagawa, the artistic director for the Sierra Vista Symphony Orchestra and Canyon del Oro High School Orchestras. Mr. Tagawa also leads Arizona's American String Teacher Association chapter as president.
The ensemble is unique because they only perform 2 concerts per year, in December and April/May. All other meetings are dedicated to reading music for intellectual pleasure.
More information, including how to join, can be found here.
Members sing for other choirs at the GALA Conference, held in Tucson, Feb. 2019.
Week II: Community Chorus Member
Week II: Community Chorus Member
On February 11, 2019, I was invited to observe the first half of rehearsal with Reveille Men's Chorus. Reveille is an ensemble that serves as a musical safe-space for gay, bisexual, and trans* persons who are not treble singers. There are currently over 60 members in the group, and they perform in two shows per year.
Reveille Men’s Chorus is led by Brayton Bollenbacher, a Seattle-native who came to Tucson to lead the chorus in 2017. He is an in-patient social worker and continues his studies in Choral Conducting at the University of Arizona Fred Fox School of Music. The ensemble is a registered 501(c)(3) non-profit, and is funded with private donations and member dues. Much of the work for the group is volunteered by members.
The ensemble begins with warm-ups that are taught and learned by rote. New members learn as they go. The warm-ups begin with breathing exercises, which train the mostly non-professional singers breath control and alignment. (Even as a musician and singer, I struggled to keep up with the veterans in the group!) By the time the ensemble completes their regimen, they easily fill the space and have an impressive sound.
The director uses scaffolding techniques and rote teaching to train the singers, as it is not required that the members read standard notation. Much like a standard choir rehearsal, sections are singled out in difficult areas, but specialized instruction by the director ensures that all members are included in the musical process.
The members have fun while they work, showcasing their skills twice yearly. This spring’s show is entitled “Bless our show(tunes),” May 18 at 7:30 PM and May 19 at 2:00 PM at the Temple of Music and Art in Tucson, Arizona. Tickets cost $25.00 and can be purchased at reveillemenschorus.com.
Check in next week, when we delve into
2019 8th Grade SAHO. PC: Tashiana Holt.
Week I: Guest Clinician
Week I: Guest Clinician
On Saturday, February 9, I had the honor of working with the 8th grade Southern Arizona Honor Orchestra, a director-selected group representing all of the school district across Southern Arizona. These students also come from very different backgrounds, both socioeconomically and in terms of instruction.
The job of being a guest clinician is difficult because it requires quite a bit of preplanning due to the time constraints of the engagement; in this case, I had about 6 hours to rehearse three pieces with the participating students. Problems that I planned for include:
Students have various levels of ability and preparation
Students likely have only ever worked with one teacher their entire career
Students may have behavior issues that arise as they become more comfortable
Students may have never performed for such a large audience
Students may have never performed in such a large space
In order to counter these issues, I have learned that my most valuable tool as a teacher is the use of rehearsed PROCEDURES. Before touching the music in our first rehearsal, we used this time to plan for the beginning and end of the concert, and particularities that I have in my rehearsals. In my experience, a firm foundation of procedures can help to curtail any potential behavior issues or attention problems during rehearsal and performances. We discussed resting and playing positions, how we tune in an ensemble, when and how we use our pencils (often overlooked!), and how to stand when the conductor walks on stage and at the end of the concert.
When working with string players, teaching the term 'pronation' is an essential tool in dynamic playing. Many young string players in Southern Arizona are taught by instructors who teach both band and orchestra, so sometimes loud, heavy dynamics are played with a heavy bow. While I do not disagree, the origin of the weight is important: it comes from the turning, or pronation, of the wrist towards the string, like turning a circular doorknob. Teaching this term helps students to understand how to play with a full, rich sound that is natural to their instruments, and leads to a more mature sound.
At the end of the day, I think that having a fun time should be the ultimate goal when working in clinic sessions. The students have already worked so hard to get where they are; I want to give them a chance to showcase what they can do while also giving specialized instruction. Their positive associations with playing in these ensembles will guide them towards more opportunities.
It's most important to project a fun, positive energy when working with students in short sessions. PC: J. Braeseker.
Check in next week: I am sitting in with Reveille Men's Chorus, chatting with a few members, and exposing you to this big-family-style chorus! -xoxo jb
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