Getting Started With Elementary - Lehr, Marjorie R

Getttine Starece d
i Baw
Marjorie R. Lehr
Music Educators National Conference

Digitized by the Internet Archive
in 2022 with funding from
Kahle/Austin Foundation
https://archive.org/details/gettingstartedwid000lehr
Cee team Soe tee ae eran
Zz
a
Ley Raw
Marjorie R. Lehr
MENC=
oS ©)2
=JNAW Music Educators National Conference
Copyright © 1998
Music Educators National Conference
1806 Robert Fulton Drive, Reston, VA 20191-4348
All rights reserved.
Printed in the United States of America
ISBN # 1-56545-110-4
Contents
EROOGUCHON Sorte soc Cramer Scere c one ote ncieatoe meres sccneers Vii
la Becoming Part Of the Stall, e002) occchs<nce sega dep cossese snincseces 1
2. Helping Students Select an Instrument....................000. 5
So RECrUMING StUGEMtS. 5.20. oa 65 sais ees oss ene sbsocesakeamene
voss 7
BES SCUCCUMING ne oc sjere evans ce avewece pers er etne a tcescip nea cees <sireoe Ww)
5. Physical Arrangement of the Band Room..................+++ 1]
6. Classroom Management: The Band Room, Class Seating.... 13
7. Classroom Management: Initial Procedures,
Ending Procedures...............++. 17
§., Classroom, Discipline. .....00.55.000002sssiecesssencsorrcecccccse
snc 21
9. Organizing the Small Lesson and Full-Band Rehearsal...... 25
10. Parent and Student Responsibilities
to the Band Program............... ae
11. Why Teach Scales and One Way to Do It...............ceceeeees 29
12. Curriculum for Elementary Band................0cceeeeeeeeees 33
32 MUSIC DELCCUON So. c 25 oos2 cine t oenecsscurecaecences
erste usiess cies 35
14. Teaching toward the National Standards
for Music Education................ 39
Bibliogtapny.ciscec ces esac ects et scar as sec cue st ccs eenureccceres <3 47
senseapeieateh oxteca clsaaites Ae ‘RgtB nuts So ral gated I
myer orate one iN te opie situa goladel 2
ial o ap ore cot ene tenia alla eseS 2
rained alee lok hen oe

tileda Rp a
ee
oe aeeays ormbooenT alin - ,
2 earsNek Nea At Vein takdin

Mase oY edie 1@
| PthD: beanie inatinte bow test OT
4 hes ++otal yTeen
hem i Gi ers a qi .t]
ssjooiniganrssens gota; OE QUAN T
lel a 2h 04
an Saleen holtealroreeatseaeahalta
Gednedey |
erable hina AASwinsyeiede nta i
Shines
onsite Me wiAtnedine
Wsrbecnnennhdatay ee eaiinwesmreen.
were Pe
vodeeorpes
avensetniess“Siriceetipiar ieyresen:
_
- -o
Introduction
Teaching elementary school band can be challenging and reward-

ing. There may be problems, but all are surmountable, and the
rewards are extraordinary. You will be giving new band students their
very first lesson on their instrument. Do you remember your first les-
son? You probably looked forward to it with excitement from the time
you first decided to learn to play an instrument. This book will help
you provide your students with a positive band experience.
Elementary students in the upper grades are the ones targeted for
instrumental music. You need to decide, or your school might have
already decided, at what age the students will start band. Someele-
mentary band teachers are adamant about only teaching fifth and
sixth graders. Some include the fourth graders with incredible suc-
cess. The number of students you need to cover for a particular con-
tract load might also be a factor in the decision. These students, any-
where from nine to thirteen years old, are the ones you will be work-
ing with for two to three years.
If you are considering teaching elementary band, you may be a
new teacher just beginning a career or a teacher who has been teach-
ing at a higher level—middle school, high school, or college—and is
considering a change of grade level. Whether you are a beginning
teacher or an experienced teacher, do not think because the students
are younger, smaller, and newer at the subject that they are easier to
teach. Each level has its rewarding moments and its challenging
moments. Elementary band is no different. You have to like children
at this age to be happy and successful at this level.
Don’t Panic
Perhaps you are a general music teacher who has been recruited
into running a band program with little or no first-hand experience
playing an instrument. Do not panic. Under these circumstances, this
is the only level at which you can survive. But make your life easier by
seeking advice and in-class help.
r_ first step is to take private lessons on three dif i -
brass instrument (trumpet or trombone), and snare drum. Since

these will be the primary ones you will be teaching, do not spend time
learning the oboe, French horn, or bass clarinet. There is no substi-
tute for first-hand experience, and you will be more knowledgeable
and sympathetic to your students if you have had to learn an instru-
ment yourself.
While taking these lessons, start using the organizational informa-
tion given in chapters two, three, and four. Seek parental help with fly-
ers, phone calls, or anything else you can think of to help set up the
first day of class. Ask for school staff help (principal, teachers, custodi-
ans, secretaries), especially if time is lacking. The principal and teach-
ers can recommend specific parents who can be of help to you. Music
stores or other band teachers may have handouts already created that
might save time. If your district has a mentor program, call the men-
tor right away for help.
Strive for Excellence
It is a myth that elementary-level students cannot play musically. If

the curriculum is presented in an organized and honest manner, with
enthusiasm and a sense of humor, the elementary students will learn
it. They may not have the skills and experience needed for perfection,
but if you intend to demand perfection, you should not be teaching
elementary band. Striving for excellence is a goal more respected by
educators and parents and coveted by students.
Whether you are excited about teaching elementary band, or a lit-
tle apprehensive, this book will help you get started teaching begin-
ning instrumental music students. The methods discussed in this book
are not the only ways to do things, but they are tried and true. Adjust
them for your particular needs or teaching style. As you read, you may
be surprised at how much you already know instinctively, and how
much you remember from your beginning days that can help you. Just
remember, you can do this. It is more important to focus on start-up
activities than to pause and worry. You'll be fine; just start.
vi
Chapter |
As the elementary band teacher, you will be
interacting with classroom teachers. These teachers
usually have about thirty students in a class and see Becoming Part
the same students—usually at the same grade
level—every day. The classroom teacher has to jug- of the Staff
gle extra paperwork, meetings, and detailed record
keeping. You will also have your share of record
keeping. You will be registering students from many different class-
rooms in at least two different grade levels (sometimes three grade ley-
els if fourth graders enroll in band). You could have between forty and
sixty students in a class.
Band teachers and classroom teachers need to respect each other
for what they offer the students. What is important is not preserving
teachers’ egos, but contributing to the students’ total education.
Reading, math, and science are important to a student’s success in life;
equally so are music, art, dance, and drama. If you’re on a staff that
holds the education of the total child paramount, you will be in the
optimum teaching situation for instrumental education.
If, on the other hand, you are on a staff with inflexible classroom
teachers, an unsupportive administrator, and ambivalent parents, you
will be in a difficult situation at best. In this case, the administrator in
charge of assigning schools needs to reconsider your position. As
music is recognized more and more as an academic subject, these situ-
ations are occurring less frequently.
In any scenario, there are many ways to become an integrated
member of the staff. Earn respect by getting to know the staff socially
(attend all staff meetings and parties) and educationally | (make sure
ou are an exemplary teacher, and the program is solid with the stu-
dents and parents). And above all else, educate the staff, students, and
parents about the importance of music in education.
There are many studies you can make available to the staff. Writing
articles for the local newspaper, school newspaper, and on the back of
your concert programs is a good start. Occasionally, I have put well-
written articles in the teachers’ boxes. Take time to plant the seeds
that will eventually grow.
Ask to speak at the next staff meeting. Have the administrator intro-
duice younand BITCH exptain Four plans for the band program. If
there is anything specific classroom teachers can do to help you, pre-
sent it politely without making it a demand. Ask them to let you know
if you inadvertently do something that upsets them; explain that you'll
be glad to discuss it with them. Initiate a positive two-way line of infor-
Becoming Part of the Staff ]

mation with other teachers and keep it open at all times.
Introduce yourself immediately to the general music teacher, if
there is one. Ask about the climate of the school and how to
approach members of the staff. You also might discuss having choir
or recorder groups perform with the band. A professional image is
created when two teachers in the same area cooperate to provide the
best education for the children.
Ask to speak at the next PTA meeting. Convincing parents of the
importance of instrumental music is the foundation of your program.
Take this opportunity to introduce yourself, and to state your goals
and expectations for the band program. Let parents know what you
might need from them for the program to be successful. By announc-
ing the first concert date, you let parents know you are committed
and confident and that students are expected to perform. Have a par-
ent meeting and carefully consider your agenda. Be sure to include
information on the following topics:
= Schedule—tell parents the days you are on campus and the exact
days students are to bring their instruments and music. You may
expect frustration with students forgetting the lesson day and what
they need to bring to a lesson. Some classroom teachers have a
homework section on their board. Ask for your band schedule to
be included.
= Instrument rental—tell parents where they can rent instruments.
Some vendors are willing to bring displays of rental instruments,
music books, and reeds to the meeting.
# Instrument care—discuss, in detail, the care and cleaning of each
instrument. Training parents helps prevent repair costs.
» Practice—discuss home practice expectations and how parents can
help students organize their time to allow for daily practice.
Introduce yourself to the school secretaries. They will be taking
messages for you. Always make sure they have a copy of your schedule
and any other important general information about your program.
On days you are not at the school, they can then answer parents’
questions. This saves you many hours of phone calls, and parents
aren’t kept waiting for answers to basic questions. If there are ques-
tions about specific problems, answer these personally. Parents appre-
ciate the help, and you build rapport with them.
Introduce yourself to thecustodians) If you make a good impres-
sion and are not too demanding, custodians can make your job easier
by eliminating noisy rearrangements of chairs and tables and by limit-
ing their own talking to other staff members in earshot of your class.
Make every effort to keep them informed of your schedule and per-
formance dates, and ask their help in setting up for band (especially if
2 Getting Started with Elementary-Level Band

you are dashing in from another school as your students walk into
class). On occasion, have students do a chore for the custodians, espe-
cially if you see that they are particularly busy that day. You may be
pleasantly surprised some day to find the custodians have set up your
band room. Thank them, and it will happen again.
Do not fall into the trap of considering any member of the school
staff as your personal servant. We are all here to help students prepare
for life, and we are all needed equally.
Becoming Part of the Staff 3

; 7 . : | a — q | J a,
onhdlaw ajtaldis sure veile Siw Seorerterh . a Woy
ox-t tinal euners oct set Sopekya cates it , vinta tents
wh anee
ted meds sath sankey | eaeibindenshias
wp
ay ks Yoredteadexterhe ele Qiyliwns é st heyar
4 2 I ED pS a us
iy Bet eey <f Me et A nae , tee
ee on i Gi
iiepempeneatiecs: (pwd atrbhdie cx A jamin! note j HW, = Th
As u pew ae to qi & } r 1 a! } eghhh,
uacews «faye est els eat av lees

afvenat aaa
ech
(tr 1a cas leree o (6 lpia peeeky gud qu may a

; “atte So i) hee (yg, Lepq eee esSINey Gian
| « (bt pee wt & be ge onal By =
ow : Pe . ae Wi perce home gh ae ge mf
(2am, vewepliened 1 vel, pty afte capherdeel Gp qi then, Hagel
_ OOP
a.
ci hte”, pater trey egies Ae ae i
af > ee « ery es —
be
© tro: j 2 the daw pn OO? ow (ee
Pang tle mete io trian, Ae
eer) 3% Ye) oe Scie ra ewig ye etn uke
' he page 4, t *% 2 ae, &e0" Sa s
‘shelyahs 4 Serie oeGeir tuard ASS » wate baad sini
a Pan aed pucny ime Wey be pes

oe sh en Bling brag Gaya od Beit
a tis ay WOT OSE A he auetieg : - > >
© AIT AE pet ype tten ml teal Ge cee Aas Cle ais ei
~ iq)
= = Feet ay, Calteats Dwthsse g “es Tepes unm |
ae Jp) ia ‘WOR preciece Papeex tims aon
Hee a. 3,
"Be LV cw get heir Pee chesdc, Gauly pens it 7 :
E ¢ Png ge weg? & lhe « oak oe oenniies. “They alr hat
9j ¢ ts
iw Set’ Anepo TL rw the
tres De > 0 tonr wf om _
V1 o> fluo Loy pee aM ¢xivts! Mi-enee oe vie ; net
me Ghat aie ale test ui al; a, they ope i}yegt> ay vice
que’ lat, Twin eaved sears 04j. Graes of plocn( salts oni , f
sno bop seinen (tr anareers 1h Take ephemera ithee. rr
vio nt, agus saree JIT. Gryeery ieee fee =the Pavay _—
ah ine Wels, and sary bepild pagent wih ipem, 7
lotpakliicg giecrertt ta theeles evita)
yas ale rie te
Hoh avid ake Tet thes devin Ii, TARA eRIA th job-ca
Ly rormnatiog nalty nares meni aki ane Be rid bp
F
ina, Heer.onwTbilitiogcysthcovealtanemibeerl
ii > eanalval Gallina
:
Abthe weary ¢eetlas ke gtcies fn AW 5
lonsasnee Cth dredtile near belo ta sentlang' sh
— . — = i on _— 2 Te
' ;
eee,
7 7 em
Chapter 2
Students select an instrument for many different
reasons. Many students will know exactly which Ipi
instrument they want to play before they even see He ping
the instrument or talk to you. Possibly they have
gone to a concert where they heard someone play Students Select
it” Or perhaps an older sibling, a relative, or some-
one they admire plays one. It may only be that they an Instrument
like the sound or that all of their friends want to
play this instrument. While all of these reasons may
be valid, you want them to make an educated decision. There is no
human being who is built the same as another—same height, same
strength, same hands, same facial and dental features, to name a few.
To help the child make a wise decision, you also need to consider the
child’s large and small motor coordination. Therefore, there are some
visual, aural, and physical characteristics that must be addressed in the
selection of an instrument.
First, the child needs to like the sound
instrument.
of the This is
why it is extremely important to demonstrate the instruments that will
be offered. The students should have the opportunity to hear how the
various instruments sound. Even the best recordings do not give them
the entire picture. In addition to hearing the instruments played, stu-
dents need to see how they are held and how they are played. Fifth
and sixth graders also need to know how they will look when they play
various instruments.
If the recorder is taught in the lower grades, the general music
teacher can be invaluable in helping your students select an instru-
ment. Ask the general music teacher about the abilities of specific stu-
dents entering your program and explain what you want students to
consider when selecting an instrument. The general music teacher
can help you channel students toward the instrument that will be cor-
rect for them.
Certain physical characteristics should be considered when stu-
dents are selecting an instrument. Make sure you discuss these charac-
teristics in your instrument demonstrations. If the students have this
information before they make a decision, there is less chance of their
having to switch instruments later.
# For students who find it difficult to coordinate fingers on the small
recorder, the flute or clarinet is not a good choice. Their small
_motor coordination is not developed enough to be successful on
these instruments. Instead they may want to choose saxophone,
trumpet, trombone, or percussion.
» For students who
SE are small, the flute, saxophone, or trombone is not
alice
es
Helping Students Select an Instrument é)

a good choice. They won’t have the lung capacity, the arm and fin-
ger length, or strength to play the flute or saxophone comfortably.
They may be too short to play the ttombone without accidentally
bumping the slide against the floor when reaching for fifth, sixth,
or seventh position.
= For students with protruding front teeth, full lips, or a tear-drop
Protruding teeth prevent proper embouchure, full lips have a hard

time focusing the air stream, and a tear-drop upper lip tends to
create a split tone on the flute. Students with these physical charac-
teristics should choose clarinet, saxophone, percussion, or larger
mouthpiece brass instruments.
= For students whose fingers are extremely thin, the clarinet is not a
good choice. They won’t be able to cover the holes completely, if at
all, without great effort. These students should choose the flute,
saxophone, trumpet, trombone, or percussion.
= For students whose fingers are short, the saxophone or clarinet is
not a good choice. The hands cannot span the instrument to reach
the correct fingerings without bumping incorrect keys and creating
frequent squeaking. Have students hold a clarinet for you and
advise them accordingly.
There are exceptions to every rule. Some students can choose
instruments with complete disregard of these suggestions and can
learn to perform well. If they like the instrument, they will practice
more, and if they practice more, they will enjoy what they are doing.
If students insist on a particular instrument, despite your explana-
tions, let them try it.
If after two or three weeks you can see they are getting frustrated,
schedule a conference with them and have the instrument you want
them to try with you. Have them try it. If they are successful, ask them,
“Why continue fighting to play this instrument when you can play this
other one easily and enjoy yourself more?” If you get agreement, call
the parents, describe your conference with the child, and help to
arrange the change.

Chapter 3
There are several ways to recruit students into
elementary band. Students need to see and hear eue
each instrument to make a satisfactory choice. They Recruiting
also need a registration form to fill out, have par- S d
ents sign, and return so you can schedule classes tudents
properly.
The registration form encourages students to
decide which instrument they would like to try, it gets parental permis-
sion for the student to participate in the program, and it tells parents
how and where to rent the instrument and what method book to use.
If your district doesn’t offer a form to copy, it’s easy to develop one
yourself. It should include: a greeting and short explanation of the
band opportunity, a list of instruments for students to mark as their
choice, locations of rental stores, title of the method book, district
instrument loan opportunities and criteria, the date, and a place for _
parent signature, comments, and phone number. These forms can be:
distributed to students by the classroom teachers at the end of the day.
Successful methods of recruitment often de end _on your talents
band Baporninity now offered to students at that. voor level, and

demonstrate each instrument. You can also use advanced band stu-
dents to demonstrate, but make sure they rehearse before the visits
and that their class absences are approved by their teachers. Have a
flexible demonstration schedule (some classes may have more ques-
tions for you than others), but the teachers need to know approxi-
mately when to expect you. If you are demonstrating the instruments,
you must have good skills on each instrument. Students may also
judge you by your personal appearance and tone of voice. Be enthusi-
astic and always wear a comfortable smile.
When demonstrating an instrument, Be Cale: how it makes a
sound, show the reed, play high notes, low notes, a full-range scale,
and song using music they can relate to or know, Use no more than
five minutes for each instrument, and include more playing than talk-
ing. Then give the forms to the classroom teacher and ask that they be
distributed at the end of day. Some students may be concerned about
cost. Tell them that if they are interested, they should let their parents
handle the cost question. Their job, as students, is to decide which
instrument to try and to get the form home, filled out, signed, and
returned by a specific date. Have students write the date of return and
first day of class on the part of the form they will keep. This helps
them remember to tell their parents. Ask classroom teachers to collect
Recruiting Students 7
the bottom half of the forms as they are returned and send them to
the office along with the daily lunch count and attendance. Advise the
office staff that the forms will be coming, and ask the secretaries to
put them in your mailbox. :
Grade-level assemblies are another venue for recruitment. If you
are teaching fourth, fifth, and sixth graders, you would arrange for
three assemblies. If you are teaching fifth and sixth graders, you
would ask for two assemblies. This method works well if you are com-
fortable speaking to large groups of children, and it usually takes less
of your time. It interrupts the classroom teachers more because they
have to bring their students to a central room. If either way works for
you, ask the teachers to decide which way they prefer. If you have time
constraints because of multiple school scheduling, arrange assemblies
at a convenient time for the staff.
A third way to recruit includes daytime assemblies for the students
and night registration meetings for the parents, including instrument
r u can demonstrate, or bring in studentor
brofessional demonstrators. If the school has an advanced band,
arrange to have its members play for the parents. If this is a new pro-
gram and there are no experienced students, try to bring a band from
your other school. However you arrange it, watching and listening to
the musicians creates parental enthusiasm and support. Also, consid-
er having local vendors bring rental instruments and the method
book you'll use to this night meeting. Parents appreciate the conve-
nience of coming to the school and leaving with everything their chil-
dren will need.
If you choose to have the night parent meeting, send a notice
home with the students the week before, and also announce the
meeting in the school newspaper. If the school has an outside mar-
quee, ask to have the meeting date and time placed on it in advance.
Teachers might also be willing to put the meeting date on the board
as a reminder. As the word gets out about the program, parents may
call with questions. Make sure you return every one of these calls
promptly, and always answer the questions completely. Stay profes-
sional when talking to parents and students, but let some of your per-
sonality show and don’t be afraid to use humor. Parents want their
children to learn an instrument, but they also want it to be fun. It’s
hard to picture a fun class if the teacher appears to be too serious.
After most of the forms have been returned (you may have to walk
around to classrooms to remind students to turn them in), you can
plan how many classes you will need and how many students will be in
each class.

Chapter 4
While the ideal situation is to meet with your stu-
dents every day, you will probably see yourstudents
once or twice aweek because of the school facilities
Scheduling
available and possible multiple school assignments.
Therefore, proper scheduling and consistency are
necessary for a successful band program.
Set your daily and weekly schedule as soon as possible. This should
be done after consulting with the principal and staff, as well as consid-
ering student lunch and recess schedules and including breaks and
lunch for yourself. _Try
spread
to the lessons and band periods during
the week. For example, do not schedule a sectional lesson on Tuesday
and full band on Wednesday. The students then have to wait six days
before they have their next class. This has a couple of pitfalls: they may
forget to come to class and they may forget what they learned in the
last class. You will be reviewing constantly. Instead, schedule lessons
Monday and band Thursday, or lessons Tuesday and band Friday. This
way, students do not go more than two or three days before they work
with you again. Their mistakes will be easier to correct and this may
increase student retention in the program. Also, they may remember
more of what they have learned and progress more rapidly.
It is preferable to schedule small lessons once a week of like instru-
ments. While this is ideal for your band students, it is not always ideal
for the classroom teachers. On a day that you are at one school, the
classroom teachers never have their entire class at any one time dur-
ing the day. Tell them this will only happen one day a week. If you are
the only person pulling students from classes, most teachers could
comply with this. Definitely ask the staff members if they are agree-
able.
On the other hand, you are probably not the only pull-out program
in the school, and classroom teachers cannot be effective with con-
stant interruptions. If this is the case, another way to schedule smaller
lessons is to take all the beginning students from class A at the same
time. You will now have a small class of mixed instruments, and class
A’s teacher has the benefit of a smaller class, too.
You may have a situation where small lessons are not possible. This
could happen for various reasons—availability of school rooms, dis-
trict policy, student load, or a high number of schools assigned to each
teacher. You may only have time to see students for full band once or
twice a week. In some circumstances, you may only beable to see stu-
dents once a week. If time slots are scarce, try to see your beginners
once a week and advanced twice a week. This is by no means optimal,
and student progress will be slower. But you may be surprised at what
students can accomplish with this limited instruction.
Scheduling 9
Unless you have an unusually dedicated class, do not try to teach
during recess, the lunch hour, or after school. During recess and
lunch, students will be torn between playing with friends or being
with you learning. After school yeu will be competing with karate,
swimming, soccer, scouts, and parent errands like dental appoint-
ments, haircuts, and more. As much as you would like to think stu-
dents would choose us, peers have an important role in students’ lives
at this age. Do not put them in the position of having tto choose. Band
should be taught during the po ge ashones
ther academic “subjects
s —
alee a
~~ Elementary students will remember a schedule if it is consistent
and routine. Keep your schedule the same once it is set:However,if
‘an unforeseen and unacceptable situation occurs that requires a
change, always clear your schedule change with the teachers it will
affect. If you change schedules too frequently, you will aggravate the
staff and lose students.
Always schedule concerts early. Most schools have a school calen-
dar for keeping track of field trips and assemblies. Your winter con-
cert should be on the calendar by September 15 and the spring con-
cert by February 15. Always put a note in teachers’ boxes telling them
the concert date as soon as it is set. Field trips can then be scheduled
around the concert instead of during it. If there is a Friday bulletin
for the staff and a school newspaper, announce the dates there as
well. Scheduling the winter concert two weeks before vacation is best.
Avoid the week just before vacation and student and parent atten-
dance will be better. Schedule the spring concert the same way. Avoid
the last week of school. Elementary schools get very busy around holi-
days and toward the end of school. If you wait too long to schedule
your concert, there might not be a time the school building is avail-
able.

Chapter 5
Daily Classroom Setup
Every elementary band teacher needs some com- Physical
mon items for the class to function smoothly. They
include the following: Arrangement
a Storage space for music, stands, and drum equip-
ment. Multipurpose rooms often have cupboards of the Band
or a small side room. If there isn’t anything avail-
able, ask the principal if you can build (or secure Room
parent help to build) cabinets, possibly in the
back of the stage, for your use. Make sure there
are doors that can be padlocked. In a pinch, music, percussion
equipment (the exception being the bass drum, unless you have a
van or truck with a camper or shell), and a box of folding stands
can be stored in your office—your car. The car office might work
better if you teach at several schools. Assign students at each school
to meet you at the curb to help unload.
# A blackboard or white board for class instruction. Don’t forget chalk,
markers, and erasers. You will need this to teach notes, rhythm, and
other musical concepts, and to post lesson plans, concert dates, and
announcements.
# A recently tuned piano. Whether you use it to lead the class, demon-
strate musical concepts, or help brass with pitches, it is an invalu-
able teaching tool.
= Music stands. If these are already at the school, make sure they are
in good condition. If the school does not have any, the district
should help you purchase them. Talk to your school administrator
or district music coordinator. Also, you might be able to borrow
stands from the middle school or high school in the area. Contact
their band directors. Your budget and the space available will deter-
mine the type and quality of stands you can have.
| usic,/ Decide on the band method book for your beginners. Shop
at
music stores and ask for opinions. Ask other band teachers what
they use and why. Once the method book is selected, the students
can usually purchase their own copies. If there is no district music
library for band literature, contact other elementary band directors
and the nearest middle school, and ask if you can borrow music
from their library until you can purchase your own. Parent groups,
including the PTA, might donate money to help start your own
library.
= Physical class setup. Always keep it the same, except for concerts.
~
room’s
Face the doors and place the students with their backs to
the doors. This will help with classroom management. (See
Physical Arrangement of the Band Room 1]

Chapter 6.) Students this age need routine. If they know exactly
how and where you want them to sit each day, they will go there
automatically, there is less confusion, and class has a better chance
of starting on time. Have students help set up and tear down. It is
important for them to learn where things go and to help get those
things there. This helps you and it also helps the custodian. If the
custodians are setting up for lunch quietly in the back (try to
arrange for this to happen before or after your classes), they know
where they can be without disturbing the students. If your daily
requirements for the room arrangement are predictable, the custo-
dians might be willing to put a few things into place before you
arrive. Although preferable, you may not have the time or space to
arrange individual chairs before the students walk through the
door for class. Or, if you are teaching right up to the lunch hour,
you may not have time to put them back before the students arrive
for lunch. If your school uses cafeteria benches, it may be helpful
to use them for your classes and have the custodian set them up.
Then the custodian has less to set up for lunch and you have more
time for student questions after class. Don’t be afraid to ask for
things you need. Most people are glad to help if they are aware of
your needs.
Concert Setup
Concert setup (aries greatly. It depends
on the size of your audi-
ence, the size of your bands, if you conduct or play piano with the
band, where the piano is kept, the size of the stage if there is one, and
where you have daily classes.
If you perform on the floor in front of the stage, your audience can
see and may be more attentive, especially if your band is
small—under fifty members. The floor location puts you and your
band at the audience’s eye level, and audience members are more
easily drawn into the presentation. If you are closer to them, you can
better keep the audience’s attention. From a practical point of view, it
is easier to move a few percussion instruments and stands to the floor
than to move all the chairs and, possibly, the piano onto the stage.
If you have a large band, between fifty and one hundred members,
and a stage that will accommodate the group’s size, you may want to
perform on stage. A artgeDand canDe100Joudit
performing onthe
~floor However, the proximity to the audience and the excitement the
audience feels in being close to the band far outweighs other con-
cerns.

Chapter 6
The Band Room
As an elementary band director, it’s likely you will

— Classroom
not have your own classroom in which to teach. If
“there is an extra room, you “will compete for’ this Management:
room with the general music teacher, string teacher,
reading specialist, art specialist, speech therapist, The Band
physical education specialist, art docent, and before-
and after-school child-care programs, to name a few.
Also, consider the classrooms adjacent to the band Room, Class
room. The teachers in these classrooms may think Seating
that their effectiveness is diminished because of the
sounds coming from the band room next door.
Since you will be working with large groups and
have extra equipment (music stands, drum equipment, folding chairs,
instrument cases), most elementary band programs are taught in the
cafeteria or multipurpose room. This works well, but some agree-
ments need to be made to maintain some control over your teaching
space.
The staff and administration should realize that during band, the
multipurpose room is your classroom, not the cafeteria, and it needs
“to de
be respected zas such. To avoid someone scheduling ;an assembly or
rehearsal during band, it helps to have a multipurpose room calendar
kept by the school secretary. This may already be in place at your
school. Your classes and concerts are scheduled first, and then other
staff sign up for open times. No other classes should be in the multi-
purpose room when you are teaching. There may be a time when an
important assembly can only be scheduled during your time. Be flexi-
ble and request a couple of weeks’ notice for these kinds of changes. If
interruptions of your schedule become frequent, discuss this with the
principal. Explain carefully and politely what you need and why. Know
your request is reasonable. After all, classroom teachers would not
want band taught in their classroom, and you do not want physical
education taught in yours, at least at the same time. Every effort
should be made to keep your room quiet, temperature appropriate,
and doors and storage areas secured when not in use.
Multipurpose rrooms sare
areabout twice the size ofre
regular classrooms,
sometimes three times larger. As students come from their classrooms
to your room, they start by walking freely in the hallways, possibly pro-
moting silliness and chatter, and then they walk into a huge room by
comparison that also might invite uncontrolled behavior. Establish
rules of procedure to keep this situation safe for students and for
instruments. This can be accomplished by visiting their regular class-
Classroom Management 13
room and explaining the rules to them before your first class meet-
ing, or it may be more convenient and less disruptive to the classroom
teachers if you just meet your students outside the door where they
enter the multipurpose room, and explain basic procedures before
they enter. If you are meeting for the first time in small groups, this is
the perfect time to introduce and clarify classroom procedure. If the
small groups are made aware of your expectations in this regard, the
first large group meeting will be much more productive—more
rehearsing and less talking about and enforcing the rules.
Here are some suggested rules for your students. They are just sug-
gestions, and you'll need to develop your own rules to fit your situa-
tion.
1. Walk into the band room quietly. There is no sliding or riding on
cases, running, or shouting at any time.
2. After putting the instrument together, close and latch the instru-
ment case.
3.-Walk to your seat. Watch where you step so you don’t damage
another instrument or case.
4. Make sure you have astand to use and your music.
5. While waiting for class to begin, read the board for the day’s lesson
and make sure you have all the music or equipment you will need.
6. If there is still time while blowing warm air through your instru-
ment, you may silently finger any music you wish to practice. Do
not play until you are instructed to do so by your teacher.
7. Once seated, any area beyond the band seating area is off limits
unless you have permission from your teacher.
8. After class, there is no playing without permission. Put your instru-
ment away properly and quietly walk back to your classroom.
Class Seating
In general, make sure you can see the doors to the room at all
times. You need to know the comings and goings of your students, as
well as any other student or adult coming through your room. You
have to remember that you’re in the room where the lost and found
is probably kept, where students are coming to help with lunch
duties, and where people may cut through to reach the office.
Although the latter should be gently discouraged as it occurs, the
other traffic is common and necessary. Let students know from the
beginning that this is to be expected, and it is important for them to
stay focused on class activities. It is also best if the students’ backs are
to the doors and the clock. Again, this arrangement is aimed at mini-
mizing distractions.
e€ seating works best when arranged in rows. Flutes should be in
ie

the front row, clarinets in the second row, saxophones in the third
row, trumpets and trombones in the fourth row, and percussion
beside brass or in a fifth row, depending on the space available. Adjust
these rows to accommodate your instrumentation. Once decided,
keep the seating the same. To students, this will become routine and
predictable, making it easier for you to start class on time.
Pi -
7 wh -
ples a patare ens {hime eoetputaban
reer aan Gey Me @ cory Ore
0
‘
04 whidews ee vant catleal
ea ect © = une
. ave oo
(neepee hers Mninaihiteedtncdieaieien tt
- oe
inl
ete ibe pode ode, vie
si
= a LP ‘ie
ome ane aae vagerrtaetoe os Gils ty
- : aupa 2S i ORD Sadngy
rng mine; dee ¢ owt @@ ening howuhs
pi Me 7 min © «eer a=
- . A acon ones wesa ¢
. ee oe» = eign=
7 4 =) 9
_ ~ o> = owt) es
7
‘
» : “jen Gee iy’
‘ “~epe a val 7 eee

—T gui a inaarel iceiied
‘ >i (deg ene om toed

om, @ _ ~ _ = er op S
.
1s oa ont @ ai» So ocess wage,
| PW aot Bo tant saiiniyenfy
cy) Ses Vis ened Neg ———
a 7 : 2 eG Milmul Poneting
— : == @ulh, | Sek to pang’y
: 7
e we oe
ha 7
» Citta A® Cte Om (70 bw GPGer @ it
uae es Tre nisist © lage We coed we
Pa 9a «i aa
P22 2H «ile » aay
is we! Gap — Beeaih poe
iW Weer nder Gu oi G2 em DBAs i
imate ‘i eee Gud mje Me —mealeag 4 7
bc tid and wfistec ee wiles wet ein en Om: oe
toh Gap peet¥ cheng ve oi)
dmesayed i
‘hor ellie t. eaweaa eee
aie ban pikewens fh
- < - 2 ‘ee peg
. riage Sepehwripmiohi,
190
ietee € thas tek
> be Hcows ind (Se tind Agase,
Gia ax
mlbing Umea es
1See yale outs Laat adirg
Saat,
-
Chapter 7
Initial Procedures
Students should walk to and into your room qui- Classroom

etly with no running or shouting. They should
either have table space or floor space to assemble Management:
their instruments, away from the actual teaching
area, but within your viewing range. When they Initial
come into class, they are to proceed directly to this
area, assemble their instruments, close and latch Procedures,
their cases, get a drink of water if needed, bring a
music stand with them to the chairs or benches, and Ending
assume rest position (more about this later in this
section). They may talk quietly to each other while Procedures
everyone is assembling.
Always have your lesson plan on the board for the
students to see as they enter. This establishes goals
and lets the percussion know what equipment to have ready for
rehearsal. The others can then have their music in order and be ready
for class to begin. This routine also gives students something produc-
tive to do while you are taking roll, handling questions, passing out
music, and solving instrument problems before class starts. If students
need a piece of music, for whatever reason, let them know they need
to ask for it before or after class, not during. This lets students know
that what is on the board really is to be read in preparation for class
and the “I need music!” interruptions are avoided.
Do you let your students play_their instruments_to warm
up before
class, or do you have them wait and warm up to ere depends
‘on what you are comfortable with and the maturity level of the class.
One general rule is that no one plays until all play together, especially
beginners. Because they are just learning, they need a controlled set-
ting. You will have a far easier time starting class on time if you ask stu-
dents to wait and warm up under your direction. You are working with
ten- to thirteen-year-old students and, on the whole, self-control is still
being developed. Besides, it is very difficult to speak with students or
parents before class if the room is noisy.
For a mature, advanced group, an alternative is to teach them how
to warm up properly and make it clear that no other sounds before
class are acceptable. You will need an attention-getting signal that tells
them that the warm-up sounds are to stop and class is to begin.
Tapping on the stand as some conductors do may not be audible
enough for students to respond properly. Avoid shouting or whistling;
this is unprofessional. Some teachers use a peace signal with two fin-
gers in the air. But if students aren’t looking directly at you, they won't
know to respond. Some teachers use a clapping rhythm the students
repeat (quarter, quarter, eighth, eighth, quarter), but this can be diffi-
cult when holding an instrument. Some use a “ta-da” rhythm pattern
played firmly and loudly on the piano using a B-flat concert chord.
This sound means the teacher is ready to begin class. Students are to
end conversations immediately, and come to rest position looking at
the teacher. Whatever you decide to use, as long as it works, stick to it.
Then it becomes routine and automatic for the students.
Rest position amounts to having students in a safe, quiet position
with their instruments so you can begin class. You may use two posi-
tions—rest position and playing position. For flutes, clarinets, and
trumpets, rest position is placing the instrument in a vertical position,
resting on the right upper leg. For saxophones, it is across the lap
with neck strap attached. For trombones, it is a vertical position, rest-
ing on the slide peg, placed on the floor between the feet. These posi-
tions are also safe for reeds, keep brass mouthpieces from falling out,
and keep the instrument away from the mouth, discouraging playing
at will.
Playing position is the actual position students will assume to play
the instrument. Playing position does not mean play. Only you decide
when students play. You can use this position in a variety of ways. You
can walk around and check posture, reed condition, embouchures,
and placement of hands and fingers. Students can also perform silent
practice in this position, either on their own with your permission, or
along with you as you demonstrate a line of music.
Ending Procedures
Your students can help put away equipment after class. This not
only helps you every day, but it is also good practice for concerts.
Initially, you may ask for volunteers, but if the same students volun-
teer each time, you might assign different sections to clean up after
the last class. The basic rule is the first class sets up and the last class
tears down. The students in the middle classes are the first ones you
could ask to help at concerts. This way, everyone has the experience
and feels important.
An established routine can reap benefits for you, as shown in the
following real-life example: A band teacher and her students had very
little time between the end of band and the start of school; the fifty-
member band learned clean up in about six minutes—chairs stacked,
stands in the side room, and percussion in the established area. One
day when the band teacher wasn’t at the school, a high school band
was invited to play for an assembly. The assembly ended five minutes
before a class was to begin play rehearsals on the stage. The band stu-

dents in the play stayed after the high school assembly and cleared the
stage, putting everything away in a few minutes. No time was lost for
the play rehearsal. When the band teacher came to school on her reg-
ular schedule a few days later, three notes were in her box thanking
her for training the students to clean up the stage. And she hadn’t
said a word to the students beforehand. The band students earned a
reputation of being helpful and efficient, and the importance of the
band program was elevated in the thoughts of the school’s staff.
_ ae
a
043 etends finnyithee trees pasptiatatind nae
ith mot gaa mee) oO sone riglen Suede)ih unten ree er .
sc seta ontine: 0 sige? epaleres Genet ele Gr Foads
tie1a Ot tor’! ph ores over quate aeemnt <i wat
ihe dtwiebne. agen woo? Antti orien ieaden
© Srepep ene iis we hivete et Pp dyes /cinixton nteecatietieribhenl
ww) Wet rere lh) ¢o@ mahi Ga teitvetert qareets
thes 9teacniee ade Os ead ered ee om
ar Vatty nar ObvaPeagi 2 a>, pe
7 - ) (eres “gy, ig erp die tae
we! gla 1 ihe eras.) ©
ic inno? th é cecal pawl
4 4 ogee “eernes “4! Pi es «| slap
ae. 1% devils € @ a eer at | ae,
is 4 > ebm I 7 > ir 7
4 om) 7 ss
wrap ite ?
. 2 7
Ps 2 “~~ ve 1)’ fy “at (eS iu a
at © y ‘ ‘en { eitas (ite aii
1 Lal 4? me Om) Wc.) Ase ee

‘ (a Tie Mee, gle) (Dyght peng) ae
? : Pei (um H SOG Vie wv or" Ww
: : -» fewon fetal (oh bie epee

+ ant Lagres Stet aur ar endl gy ail
i | 4 Mie Ay Ow Ane With deed yo
a *6 i | 18 Of Tiel.
"
~~? =m « Y 4. » _ :
Vee) oT ee? dediny (omy am my Dra lio” chase t

im yy leat ; aT ry heer i ee ov gue ura tice gry ais
ar + tie) cath tow WoOresterr, that iF uh @eme eiidiemmns
x c i ~~: (in) ae Vy ai tue te cican tyD
Nyy «i ite tae suphr @ che Se tinde ee (ai dat tus
Wwheta Cho ei évipphortyys oy tee ities elass ae tthe: tnd =
Co! sk Ga te twasere®, Tit + tities tn ‘le Ox
if ‘ iyi Laer
7
i guubhabest janecia ree beard iledee gile ak teesOe

icdawinie maida: ecmenle A teu) teactey gud tee uber Ueadl, mn
lilt tule? tects Aho wd al trai a) the suet of Juels
se chet
ri vier hand Seated cipan wap i@citinist Oe caiparien
rant, in, Diet wirle andre owe paren bo ihe hed
‘he, een the heed oomvey wom glle athuanly a feign
vied lixvelined ayy jhveor ant aseonber, Fw ca
e
Dat! far a eT i ed areal tape p
= ——P
- Ff . etait il
Chapter 8
Every school has its own rewards and punish-
ments. Make sure you know what they are and that
you can implement them in the same fashion as the Classroom
classroom teachers. For example, some schools have ede as
a “no citation week” the first week of school. Discipline
Rewards and punishments are verbal, not written,
and gentle. The object is to educate the students so
they know exactly what is expected of them. If you give a citation the
first week, the students will resent you for some time, and that loss of
student respect is difficult to regain.
It is difficult to know when to be strict and when to bend a little.
The general rule is to permit behavior that is beneficial to students
and discourage behavior that is solely disruptive to class. Band classes
are more social than regular classrooms. Before you hush students,
make sure the conversation the students are having is not about the
music or is not directed toward helping another student. Peer teach-
ing should be encouraged. You cannot be everywhere at once, espe-
cially in large mixed-instrument classes.
A common frustration you may encounter is the student forgetting
his or her instrument. It may help torealize
that you do not see them
every day, and it is difficult for elementary students to remember when
band day is. The burden of remembering is on the student, but par-
ents can help by reminding them the night before to put their instru-
ment by the door. Sometimes students exchange phone numbers and
call each other the night before class. You could suggest they put a
note on the front door so they see it as they leave for school. Give the
students.aweek-ortwo—to-adjust to their schedule, tell them you
expect them to remember, and state the consequence for not remem-
bering. At some schools, they can forget two times a grading period.
On the third “forget,” they receive a citation. If their instrument is in
the shop or forgotten at the non-custodial parent’s house, for exam-
ple, a note from the parent explaining the situation is sufficient. Then
that particular “forget” does not count toward the consequence. Also
have positive citations. Always reward the helpful student, verbally or
written. Everyone likes to have work recognized and appreciated.
When students forget their instruments, they can still participate in
class. They can sit in their section and not disturb other students. They
can be expected to pretend they have their instrument and to go
through
all the actions for their particular instrument—follow the
music with their eyes, pretend to finger as if the instrument were
there. They also can be expected to practice what was covered in class
when they get home. Forgetting the instrument is not an excuse for
not knowing the material. At times, give students a “free day” when
Classroom Discipline All

you do not count if they forget an instrument. This is usually after a
holiday, a field trip, or a time their schedule has been interrupted
through no fault of their own. It shows them you can be as consider-
ate of them as you expect them to be of you.
The rest position and playing position referred to in chapter seven
are extremely important for classroom control and discipline.
Strongly discourage talking between playing position and rest posi-
tion. This is the time students should be listening to you for correc-
tions, encouragement, and the next task. Of course, if they have just
played something particularly well, let them bask in the success even
if it means letting them laugh or talk for a moment. The signal for
starting the class should draw their attention back. If you get in a situ-
ation where the sound signal doesn’t work, just wait. Some students
will see what you are trying to do and will start quieting other stu-
dents. Take just a moment to remind them about rehearsal manners,
maybe only one sentence, and then get on with the lesson quickly.
If you need to control talking, direct your attention to the specific
students who are talking when they shouldn't be. If you say their
names, even if it is the middle of another sentence, they will under-
stand that they are to stop talking and listen. For example, “Who can
tell me, Mike and Sarah, how many counts this kind of a note gets?”
When Mike and Sarah hear their names, they will usually immediately
face you and listen. Or if Taylor and Alice are talking say, “Taylor,
would you mind repeating the question for Alice.” If he can’t, then a
smile from you and a “Gotcha!” usually causes a chuckle from the
class. You can get away with this without embarrassing students most
of the time if you are smiling. They then know it was a gentle
reminder, and your request for them to listen is reasonable.
Behavior that is disruptive to class or disrespectful to you—continu-
ing silliness, incessant talking, sassing back, or deliberate playing out
of turn—calls for the next level of discipline. At these times, with a
serious face, give them the option of stopping unacceptable behavior
and joining the class properly or putting away their instrument and
sitting in the back of the class in your view. If the behavior contin-
ues after this warning, they must put their instrument away and sit
in the back until class is over or, in extreme cases, be sent to the
office to sit. This behavior should be followed up with a brief talk
with the student, a possible citation, and a call to the parents.
Again, check school policy.
Serious discipline problems would be deliberate misuse of instru-
ments, talking back to you confrontationally, in appropriate language,
pushing, shoving, or fighting. Rely on the school policy for
backup—citations, referrals, sending to the office, or documenting
for suspension are some options.
Ze Getting Started with Elementary-Level Band

If you have mistakenly scolded or disciplined a student, apologize
to the student in front of the class. It will exonerate the student in the
eyes of his classmates, and you will gain respect from students. If stu-
dents are to take responsibility for their erroneous actions, teachers
must model that behavior. Here_are some other tips:
a Always keep disciplinimpersonal? Let students know that if you cor-
rect them, it is because they were interfering with you doing your
job or with other students learning, not because they are a bad per-
son or you don’t like them.
# Avoid embarrassing students. Social relationships with students of
this age are extremely fragile. If students think you will make them
“look bad” in band, they will not stay in the class, even if they enjoy
playing an instrument.
# Remember that in most cases, if you have prepared _a lesson well, the
students will have their attention on the lesson, and discipline will
not be an issue.
Classroom Discipline 23
: _ Va a
easel Ptaarah A vi Myreals au Hetvlachoeta

dba ty
bide
ralrecs Diego to pages etree.4gAyal aa id palin dace Datnny perlaae'
1109 Cl id rt) akyer’ yi ert Ret ay lam a! to iad
AEOEAE ELANHr Lab gre: Veen ee WAN west ald el va week
~) 4/W VidweriniDpgrh agate speaint ni apa a
“4 ©ABAD Suit wits rete 16,Femg eps etal} “onihin
ie ie et ee Mabe ap.epennal canal sa oe
ne toa yh grab tract) oe wo dawilsiieten wabigertyteta dhc i
a! OF ay Phd Sin ivetidl alll aallsiitiy te ni
EHH Kew riae 0682 itera! SR ey in-eaaaae iad.
MP eaten TOA eryOrieleaielheteDW ullgnd iemmente bees lee
WONG na Wiles oeae SAM er Jot diewady alll: “ettaati
| oS ihcnIN 14cm gs
wt
1 ew We | inet fyi ef ia A tar» nin? ov pert wee
ie Cal Pas be FX.Fo)!' hd Aheey, oe elotteerey [h Ainaerd =!
Sage oem ne aeeing)
ia P j perayisiige @ Ke
a
Pn © h ine? (lamin) be Of hia ws

' nou Mm 0 Gay i ia ery will whe
= De 8 ;os iy “oon Tea Lie erinle, Wale
é 66 @ My
ian bev wt eially poervendiie
Mue ure Pqlh its on) rs
be 404 4109 : iprBeitaag law we,”It We an,
Om > tees ofits ihe Digg
iF TT ’ cr Gmbh em cation .
oe lt Web @
ae ma hy | ject. vequlegad le
“per SFish te =) meg voted
Ne iow v% (wi Wy ie Ue iite oe ff ;

Of Dray oo = nM © cere, Aa Dhow ines
: oa)
Hid Gp “Napa a
ihet peri Chay vlad ob Aw peptide as oy held Viverneent >»)
Oy Cr Nin avd «| | og Vis Tt Np tniliiedia he
ey atuey ih ‘ie Miey oils jos (Daal irate ye way
tf) Wrst Var. toys t ote | ( iv, Ot CURRIE Oneey, ee bane
llirr & a T! Role iort ahem He Melliadyl ‘gp wit; ed ;
win ¢} HOAe a, Ob bs ele
D
Tih, sre Ss onll 1G wel
\gpin, ate Re Sayin jraficy,
sell i ara S\irue firaimerns eyeeriiel ja iietiberr: ls mingiag
Gwvw 4 —_ = » Wa eS; | Sa)trenton, In apenas ba
Vhiog choving, 0 Teehidu. Rely on jiveaedhe ti
beth —eiaacnns, Vetniwpde wrt lug 4. th Bile *
Sa pearerintens aie nena dicted, i ok ae
7
t =f
Chapter 9
The way you organize your lesson or full-band
rehearsal depends on how many times a week you
see your students and the class size of the lessons. If Organizing the
you see your students once a week, you will need to
i
schedule differently from what you would if you see Small Lesson
them twice a week. Some lessons might include onl
ova
the same instruments or might be a class of mixed creny, and Full-Band
instruments, and either may va reatly in size.
Here are some suggestions tbe ae eee Rehearsal
that might help you. Find the one closest to your sit-
uation and modify it to fit. It is assumed that you
have thirty-minute classes. If you have more time,
adjust as necessary.
Once in a small lesson
If you see students once a week in a thirty-minute lesson, divide

your lesson into_three parts. The first part is a_five-minute warm-up
that includes scales and correcting intonation. For the next fifteen
minutes, work on technique studies. For the last ten minutes, work on
concert literature. In this situation, try to schedule outside time to put
all these lessons together for a full-band rehearsal at least twice before
a concert.
Twice a week in full band only
In the first rehearsal of the week, concentrate on the warm-ups,

including scales, correcting intonation, and technique builders. Leave
the last five minutes for handing out and rehearsing concert litera-
ture. In the next rehearsal of the week, take ten minutes for warm-ups,
technique studies, and correcting intonation, and then concentrate
on concert literature
for twenty minutes.
Twice a week, once for small lessons and once for full band
gee
This is the @ptimum situation ¥f you cannot meet every day in a des-
ignated period for band. Small lessons would concentrate five minutes
on warm-ups, fifteen minutes on technique studies, five minutes on
correcting intonation, and five minutes on difficult passages in the
concert literature. Full band would concentrate five minutes on warm-
ups, five minutes on correcting intonation, and twenty minutes on
concert literature. Intonation correction can also be made during the
rehearsal of concert literature as necessary, but it speeds rehearsal if
Organizing the Small Lesson and Full-Band Rehearsal 25

that is done before you begin.
It is rare that band schedules are not altered as outside groups are
scheduled to come into the school to perform or teach in the multi-
purpose room. It can be frustrating to prepare for and count on a
particular rehearsal, only to find out it has been canceled because
someone is using the multipurpose room during your time. Remain
calm and be flexible in these situations. It can’t be stressed enough to
keep your eye on the multipurpose room schedule for the school. If
you keep close watch, sometimes you can intercept these scheduled
groups, and ask the school to reschedule to another time, if possible,
to avoid interfering with your rehearsal. If the cancellation cannot be
avoided, try to adjust to it. It does give you ammunition in the future
when you need to ask for an extra rehearsal to pull a concert togeth-
er. If it happens frequently, you need to schedule an appointment
with the principal to politely discuss it.

Chapter 10
Teaching musical instruments to students is a
team effort between the parents, students, and
teachers. Many responsibilities overlap. It is impor- Parent and
tant for the students to take responsibility for their
education on a musical instrument. You should Student
never expect elementary students to do this com-
pletely on their own, but you should help them be Responsibilities
as independent as possible. The teacher will give
students
a daily and weekly classschedule, and = ~ to the Band
cert dates will be announced and notices sent home
‘giving-parents theinformation. It isnever too early— Progr am
to
students
have keep their own calendar for daily
and weekly events. Suggest this to them in class. You
might even have them bring a calendar to school, have them enter the
dates, and check them off. In addition to the teacher notice that goes
home, students should tell their parents about concert dates and
make sure the dates are written on the family calendar. Have parents
monitor this as they receive the student’s information as compared
with the notices that come home from you. If everything matches, par-
ents know the student is staying organized. If there are discrepancies,
a call to the school to clear it up might be needed.
After parents are informed about the schedule, they need to help
the student get organized at home. For example, if the parents help in
the responsibility of remembering the days their child needs to bring
an instrument, music, and supplies from home, the child is then
responsible for coming to class on time at school. Since elementary
students cannot drive, parents are responsible for taking them to and
from concerts according to the schedule. Parents are also responsible
for supporting you in your request for concert attire. Decide what
image you want for the band according to the setting of the
concert—an outdoor concert can be more casual than an indoor for-
mal concert—and make your reasons for asking them to wear certain
things clear to your students. Also, your expectations may differ from
school to school according to the socio-economic area.
Students need to keep their parents informed about repairs need-
ed on their instruments. You should check instruments periodically as
a courtesy to the student. If you have had training in instrument
‘repair, you probably
have the skills to do minor repairs before or after
class, but have a list of approved repair shops to give students and par-
ents. If the student’s instrument is not repaired within a week, a call to
the parents is a good idea. Most shops are efficient and responsible
about doing a repair quickly. They are aware of the toll it takes on ele-
mentary students to be without their instrument for very long.
Parent and Student Responsibilities to the Band Program Di

Equally important iskeeping thestudent supplied adequa‘y)
accessories. Flutes need a cleaning rod with c eaning cloth. Clarinets
and saxophones need a swab and at least five working reeds with
them at all times. Trumpets need valve oil and a cleaning snake.
Trombones need slide oil, a small squirt bottle for water, and a clean-
ing rod with cheese cloth. Percussion needs a pair of sticks and a
drum practice pad. You need to give students complete information
about the care and cleaning of their particular instrument through
many short class demonstrations and written information to send
home to parents.
Daily home practice can be most frustrating for parents and stu-
dents. Here are some agreements that can be made to alleviate or at
least ¢
ease stress in this area:
thea instruments. This puts music on as equal 4 footing as as aa

and
science.Students should be practicing at least twenty to thirty
minutes every day at least six days a week. Rather than leaving the
practicing for last, they may find it helpful to use it as a break from
other important homework. For example, they could do their
math, music practice, and then another written subject. Practicing
becomes a refreshing break, rather than a chore and possibly a
family battle.
2. It is helpful to practice the same time every day. It should be at a
convenient time when their favorite television show is not on, or
when playtime outside is not appropriate. Students need a private
space where they won’t be interrupted. Parents and children
should plan together for practice time and location.
3. Above all, children need parental| encouragement. Playing an
instrument is not easy. Children are trying to make their fingers
and tongue do specific tasks (small motor coordination), they are
trying to hold the instrument properly and have correct posture
(large motor coordination), they are sequencing as they read
across the music staves, they are constantly counting and doing
simple math in their heads to create the proper rhythms, and they
are reading a new language—music notation. There is also the new
experience of belonging to a large social group where they learn
team cooperation and responsibility by playing together in
rehearsals and concerts. They will experience wonderful times and
frustrating times. They need parental understanding and encour-
agement to get through both.

Chapter 11
Scales are part of music theory and help students
improve playing technique and tonal recognition. Wh T
Scales are also the items that the students are asked y Teach
to memorize, just as beginning reading students
memorize the alphabet. As beer ear across a Scales and
scale passage in a piece of music, they must have it
in their memory banks. There is no a to look it One Way to
up as they sight-read. Scales should also be part of Dol
each rehearsal’s warm-up. O it
Many times, students come across an ascending
or descending passage that, when looked at careful-
ly, is part of a scale. These can be particularly intimidating to elemen-
tary school-age musicians and can push them away from practicing
that piece. If they have experience with scales, and you have briefly
discussed what scale it comes from and what part of it is used—dissect-
ing it, so to speak—students can find themselves playing phrases they
never thought they could play. As a result, the smiles of accomplish-
ment are contagious, and the level of playing elevated.
Scales are also the perfect way to introduce the beginnings of trans-
position, without losing beginning students in the intricacies of music
theory. Here is a sample lesson that can help students learn scales and
understand how to transpose for their instrument:
Materials
The students need to have a page of basic scales—in order and up
to and including at least four sharps and flats—in front of them. It can
be in their method book, on the band folder’s inside flap, or on a
page you created on your computer.
Lesson
“Today I’m going to talk about concert pitches. Picture an orches-

tra of string, woodwind, brass, and percussion instruments, and pre-
tend you are the conductor. You want everyone to play C. Let’s do
that. Everyone play C on their instruments and hold the note.”
Now you conduct it. Of course, it sounds awful because not every-
one is playing the same pitch.
“What’s wrong? Why don’t the notes all sound the same, after all,
we’re all playing CG, right?”
Let them do some guessing. Don’t be surprised if someone knows
the answer. Then you summarize the main points.
“Because the instruments are not all the same size, they do not all
Why Teach Scales and One Way to Do It ae)

play in the same key. That’s why we have to play different notes to
sound the same. Now, try this. I want flutes and trombones to play B-
flat, clarinets and trumpets to play C, and saxophones play G. Ready?”
Conduct it.
“That’s better, isn’t it? One of the reasons conductors use concert
pitches is to save time. If you waited for the conductor to name all the
notes the different sections are to play, it would be ten minutes before
you could start a scale. So what we do is talk in concert pitches, and
each player is expected to transpose, or change, to the notes that will
sound correct.”
“It sounds hard, but there are only three steps. First, find the scale
that I named—I said B-flat concert. Everyone find the B-flat scale.”
Wait for them to find it. They will usually look back up at you.
“Flutes and trombones, you have it easy. Your instrument sounds in
the concert key, so whatever I say, you play. I said concert B-flat, so you
play the B-flat scale. Do you understand? Any questions?”
“All right, clarinets and trumpets, find the scale I named—B-
flat—and pick the second note in the scale. Use the key signature.
What is it? Raise your hand if you know.”
You are looking for the answer C.
“Yes, that is correct. Now you move to the C scale, and that is what
you play. So you find the scale I name, pick the second note, and play
that scale. Does everyone understand? Any questions? Okay, saxes,
find the scale I named, the B-flat scale, and pick the sixth note. Use
the key signature. What is it? Raise your hand if you know.”
You are looking for the answer G.
“Yes, G. So you find the scale, pick the sixth note, and move to that
scale. Do you understand? Any questions? Now, let’s try some others
for practice.”
Try other scales, such as concert A-flat, E-flat, F, and G—time per-
mitting.
“Okay, let’s all go back to concert B-flat and play that scale.
Everyone play the first note and hold it.”
Conduct it. This lets you know if they really understood. It checks
for understanding through playing. Now teach the scale, reminding
them to look at the key signature. Correct as necessary. Don’t forget
to give your percussionists a rhythm or rudiment to play during the
scale.
After many repetitions, students learn to transpose without having
to go through all the steps. You can adjust the lesson for different
groups if needed, but this has been used with elementary, middle
school, and high school groups. And it works. If you have other
instruments in your band, such as oboe, bassoon, bass clarinet, tenor
sax, French horn, baritone, tuba, just add them to the lesson.
30 Getting Started with Elementary-Level Band.

Do you like scales with the added ninth note? Demonstrate a scale
with and without the ninth so they can hear the difference. Let them
know the way to find the ninth is to look at the second. Say, “It’s the
same note, just an octave up” (don’t forget to define octave).
You may teach the chromatic scale to advanced beginners and sec-
ond-year students by using the fingering chart. They have to look up
fingerings for the less-used and new notes anyway, so why not have
them right there to learn it. Start with the B-flat chromatic. Tell them
to read the sharps on the way up and flats on the way down. There
might be some confusion here. Don’t hesitate to go right to the stand
of the confused student and point the way up and down the scale.
Remember some people are visual learners and some are verbal or
aural learners. Mix your teaching with both. Have them go up four
notes and then back down, Then up five notes and back down, then
six, and then seven. Ask them to figure out all thirteen notes by the
next rehearsal as homework. The use of the added ninth with the
chromatic scale is not appropriate.
This is also a good time to teach the concept of enharmonics
because most fingering charts will, for example, have C-sharp and D-
flat in the same measure. Have groups come up to the piano and let
them see and hear that they are the same notes. Press C with your left
index finger and show them how it goes up to C-sharp. Keep that fin-
ger on Csharp and press D with your right index finger. Show how it
goes down to D-flat by putting this finger on top of the finger that is
already there. Keep it simple. Enharmonics simply deals with two ways
of naming the same sound or pitch.
Why Teach Scales and One Way to Do It 31

ee 7 oa
—
-_
tie dlantialnndaia ean

ada) Secenetilen freeetek we , re yinny oie oie
oft. A! tchaeiytn AA fons culmea ——
Con Aiea. 11 iy at jell
J ae “at soaew i ,
ae] Gicw<sn- ey el hw whines abc - if \ . Mis
qeUlpea ot. ets deals oiteght : pl ite
oD ew nee > ets @aet Gurl foes Nook iof ted onl f a
iF Ft a Ea le a eel aon aoe i
Deh ACA hee Whe. aw ot qabnients&
boone: ewoipis
= ov shrivel (4) aril noldAhu: sve! a
tc oat Siebeo-e ge Geaees ey Sard sie ot
vt eteo*
ome wae & Ma lett eae sales
AP py mre eS 8 a09iecle ea era
< of ips” ab nal Pageind eee Ta
aod Saw ort th ows Meat af onl ae
ils tht Mim oer Cea ot Lp eer eee IE
“ATy FAQ) 4 : mum Sang is
tiieoh «Ame
hAeVo othe eals of
{Thre qeabiom) sed. -2 \Cleeuals aes ata
rl Sn me ouhsiicnnnes AH sanirim ore Sey
‘iol ie Ae2 Oy 1 i eS 7
1A pho te® epitele
Ge Aptana ve.
ee eT >te mart
+ heme
isco
fad than ie, Laeae
§ Seed ee 4
}} he mt Ae
»
Wierd
wh eg ite er eo" Gane
ico a
6 whe sj
ey ol
“Y , m1 om @ 1 2 ewe =a?
° é = : = = im aha tty s
frat; werthe
ys: #4) © Gir £48, Fe. t= te a | 7
mL ey. 7 7
Utdcrd, Orie 2. gue Ca «@ ee i
Qeerned her Ce Ge ere b-aid ten
aac ©, ¢osaed oe hare Othe’ eat ctidieedll
hs nes rans Ail ‘Nes panage® pas Saw ine ie
‘theo bo Maal a fe & IEG F vertu & yySteely
7:
wt A r= shamma © sR i 2 8 y
_ eae i
Sy uin@ ipa,
Milena Wary = wae tdi
Sy ee ae ir ot oe :
gr «ips C i, corto, tan hex bee as
ey
avoid: ond high <2 rs

W gran =n HH & i
oral. Pyexunta fs , “i bal
Chapter 12
Teachers need to make every effort to assure that
students are prepared for the transition to higher °
levels in a subject area. Curriculum continuity is not Curriculum
only a consideration when placing students in your
own program, but it is also a factor when preparing for Elementary
them for the advancement to the next level, usually
in a different school. Band
There is no substitute for meeting with the stu-
dents’ next teacher to coordinate class placement
and curriculum expectations. There are a few specific, standard, and
minimum requirements that elementary-level students should know
before moving to middle school. They are the following:
# Holding the instrument: Able to maintain proper posture and hold
the instrument correctly.
# Instrument care: Able to perform the basics for care and cleaning of
the instrument and have the proper supplies.
= Naming notes: Able to name any note on or below or above the staff
in their instruments’ clefs.
= Fingerings: Able to interpret fingering charts correctly on their own.
= Time signatures: Able to understand 4/4, 3/4, 2/4, 6/8, and alla
breve (cut time or 2/2).
# Key signatures: Able to interpret all major key signatures and to per-
form in keys of at least three sharps and three flats.
s Rhythm: Able to count whole notes, half notes, quarter notes, eighth
notes, sixteenth notes, dotted half notes, dotted quarter notes, and
the respective rests.
# Interpretation: Able to demonstrate slurs, ties, phrase marks,
accents, legato, staccato, correct tonguing, and breath marks.
= Form: Able to discern note patterns, measure patterns, ABA form,
AAB form, and a recapitulation.
=» Dynamics: Able to demonstrate ppp, pp, p, mp, mf, f, ff, fff, sfz,
crescendo (cres.), decrescendo, and diminuendo (dim.).
= Road Signs: Able to discern first and second endings, sign, coda, fer-
"mata, repeat sign, single measure repeat sign, multiple measure
repeat sign, D.S. al Coda, and D.C. al Fine.
« Tempo: Able to demonstrate lento, largo, moderato, allegro, vivace,
ritard (rit.), rallentando(rall.), and accelerando (accel.).
= Genre: Able to discern march, Latin, rock, classical, Dixieland, bal-
lad, and jazz.
= Basic scales: Able to play in concert pitch: G, F, B-flat, E-flat, A-flat, G,
D, A, E, and the B-flat chromatic scale—preferably all memorized.
» Other terms: Able to define treble clef, bass clef, staff, ledger lines,
time and key signatures, articulation, embouchure, aperture, parts
Curriculum for Elementary Band 33

of each instrument, such as flute head joint, mouthpiece, barrel
joint, bell, tuning slide, valves, and slide.
The terms above form the basis for the elementary band curricu-
lum. Never skip over a term or symbol without defining it for your stu-
dents, no matter how insignificant it seems. You would be surprised
how much students can get stuck on a term or symbol, either having
no definition for it at all or, worse, defining it incorrectly in their
minds. This can manifest itself subtly with confusion or inattentive-
ness, or it can be a major factor in students discontinuing their instru-
mental education.

Chay
Selecting appropriate music for your students
can be rewarding as well as frustrating. With so M °
many books and scores available, sifting through USIC
them can be a wonderful adventure or a stressful °
experience. Your district may have an established Selection
music library for your use, and the following tips on
what to look for in that library can make the entire
process a pleasant learning experience.
The Beginning Band Method Book
There are many band methods available that can be used success-
fully. Look through them to see which fits your teaching style and
might be the most comfortable to use. Always make sure you ask the
music coordinator or experienced elementary band teachers which
one they are using. Then visit your local music store and ask the per-
son in charge of ordering music what book is used most frequently in
your area. Make sure it covers national, state, and district standards for
your grade levels (see chapter 14). raar ie
~ There are several important components of a well-written method
book. The outside of the book should be pleasing to the eye. After the
instrument itself, this is the first thing the students will see when
beginning their instrumental study. Look inside. The page layout
sho imple and uncluttered. Remember, the new student is try-
_ing to figure out a whole new written language. A cluttered or confus-
ing page can discourage a new student.
of the names of any extra keys, such as the A-flat and E-flat keys on the
flute, the fifth-finger keys in the right and left hands of the clarinet,
and so forth. Next, look for a fingering chart. It should be next to the
picture page, but many method books put it on the inside back cover.
Nevertheless, look at it to make sure it is written clearly and simply.
Always judge books from a new student’s point of view, not from your
educated and more experienced one.
Introduction of notes and rhythms should be at the top of each
page, or at least before the book uses them in a line of music. A book
should never use a note or rhythm that is not introduced separately
first. You would not use a technical word in a book that is not defined
and explained in the text first; a music book should always define a
note or rhythm before it is used.
There should also be a section that discusses scales for pitched
instruments and rudiments for percussion. These can be taught
together in band class. While pitched instruments practice their scales,
Music Selection 35
percussion can accompany them with a rudiment. Make sure the
book has major scales at least to four sharps and flats, the chromatic
scale, and at least six rudiments for percussion (single-stroke roll,
long roll, five- and nine-stroke rolls, flam, and flam tap).
A section on only rhythm and counting is a very helpful teaching
tool. It separates reading rhythms from note reading for the pitched
instruments, allowing them to concentrate on counting, and rein-
forces rhythm and counting for percussion. Percussionists love to lead
the class through these studies. So much time is taken teaching good
tone, embouchure, and finger placement on pitched instruments,
putting the percussion section on hold. This is a chance for percus-
sionists to shine, while rehearsing everyone on rhythm.
Music Literature
When considering a piece of music for your band, make _sure it

relates to and reinforces material youareteaching inyo
your method
book and reinforces concepts
in the
standards. Band arrangements
are supplemental material, and used to further develop your stu-
dents’ skills a little beyond the method book, while adding some fun,
interest, and variety to the class. Again, it is vital to communicate with
other elementary band teachers in your area. They can suggest music
that is “tried and true,” saving you precious rehearsal time.
Remember, all the music you select to rehearse does not necessarily
have to be included in a performance.
Music literature is usually graded on the basis of difficulty. Most of
the music for an elementary school band will be Grade 1 or Grade 1
4. If you have a particularly advanced group, you may want to try a
piece at Grade 2. It will take more time to rehearse a piece at this
level, so balance your concert with some easier pieces. It is also educa-
tionally sound to select a variety of music from categories such as
marches, Latin, rock, pop, and classical. Students need to have experi-
ence in these different genres, as well as providing a change of pace
in rehearsal.
When selecting literature, look not only at the score but at each
individual part. The page layout should be uncluttered and large_
enough for young children’s eyes. Check the note ranges and new
concepts taught for each instrument, and ask yourself, “Can my band
play these ranges? How much will I have to teach before it will
become performance ready? How much time do I have to teach it?”
Planning for a concert is not unlike planning a big dinner—all the
parts must be ready at the same time, even if each takes a different
amount of time to prepare.
Ideally, we have a balanced instrumentation in our bands, but reali-

ty does not bear this out. If you have missing instruments, you must
make sure that parts are doubled in the arrangement to cover any
instruments you do not have in the band. If the arrangement does not
double any parts, you need to consider how it will sound if you redis-
tribute parts for example, have a few clarinets over the trumpet parts
or a few alto saxophones the trombone parts. With this in mind, some
arrangements will work very well, and some are best left on the shelf.
Selection of music is critical to your students’ education and atmos-
phere of the cla <Do not rush} give yourself enough time to properly
select the music you will use.
TSee
Music Selection 37
Z
ap iy CoveIranrentpietth
sn)s Be
pliner nea he hime es
67) ky, PREC ir ~wadunewne ding |

Sn ee eee ee
etnDh ww. whe <n ns eryom Fie
ee ee ae toe .
s map tr SLee emniy Freie ban
> : aCe > iota C rpoetatN
- 1 wei : Ace o@ Saat “Th panel od
pas 014 » ells petaa- —Tr > eT" —
1 =o
(Suan ¢ Pye
y Seg 4 pone Sipe Sa? yin en

fag ey we aden Ss 6 pile Sag a
— ees (hk Se ee Oo eae ee
ie Pee Te Oh ear Hse: .
d= bts (er bagel
Od Ow oe hie
7 = ( “Sip ‘we ea), s ¥eee wie it
¢r*u _¢? ‘seit ratte W fer ee pian
> ( 4 pt na bree 7 7) > aT) “ei aus Veh (ao
Seend G28 “a God © wacecer deen Tayl Se
Vl" GoDe GAIN & aS
Ve boat & “Laat eos aides
7 Sane
Siw @: ale a oe nk ae < wtlt tc Gray 0 a rc
tae
») oom Bose © peer nie Sah niet id ae pow YS =
toe
ee MM feces ST Wale tome Oe D> give S|
= at xt aw ¥ os sortcert exh iru epaer pieces.
of; sheet ee wiles « Cates of monte Dele cate
Pa O40) 129 +,Med (op ot ae aiadeom nella
pier ay (hice ih tray qetres 9) Wel ue powaing 6 ;
; ® *ede-arsal >i
Wem wtacatit Secu, Re 22 oh oa
hemes! port. The gorge Lapea? tae hem @ee pr,
te
ghe
ber paca eWibieom
ome: CR
n'siy ote
ti ce Taka tanec erieae er
play Wee canges? Hadad piney WES =
Neat re Sorat ytPaw wih ee
ftrusing Ge ae
nae pide Set eee et.
wi
Chapter 14
Overview
Did you know that teaching the arts is now writ- Teaching
ten into federal law? The law states that the “arts are
a core
subject, as important to education as English, toward the
mathematics, history, civics and government, geog-
raphy, science, and foreign language.” By definition, National
the arts in the Goals 2000: Educate America Act
refer to dance, music, theatre, and visual arts, “rec- Standards for
ognizing that each of these encompasses a wide vari-
ety of forms and sub-disciplines.” Music
Title II of this act talks about education stan-
dards. You might hear teachers in staff meetings dis- Education
cussing “Goals Title II,” as they are establishing stan-
dards or benchmarks for assessment. They are refer-
ring to this section of the act, which established a National Education
Standards Improvement Council to work with appropriate organiza-
tions to “determine the criteria for certifying voluntary content stan-
dards, with three objectives in mind: (1) to ensure that the standards
are internationally competitive, (2) to ensure they reflect the best
knowledge about teaching and learning, and (3) to ensure they have
been developed through a broad-based, open adoption process.”
In 1992, the Music Educators National Conference (MENC)
received a grant, on behalf of the Consortium of National Arts
Education Associations, from the U.S. Department of Education, the
National Endowment for the Arts, and the National Endowment for
the Humanities, to identify what our schoolchildren should know and
be able to do in each of the arts. A process that included reviews of
state-level arts education frameworks and standards from other
nations resulted in the document National Standards for Arts Education:
What Every Young American Should Know and Be Able to Do in the Arts.
This document, like all of the publications mentioned in this chapter,
is available from MENC (see Bibliography).
It is interesting to see in the Standards document how the music
education goals (the National Standards for Music Education) fit in
with those for dance, theatre, and visual arts. The introduction
explores the value of music and the other arts to the education of the
whole student, as well as why educational standards in the arts are
important. The book is divided into sections by level—K-4, 5-8, and
9-12—-with sections on music and each of the other arts within those
levels. In an appendix, the standards for each of the arts are arranged
in outlines of sequential learning so that similar skills and knowledge
at the three levels are aligned. This section is especially informative
Teaching toward the National Standards for Music Education 39

because it helps you see exactly where your grade level fits into the
goals for grades K-12.
As you read through the document—reading the music sections, at
least, is a must—recognize that the standards should be covered
between you—the band teacher—and the classroom music teacher.
That is why it is important to meet on a regular basis with the class-
room music teacher, even if only once a month, to coordinate cur-
riculum and reinforce one another’s teaching.
Implementation
Now that music has been included in Goals 2000, it is important to

follow through with implementation of the Standards with your stu-
dents. Rather than dictate curriculum, the Standards give school dis-
tricts and individual teachers a guide to follow. A specific and detailed
curriculum needs to be developed at the local level. In many cases,
the existing curriculum will match well with the standards, and in
some instances, the curriculum will need to be developed further to
parallel the standards. At the time of this writing, with the National
Standards in place, standards are being written by states and school
districts. In fact, results of a recent MENC survey show that forty-four
states plus the District of Columbia are in some stage of implement-
ing K-12 music standards. The standards vary from state to state and
from district to district, but generally, the content is aligned with the
National Standards.
Further investigation will be necessary for you to keep yourself
informed. Ask your state department of education for a copy of your
state’s standards, and ask your district for a copy of its music stan-
dards. In fact, your district may be able to provide you with copies.
Your school develops its curriculum from those documents. Involve
yourself in any meetings or curriculum committees that focus on this
issue. Be active in your participation with dealing with the standards.
A balanced and sequential curriculum for grades 5-6, as for all
grades, is very important. That is why it is crucial for you to meet regu-
larly with the classroom music teacher and to keep in touch with the
intermediate school teachers and coordinate efforts. The curriculum
must be balanced to allow for work on both individual skills—listen-
ing, writing, and performance—and group skills, such as intonation,
blend, balance, working with others, and performance. There is noth-
ing better than well-conceived lesson plans to ensure this.
In the National Standards for Music Education, note that the stan-
dards your students in grades 5-6 will be working toward are those
that describe the knowledge and skills needed by the time students
complete grade 8 (that is, the grades 5-8 standards). Your students

will be working on these concepts as they relate to their grade levels.
Keep in mind that while the National Standards are broken down
into discrete areas, it is not the intention that any lesson would cover
one area to the exclusion of others. For example, naturally, you would
encourage your band students to listen (standard 6) and evaluate
their own performance (standard 7) at the same time that they work
on improving their skills in performing on their instruments (stan-
dard 2).
You will notice this overlap in the following list, which contains
some ideas for implementing the National Standards in the elemen-
tary band classroom. Note that the words in bold type are the music
content standards from the National Standards. (For the specific
achievement standards related to each content standard, see the
National Standards document or The School Music Program: A New
Vision.) Don’t be surprised if you find that you are already using some
of these ideas in your teaching. After all, the Standards are all about
good teaching!
1. Singing, alone and with others, a varied repertoire of music.
# Ask students to sing excerpts from their band method books (using
the syllable “too,” which helps reinforce their tonguing technique),
and encourage attention to proper breathing techniques, tone
quality, and accuracy of pitch.
a Have students sing melodies from their band music, using appropri-
ate phrasing and dynamics and then applying what they have
learned to playing their instruments stylistically.
2. Performing on instruments, alone and with others, a varied reper-
toire of music.
= Guide students in developing expressive playing of a piece by having
them first identify the theme and experiment with variations in the
way it is played (tempo, dynamics, etc.) and then come to a consen-
sus about an expressive interpretation.
= After you have videotaped a rehearsal or performance, have stu-
dents study the tape with you and discuss how they can improve
their posture, breathing habits, and playing position.
3. Improvising melodies, variations, and accompaniments.
» Have students improvise a chordal accompaniment for a 12-bar
blues progression.
a Ask students to improvise melodies in a given meter by alternating
ensemble playing of specified measures with improvising, as a
group or individually.
4. Composing and arranging music within specified guidelines.
# As part of a rehearsal for a selected piece, have students compose
short melodies using some of the compositional tools, such as repe-
tition or contrast, used by the work’s composer.
Teaching toward the National Standards for Music Education 4]

» From a work students have been rehearsing, ask them to arrange
melodies for different combinations of instruments, exploring the
importance of timbre in arranging.
5. Reading and notating music.
» Ask students to identify a familiar melody, at sight, in a band
arrangement that is new to them, and then have them sing it
and/or play it on their instruments.
= Have students identify melodic or rhythmic patterns that have the
same or similar interval relationships as a specified pattern in a
new piece of music.
6. Listening to, analyzing, and describing music.
a As part of a rehearsal for a piece such as a march, play a recording
of the work and guide students in using appropriate terminology
to describe the structure of the music.
= Have students analyze a work they are rehearsing, describing how
the arranger varied a familiar song to make a new piece.
7. Evaluating music and music performances.
= Guide students in identifying criteria they can use to evaluate the
expressiveness of performances.
s Have students use the criteria they have developed to evaluate their
own playing in a recording you have made of one of their
rehearsals or performances.
8. Understanding relationships between music, the other arts, and dis-
ciplines outside the arts.
w Ask students to compare the ways in which a composer and a
painter, for example, have portrayed a common theme or event in
their work.
= Have students make connections between music they have been
rehearsing (for example, a selection from a musical) and literature
that has a similar theme or that inspired the composer (a good
opportunity to work in cooperation with the classroom teacher).
9. Understanding music in relation to history and culture.
# Have students identify similarities and differences in two band
pieces influenced by a specific culture.
= Ask students to identify the style of a given band piece that is in the
same style as other pieces they have played, and ask them to give
reasons for their decision.
For more ideas on incorporating the National Standards into your
teaching, refer to Strategies for Teaching Beginning and Intermediate Band,
which gives specific lesson plans tied to the National Standards for
band classes in grades 5-6 and grades 7-8, as well as to Teaching
Examples: Ideas for Music Educators. Some of the ideas above come from
these publications, and others are from Strategies for Teaching: Guide for
Music Methods Classes.
a2 Getting Started with Elementary-Level Band

You will be working within a K-12 curriculum into which you must
fit the grades 5-6 knowledge and skills sequentially. In addition to
your own curriculum for those grades, closely study the curricula for
grades 3-4 and 7-8 to be sure that you are reviewing K-4 knowledge
and skills with your new fifth graders, as well as looking ahead to what
sixth graders need to know and be able to do as they enter seventh
grade. With intermediate teachers approaching their teaching in a
similar way, there will be a smooth-flowing program for students from
their kindergarten through their twelfth grade music classes. This will
contribute to student retention in music programs and to musically lit-
erate high school graduates.
Assessment
Once you have a clear understanding of what you are expected to

teach your students in grades 5-6, you need to look ahead to deter-
mine how you will assess their knowledge. Part of Goals 2000 is
teacher and student accountability—verifying that what we teach has
actually been learned.
There are many ways we can find out whether students have
retained the information we have imparted, and our assessments need
to be as varied as the number of different personalities and learning
abilities we have in our classes. Try to develop creative and interesting
assessments in addition to using traditional assessment measures.
Some students will enjoy playing alone for you and the class to “pass” a
certain assignment, but others will be uncomfortable or even terrified
at the thought of this kind of exposure. Although students need to
learn to feel relaxed about playing alone (the atmosphere you create
in your class can affect students’ stress levels), you may want to start by
testing in duets or trios instead of solos. Giving students choices
among several approved assignments for their assessment will lower
their stress levels. Remember, you don’t have to say that it’s a test. It
could be a “special performance” or “project.”
Another way to lead students into playing alone is to have them
perform a mini concert in the lower grades. Let them sign up to go
into another classroom (with the classroom teacher’s prior knowledge
and cooperation, of course) to demonstrate their instruments’ sound
and range and to play a song or two for the class. Younger children
love it when older students perform for them, and they tend to be a
more forgiving audience than students’ peers. Since the younger chil-
dren will remember this special visit, this is also a wonderful recruit-
ment tool.
Discuss constructive criticism with your students, and demonstrate
it in your teaching. Then have students choose partners and “test”
Teaching toward the National Standards for Music Education 43

each other on a specific line for a few minutes in class. Don’t worry
about the cacophony of sound while this is going on. Walk around
while students are testing one another to make sure the comments
stay positive and to answer any questions. This is also a chance to hear
students and help them individually without having downtime for the
rest of the class.
These are just a few ideas for creative assessment, but they need
not preclude your giving some standard written tests, such as naming
notes, writing counts underneath rhythm lines, or playing memorized
scales. For a variety of assessment ideas, all tied to the National
Standards, see the publication Performance Standards for Music:
Strategies and Benchmarks for Assessing Progress Toward the National
Standards, Grades PreK—12.
You now have the basics for organizing an elementary instrumental
music program. The final chapter, which follows, includes a few per-
sonal thoughts—a perspective on why instrumental music should be,
and needs to be, taught for the education of the whole child.

Chapter 15
Music educators could talk about music helping
with math skills as students count and subdivide the
“beat
in their heads. Music educators could talk Why Teach
about music contributing to social studies and histo- M pe)
ry with folk songs and religious rituals. Music ties in uSIC:
with physical education through the energy expend-
ed when students play musical instruments to the
point of having an aerobic effect and through the
large and small motor coordination necessary to play an instrument.
Music can teach teamwork and social skills.
Music
helps in English and reading classes because it, too, is a lan-
guage. In English and reading, students decode words on a page as
musicians decode the notes on a page. In English and reading, teach-
ers check for comprehension. Music educators assess the interpreta-
tion of the music, which shows understanding. Music has
literature—the authors are called composers.
Research substantiates the importance of learning a musical instru-
ment for. social purposes and also links it to student success in other
subjects. Learning musical instruments contributes to the academic
and physical improvement of students, according to the publication
Spin Offs (United Musical Instruments U.S.A., Inc., 1995). In addition,
studies relating basic intelligence and brain development to playing
musical instruments have been reported in newspapers (The Janesville
Gazette, 1995, and The Sacramento Bee, 1996).
Why Teach Music?

wit
=
ar r9iged2., see maAKE Fw artes
| shed GllC Taree eee

ee eeees ons ameerie
aren
nA se corm bbs. eu te
pet Ss
mull. a - rs preen gilt bene nt 6inky 4
una tere onthe iyeceepepesianes
uctaeally Fie ta a
(~ pyiie 9c egos RN Api. ret
ee at
nraiarkam zi cm rohmesomentnaeingah wid
7 Twizlearas. te ibe fet ca
Sobeadtevindititesnahdiedits she Abe

et yt’. Ge tet dab etal guitien hire¢
Rd ee ee ee
_ PRATRNNcals. Bee betine Seah
serdene whe ee ee cxtthlnntiidesinial
5 her oe 2h) Aor,
hens Toomer pias woper yt a extra
Maple do geri eet: oF of cle) wale nk patoen
= a STS! 8 ens cee! ir, apm sea ar
apecdiclug vd: OF wotanss, «xo We psa
Aol
noire a ee otal Aes ee x sertonel lah ee
Rta «8. insorgstsrsi ated lie ayia) shed wh
Heresy fT) ore queen fe hawipet Serta @ gi Sa
eee! oa 9
a & ligt ym? So Sae er * at Be | am -% om ~—
i? 7 Eosa ae
be et kr a, ae |
“Seon ginis@.) fy Geto)
cetatdgn) Pecans
agmeaieeey' Th Musical Brain.” U.S. News & ee ia
orld Report.June
11, 1990, 56-62. - Per JEL.WleS C
BartonysLauniew “Arguing the Case of Music peg 7
| ay
ve AS
Education.” American Music____ Teacher
(February/March 1989): 78-79. Eas
our Child’s Brain.” Newsweek. February 19, 1996, BY (0
Blakeslee, Sandra, “The Mystery of Music: How It Works in the Brain,” 2s

New York Times, May 16, 1993, late ed. Cl.~ Pex POW YEN VSS
Coen, Dorita, and Allan Miler. “The Case for the Music in the
Schools.” Phi Delta Kappan (February 1994): 459-461.
Green, Michael. “America’s Culture at Risk.” Vital Speeches of the Day
(March 1991): 505-508.
Hall, Louis O., Nancy R. Boone, John Grashel, and Rosemary C.
Watkins, eds. Strategies for Teaching: Guide for Music Methods Classes.
Reston, Virginia: Music Educators National Conference, 1997.
Janzen, Eldon A. Band Director’s Survival Guide: Planning and
Conducting the Successful School Band Program. West Nyack, New York:
Parker Publishing Company, Inc., 1985.
Kassner, Kirk. “Management Systems for Music Teachers.” Music
Educators Journal (March 1996): 34-41.
Kvet, Edward J., and Janet M. Tweed. Strategies for Teaching Beginning
and Intermediate Band. Reston, Virginia: Music Educators National
Conference, 1996.
Leonard, Charles, and Robert W. House. Foundations and Principles of
Music Education. New York: McGraw-Hill, Inc., 1972.
MENC. Growing Up Complete: The Imperative for Music Education, The
Report of the National Commission on Music Education, Reston,
Virginia: Music Educators National Conference, March 1991.
MENC. Teaching Examples: Ideas for Music Educators, Reston, Virginia:
Music Educators National Conference, 1996.
MENC Committee on Performance Standards. Performance Standards
for Music: Strategies and Benchmarks for Assessing Progress Toward the
National Standards, Grades PreK-12. Reston, Virginia: Music
Educators National Conference, 1996.
MENC Task Force for National Standards in the Arts. The School Music
Program: A New Vision. Reston, Virginia: Music Educators National
Conference, 1994.
Middleton, James, Harry Haines, and Gary Garner. The Symphonic Band
Winds, A Quest for Perfection. San Antonio, Texas: Southern Music Co.,
1986.
“Music as Brain Food? Many Tune In. Researchers Finding More
Evidence that Rhythms Give Kids a Head Start,” The Sacramento
Bibliography 47
(California) Bee, June 24, 1996.
“Musicians Who Start Before Age 12 Have Advantage, Brain Study
Shows,” The Janesville (Wisconsin) Gazette, October 31, 1995.
National Standards for Arts Education. What Every Young American
Should Know and Be Able to Do in the Arts. Reston, Virginia: Music
Educators National Conference, 1994.
A Recruiting Guide for Band and Orchestra Directors. Carlsbad, California:
The Music Achievement Council, 1986.
Reul, David G. Getting Started with Middle Level Band. Reston, Virginia:
Music Educators National Conference, 1994.
Robinson, William C, and James A. Meddleton. The Complete School
Band Program. West Nyack, New York: Parker Publishing Co., Inc.,
1975.
Schlaug, Gottfried. “Music of the Hemispheres.” Discover (March
1994): 15.
Sidnell, Robert. Bualding Instructional Programs in Music Education. New
Jersey: Prentice-Hall, Inc., 1973.
United Musical Instruments U.S.A., Inc. Spin Offs. Elkhart, Indiana:
United Musical Instruments U.S.A., Inc. 1995.
@Whitwell, David. Music as a Language: A New Philosophy of Music
Education. Northridge, California: WINDS, 1993.

\
: ; €
»
»
ns a
-
}
| N
'
\
\ \
\ ‘
\ \
x
we.
Na
x
= : \
|
\
~ - :
3 :
;
ar \
-
\
.
oo ~.
¥
.
\
; :
o 2
_ ‘
|
:
+"
:
,
ta
cS)
3
| .
MENC’s
Getting Started
Series
Each book in this series provides an outline to help new teach-

ers, or teachers beginning new positions, gain confidence as they
get started.
Getting Started with Elementary-Level Band. By Marjorie R. Lehr.

1998. 56 pages. Stock #1636. ISBN 1-56545-110-4.
Getting Started with High School Band. By David S. Zerull. 1994. 52

pages. Stock #1627. ISBN 1-56545-045-0.
Getting Started with High School Choir. By Steven K. Michelson. 1994.

64 pages. Stock #1628. ISBN 1-56545-046-9.
Getting Started with Jazz Band. By Lissa A. Fleming. 1994. 64 pages.

Stock #1626. ISBN 1-56545-035-3.
Getting Started with Jazz/Show Choir. Edited by Russell L. Robinson.

1994. 52 pages. Stock #1630. ISBN 1-56545-044-2.
Getting Started with Middle Level Band. By David G. Reul. 1994. 80

pages. Stock #1631. ISBN 1-56545-049-3.
Getting Started with Strolling Strings. By Robert Gillespie with Beth

Gilbert and Mary Lou Jones. 1995. 32 pages. Stock #1632. ISBN
1-56545-079-5.
For information on these and other MENC publications, write to:
MENC Publications Sales

1806 Robert Fulton Drive
Reston, VA 20191-4348
Credit card holders may call 1-800-828-0229.
rn i ie el a ay a Gop: ee a=
5 \ =
LS
a
Getting Started with Elementary-Level Band, like all
the books in the Getting Started series, is designed
to help you get started in a new position. As you
approach your new experience, you may be
excited with anticipation and, perhaps, feel
some anxiety at the same time. Getting Started
with Elementary-Level Band may not answer every
question or cover every contingency, but it does
provide an outline to follow that may help build
your confidence as you take on the new respon-
sibilities associated with directing an elementary-
level band.
Marjorie R. Lehr has been teaching instrumental band

in the San Juan School District in Sacramento,
California, since 1974 and is also the district coordi-
nator of elementary band. She has the only elementary
band program in that district where band is taught as
standard curnculum to all fifth and sixth graders dur-
ing the regular school day. In 1994, she conducted the
169-member Elementary MENC Capitol Section Honor
Band. A clarinetist with the American River College
Symphonic Band, Lehr is also personnel manager for
the California Wind Orchestra, a 38-member profes-
stonal wind and percussion ensemble in Sacramento.
ISBN 1-56545-110-4
= MUSIC
= a EDUCATORS
NATIONAL CONFERENCE
Lu Reston, Virginia 20191

= =@]N =|IN 703-860-4000 Fax 703-860-1531
Internet: http:/www.menc.org
1636

Getting Started With Elementary - Lehr, Marjorie R

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Getting Started With Elementary - Lehr, Marjorie R

Uploaded by

Copyright:

Available Formats

Getttine Starece d

Music Educators National Conference

Music Educators National Conference

1806 Robert Fulton Drive, Reston, VA 20191-4348

All rights reserved.

Printed in the United States of America

rained alee lok hen oe

2 earsNek Nea At Vein takdin

Teaching elementary school band can be challenging and reward-

brass instrument (trumpet or trombone), and snare drum. Since

Strive for Excellence

It is a myth that elementary-level students cannot play musically. If

Becoming Part of the Staff ]

2 Getting Started with Elementary-Level Band

Becoming Part of the Staff 3

uacews «faye est els eat av lees

(tr 1a cas leree o (6 lpia peeeky gud qu may a

a Pan aed pucny ime Wey be pes

Helping Students Select an Instrument é)

Protruding teeth prevent proper embouchure, full lips have a hard

6 Getting Started with Elementary-Level Band

band Baporninity now offered to students at that. voor level, and

8 Getting Started with Elementary-Level Band

10 Getting Started with Elementary-Level Band

Physical Arrangement of the Band Room 1]

12 Getting Started with Elementary-Level Band

As an elementary band director, it’s likely you will

14 Getting Started with Elementary-Level Band

‘ “~epe a val 7 eee

‘ >i (deg ene om toed

Students should walk to and into your room qui- Classroom

18 Getting Started with Elementary-Level Band

1 Lal 4? me Om) Wc.) Ase ee

: : -» fewon fetal (oh bie epee

Vee) oT ee? dediny (omy am my Dra lio” chase t

i guubhabest janecia ree beard iledee gile ak teesOe

Classroom Discipline All

Ze Getting Started with Elementary-Level Band

easel Ptaarah A vi Myreals au Hetvlachoeta

Pn © h ine? (lamin) be Of hia ws

Ne iow v% (wi Wy ie Ue iite oe ff ;

Once in a small lesson

If you see students once a week in a thirty-minute lesson, divide

Twice a week in full band only

In the first rehearsal of the week, concentrate on the warm-ups,

Organizing the Small Lesson and Full-Band Rehearsal 25

26 Getting Started with Elementary-Level Band

Parent and Student Responsibilities to the Band Program Di

thea instruments. This puts music on as equal 4 footing as as aa

28 Getting Started with Elementary-Level Band

“Today I’m going to talk about concert pitches. Picture an orches-

Why Teach Scales and One Way to Do It ae)

30 Getting Started with Elementary-Level Band.

Why Teach Scales and One Way to Do It 31

tie dlantialnndaia ean

avoid: ond high <2 rs

Curriculum for Elementary Band 33

34 Getting Started with Elementary-Level Band

The Beginning Band Method Book

When considering a piece of music for your band, make _sure it

36 Getting Started with Elementary-Level Band

67) ky, PREC ir ~wadunewne ding |

pas 014 » ells petaa- —Tr > eT" —

y Seg 4 pone Sipe Sa? yin en