Thank you to the Yamaha Educators Suite for this article.
This is a great article for anyone who is interested in Sean Jones and or how leading by example is an effective way to teach young musicians.
When I think about things that upset me, I’m often surprised about the things that get me amped up and blood boiling. There are the usual thing like humans mistreating one another or lack of empathy toward suffering. You know…war, famine, wastefulness, bigotry, bullying, unnecessary shaming, miss using bacon to make other foods taste good, and on and on.
Those seem obvious and need not be mentioned, dealing with stupid humans and all of our feelings is part of the deal. However, I am caught off guard when I think I am in control of a process and find myself (and or the people I work with) are adversely affected. The fear for me is that the work we do will be judged not by our best effort, but by the shortcomings of the environment around us.
Teaching in the ARTS feels that way sometimes. We often need to overcome a situation or innovate around an obstacle. Some are within your control and you can deal with those issues. Logistics of getting equipment from one place to another, moving bodies from one place to another, learning to perform and have students feel the safety of a group of people working together to create something, are things I feel I can affect.
Dealing with issues for which you see coming and can’t control, is a set of muscles I need to strengthen. To my surprise, this infuriates me. Try as much as I do, sometimes I just can’t hide it. I need to learn this skill….eventually I’ll learn.
I recently changed the curriculum of one of my classes to be a more project-based class. My want and desires are to give students an opportunity to dig deeper into a musical subject. As to not make my classes all about performance. It seems as if the only context given for learning about the history and theory related to piece is solely to prepare a student’s ability to connect with what they are performing. That approach worked great for my higher-level performers, and it didn’t reach students who were still learning (or relearning) the fingerings on their instrument. That is a subject for another day.
The class looks more like this, I pick a subject or an artist and we do the following things.
Since I look at this as a cycle, I tend to do these as they when the class is ready to do them. Often I’ll introduce a piece of music as a listening assignment, we typically learn a melody related to the subject shortly after. Students are given assignments that are grade and given time to research the subject, (i.e go listen to music and learn something time).
About midway through the term, students come up with proposals for a project. Many of them are ambitious, but eventually, I keep them grounded.
By the end, students present their research about the subject. Some choose to put together a performance in groups, others choose create a piece of visual art representing the subject. Some even put together a slide show with a particular point of view.
For far so good. Students have created some of the following:
A children’s book
Created a short film (very short film)
Written and or performed in a one-act play
Like I said this may just work out.
I don’t usually past about class activities, however, I am making this exception because I’m enjoying the fruit of the activity. On the first day of school, I asked my students to create a playlist of tune to represent how they would like their school year to go. As I tend to do, I put together a playlist of my own as an example to give students a little insight into who I am as a person and some of my musical taste.
Here is my list:
Some of the tunes picked by my students were cool, here are a few of them:
Hope you enjoy these tunes, I just added them to a class playlist and revisit them with students in a few weeks. I’ll let you know how it goes.
It’s that time of the year. The summer is starting to feel like it’s winding down and my mind is moving toward the kind of teacher I want to be this year while thinking about concerts, big projects, and possible themes for the year. I’m also thinking about what the new school year means for my family and how much time I’ll spend away for home because I’ll be at school events or performing music.
When considering that I am a working musician and a teacher, I know I can’t take either for granted. The version of me that seems whole is the version that does both. With that in mind, I want to include more work related to diversity and inclusivity in my music curriculum. Not just dead white guys when talking about classical music, and including women who were instrumentalists, composers, and arrangers when talking about jazz.
I also need to be active in projects that promote D&I works as a performer. Remember to promote living composers when picking new repertoire and take more chances as a composer. It seems like the right thing to do as a person of color who what to see more diversity.
Over the summer I find myself going between the dropping off my kid at summer camps, helping the family with home-related projects, working/ continuing to learn how to care for my house, writing/ arranging music and (of course) practicing my instrument. Summer is a convenient time to make significant progress on some of these things.
With that in mind, I took to expanding some of what I do on my trumpet. If you spend time practicing an instrument, typically one plays exercises in a pattern. In my case, scale patterns. In order to switch things up, I thought it would be a good idea to rehash some of the jazz improvisation patterns I did so long ago as a student.
After working on transcriptions of Miles Davis, Louis Armstrong, Fats Navarro, and Clifford Brown, I started working on scale and arpeggio patterns related to Giant Steps by John Coltrane. As a classical guy, I tend to use chord changes in several ways.
First as a way of staying flexible through the different registers on the trumpet.
Second, it’s great for ear training because it reminds me that I need to hear the music before I play it.
Third, when breaking down some chord patterns, you can use them to practice alternate fingering. I often practice a small section and try to find natural lip slurs. Kind of like doing Clark #3 with mainly lip slurs like playing G major with a 1-3 fingering at the start.
However, Giant Steps is a different animal. First I can’t get the tune out of my head, and I can’t get Coltrane’s playing out of my ear as well. His navigation of those harmonies is mesmerizing. After listening to it for a period of time, I started to dream in these chord patterns. It’s an incredible piece of music and art.
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