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One of the more popular programs in my area is our summer mentor band. In the shortest summary possible, this is a two-week day-time summer camp for musicians in grade 6-12. During week one, we do sectionals for half of the time with a hired adult "mentor" for each instrument or voice part leading the sectional with a high-schooler assisting the adult. The afternoon is a full rehearsal with junior high, high schoolers, and adult mentors playing in the band. In week two, we do a role reversal, and the high schoolers lead the sectional time with the adult mentors assisting them. We then have a select few high schoolers that will help run the full rehearsal and even guest conduct at the culminating performance at the end of the week. The program has proved to be extremely popular in our area. As an added benefit, we then go right into our high school band camp after the mentor band, and our high schoolers that have participated in mentor band now have authentic leadership and teaching experience. One year, I ran the program for free with favors from friends; the next year, I cold-called the mayor and got city to fund the program. Eventually, my school looked into summer grant programs that helped to fund this program.

Are there any programs, classes, or events in your area in the summer or outside of school that you'd like to share?

(For your reference: if you're interested in the mentoring program, I've linked some more information on this along with a sample script that you can adapt for pursuing funding).

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This week will primarily revolve around programming and adapting, and continuing with some tips to adjust equipment and music requirements as necessary. We'll also get into some discussions on extra-curricular and summer programs. In short: how do we make the music and rehearsal better for our students?

Additionally, we will have a few posts that are carrying over from previous weeks that warrant more discussion.

Content will be posted on Sunday and Wednesday.

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Required: Project 2/Final Project Information

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Required: Project 2/Final Project Information

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(Copied from Previous Week) Based on school report card submissions and classroom discussion, I've replaced project two with a proposal for your final projects.  The original second project would have been redundant and low-level for where we are at. (Please take that as a compliment.)  Furthermore, the final project may take more time than I originally anticipated.

Project two is now replaced with a final project proposal that is due Thursday, July 1.  This will segue directly into the final project.

I have linked this as both a Powerpoint and PDF, just in case you do not have access to Powerpoint.

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For anyone that is unable to access PowerPoint.

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Week 1 Padlet: https://lowincomemusic.padlet.org/donstinson831/k4oae3g96ypvek7y

Week 2 Padlet: https://lowincomemusic.padlet.org/donstinson831/g3iu84n78g8n3agc

Week 2 Video Wrap Up: https://www.youtube.com/watch?v=uCjFSQ-n_s4

Week 3 Padlet: https://lowincomemusic.padlet.org/donstinson831/boy3pbfp48ofopzz

Week 3 Video Livestream: https://www.youtube.com/watch?v=_djSoxCMC2c&list=PL7fjDvPTKRHohxY_QaDAV0ood5HuFEqms

Week 4 Padlet: https://lowincomemusic.padlet.org/donstinson831/jkjuakpn98hjcczf

Week 4 RIF Scenario Video Response: https://www.youtube.com/watch?v=ZrJYguY7mBs

Week 4 Budget Tips Video: https://www.youtube.com/watch?v=1a--JYXS2GE

Week 5 Padlet: https://lowincomemusic.padlet.org/donstinson831/4hjk95lm3s12qopp

Week 5: Roosevelt Griffin Video: https://www.youtube.com/watch?v=aWmCSzM-RNc

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Required: Scenario: A New Policy Threatens the Concert

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Required: Scenario: A New Policy Threatens the Concert

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A new policy regarding grading and extracurricular activities is enacted with little warning. The policy states that students wishing to participate in extracurricular activities must maintain a “C” average. Students that fall below a “C” average are not eligible to participate or even attend the activity until the next grade reports are pulled, which occurs weekly.

You receive the eligibility report on Monday. The report states that the listed students are ineligible for all sports practices and games and all activities, including music practices and concerts. Your program has a concert on Thursday evening. Five students from a section of six are ineligible, and two students that have a solo are also ineligible. You’ve been advertising the concert for a month. Multiple community stakeholders are attending, and you’ve also arranged for a professional recording to be made of the event.

What do you do?

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Required Reading: Programming and Adapting for Your Ensemble

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Required Reading: Programming and Adapting for Your Ensemble

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Programming appropriate music and content for our classrooms is one of the most appropriate yet most difficult parts of our content area. Do you have any tips or processes to share with the class?

I've shared a link to some writing I've done on the subject. Not required, but if you'd like to comment on (or even argue on the effectiveness of certain topics), please do so.

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Programming and Adapting for YOUR Ensemble

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Required: Practicing Not Required Article

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Required: Practicing Not Required Article

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Linked: an article on delivering the curriculum for your program (generally) within the confine of the classroom time you have. A large part of this is determined by what goals are necessary and appropriate for your program.

In the comment section below: what are the current goals of your program or class? Do you feel that these goals continue to align with the culture of your program, school, and community? If no, what steps might you be able to take to adjust accordingly?

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Yes, you read the title of this article correctly - please proceed with caution because this topic may offend most music teachers.

I teach at Joliet Central High School , a low-income, high-needs population school and serve as the ensemble director, chamber ensemble director, general music teacher and even applied instructor. It's a lot to handle.

Many of my students live in rented homes or in apartments, and their landlords may not allow them to play loud instruments. Students often share bedrooms with siblings and cannot practice in the common areas of the house. Other students share an instrument and cannot take the instrument home. And many of my students work outside of school. Playing instruments or singing after school or on weekends is not an option for most.

That's why I have worked to build a program that does not require practice outside of school. I am aware of the limitations this presents, and I'm continually seeking ways to adjust the program curriculum and requirements, but right now, this is our reality.

When people learn about my "practice-not-required" philosophy, they have asked some pointed questions, including the ones below.

Are the upper-middle class and wealthier students actually practicing more?

Anecdotally, I don't think they are. In my experience and discussions with teachers in these areas, I think a few other elements are in place. Suburban schools may have lower instances of mobility and chronic absenteeism than a low-income area school. Less movement means that more suburban students go through an entire school system from kindergarten through high school compared to their low-income area counterparts. Wealthier students are also in the classroom more.

Other influences may contribute to a perception that more affluent students practice more, including a more extensive music staff and private lessons, both on- and off-site. I'm the only band director at Joliet Central High School. The only time we get additional help from a musician is when I host a student-teacher. Other schools with an assistant or a small staff may be able to work out homogenous groupings or instrument/voice specific sessions that allow smaller groups to learn about particular voice or instrumental techniques.

I'm not saying that suburban or wealthier schools don't deal with a lack of practicing. This perception is just amplified in a low-income area.

Do students really need to practice outside of school?

It depends on your schedule, but if your groups meet every day or close to every day, I don't think it's necessary. And, I don't think my students have time to practice. Furthermore, the minute we tell kids to practice, we turn music-making into a chore. Singing or playing their instruments is something that students have to do instead of something they get to do.

Here's an example of the "chore" of practicing from my childhood.

I remember that I hated practicing when I was a kid. It didn't seem to have any goals, and it was never-ending. After three years in the band, I made little progress, so my mother made me practice. My band director, Mr. Russell, recommended practicing 30 minutes a day. My mom set a timer for 40 minutes because she knew I'd complain and mess around for 10 minutes. I worked through our band book and some band music, and I got better. I was second to last chair trumpet in 6th grade and came back in 7th grade to take the first chair spot.

I felt better when I played, and I kept practicing because I now had a goal of competition or a result. It was not because I liked playing the trumpet or liked band music.

Eventually, I decided I wanted to be a band director, so I kept practicing. I practiced for hours on weekends and even started making money by teaching lessons and playing trumpet for wedding ceremonies. I graduated high school and enrolled in college, where I also had to continue practicing for a grade and practical experience.

After getting my first job, I slowed down my practicing schedule. I played in some community bands, taught lessons and played the occasional wedding, but playing my instrument was no longer the priority that it used to be. After a few years, six months would go by without me touching my instrument. Christmas and Easter gigs and the occasional in-class demonstrations would get the dust off of the instrument. Does this sound familiar?

I do recognize and appreciate the discipline, consistency and opportunities that came from practicing my instrument. I wouldn't be a very effective music teacher without those hours of practice.

Besides me, two other high school classmates went on to become music teachers. I know that the other students in band did not practice much, if at all, outside of the classroom. And you know what? They still sounded pretty good. I even see some of them at our alumni band events.

How could you say this? I thought you were one of us!

I say it very cautiously. I am one of you!

I believe that the idea of every child must practice is a Utopian concept that we may never achieve. Practice might not be necessary for most students. Students, teachers and families are busier today and dealing with more stress. I firmly believe that schools should be resources for their community, but I also don't think that we should infiltrate or force ourselves into people's homes. We can undoubtedly give students the option and provide supplementary resources for those who ask for them. Still, when I'm physically at home, I want to be available for my family or pursue other personal interests. My students should have that same opportunity.

I also believe that the students who want to practice will find ways to make it happen. Exhibiting control only through what we have direct influence and impact on can reduce stress on all of us while still maintaining high learning standards.

How do we expect student musicians to get better?

We can give students the skills to practice if they want to or have the time to practice. Explain your practice techniques and goals during a class. If your students haven't heard you play, perform for them. I'm happy to say that I've had a resurgence in playing my instrument in recent years. I use it almost daily in class for a demonstration or to sit in the band when a student conducts.

Perform the highest quality and most engaging and connected music that you and your group can agree on. Students will play music that they like. How many band directors have heard unprovoked outbursts of "Seven Nation Army" at the beginning or end of rehearsals? Save the pedagogy and concert literature for the classroom. If you want students to play outside of class, give them music that they know and like, which will have a higher chance of getting the instrument out of the case. I don't know of many students or parents who want to repeatedly listen to a third trumpet part or a two-note alto part with no context. However, a solo they pick or even a melody from a pop song may encourage one of those students who cannot practice at home to be creative.

We can also avoid generic practice and reading logs. These become assignments for parents or an exercise in shared deception. Inaccurate times may be unintentional; my wife and I have had our fair share of forgetting to log our children's 20 minutes of reading every day and then guessing the night before the reading log is due.

Consider individual and group goals and break down the necessary steps to achieve these goals. Involve the students in this process. For example, our decision to eliminate a practice requirement forced us to make a choice as a group - did we want to focus primarily on individual skills to develop soloists, or on making the best collective ensembles that we could have? Of course, we wanted both, but the students and I chose to focus on the group effort.

I am aware of the limitations of this, and I'm continually seeking ways to adjust the program curriculum and requirements, but right now, this is our reality.

Pack your class sessions and rehearsals with content from bell to bell. When meeting in person, alter the classroom environment and materials to resemble what a student might see in a private or small group lesson. Many method books and literature offer adaptable parts for various instruments.

You can also get creative with some existing methods. For example, alternate parts so all students, not just the top musicians, are experiencing a variety of challenges. In the case of technique, plan exercises that simultaneously hit multiple areas. I routinely use an articulation exercise, but I altered it to tune chords over fundamentals at the same time. I also utilize exercises that provide lip slurs for brass, chromatics for woodwinds and rudiments for percussion at the same time.

These ideas can lead to developing a practical, comprehensive routine for your ensemble.

After reflecting on your situation, consider developing a method that can help provide comprehensive performance-based music education for your students who are unable (or unwilling) to practice outside of ensemble rehearsal.

What are the elements of your routine?

It's important to find materials or method books that fit your needs. I use Dan Moore's "Important Ingredients ," Richard Williams and Jeff King's "Foundation for Superior Performance " (affectionately known as the Blue Book), and the Bravo Winds Series Publications' "Basic Training for Concert Band ," "Sonority for Concert Band " and "Harmony Training for the Ensemble ."

** Budget Tip: Check with your school to see if the music department can get in on money allocated for textbooks, saving you money in your budget.

** Slightly Related Budget Tip: If you have a pep band, see if your athletic department will purchase pep band music for use at athletic events, saving you even more money or freeing up cash for other sheet music or methods.

Every rehearsal includes exercises to improve airflow, tone production, articulation, intonation, technique, endurance and musical fluency. Most rehearsals include exercises to develop rhythm, sight-reading, theory and transposition. Some rehearsals include activities to address special techniques on specific instruments, such as percussion rudiments or stopped horn.

From the methods above, I designed a routine that hits most musical elements while avoiding monotony. We mix and match exercises and often work to combine tasks to save time. Note: percussion is on keyboards by default for all routine tasks unless specific parts are available, such as in "Foundations for Superior Performance."

Although most of our students will not play their instruments outside of a class or concert, the exercises and techniques included in our routine help create and improve beginning and intermediate individual musicians while improving the ensemble as a whole. I work with students who reach advanced levels on a case-by-case basis and provide them additional opportunities such as performing as soloists with the band.

A final thought: Focus on what is realistic for your group. Students can achieve technical prowess, but it may not be what a group excels in right away. Starting with the development of a good tone and a basic to intermediate sense of intonation can open many doors for a student and performance ensemble.

What do your groups sound like if they don't practice?

Quality and opinions are always subjective, but what I can tell you is that our group received more opportunities by streamlining our goals and focusing on what we could do during classroom time to achieve those goals.

When I first started this approach, I noticed a decline in participation in solo and ensemble contests. Participation in our district and state music education conferences remained the same, but we also had few students qualify for this over the past 20 years. However, our group performances increased in both quality and quantity. State festival invitations started coming in. College bands began inviting us to perform on stage with them, and we were even accepted into two national-level performances.

Smaller sections of the band started to break off on their own to form smaller chamber groups. All of a sudden, our students were playing about 75 gigs a year in the community as flute ensembles, brass duets, jazz combos, etc.

I stuck to the no-practice concept. I let those small groups rehearse during the large band rehearsal. Those small groups kept going, and after a couple of years, I noticed that more students were starting to participate in solo and ensemble festivals again. We still have few students doing actual solos, but two years ago, we had a 20-year high for student participation. I also started providing opportunities for senior soloists, which has increased the level and quantity of student solo work.

Are you surprised by this twist ending?

By not requiring practicing, our students may have been inclined to practice more. The reasons vary. For some students, the success of the larger ensemble provided them with the drive to take their own performance seriously. They found time before, after and during school to get in a few repetitions of a difficult passage. Other students did not technically practice more but could use their time more productively in the ensemble. Other students were just defiant! If an adult told them to do something, they naturally would not want to do it. Once they were told that they didn't have to practice, they were more inclined to let their intrinsic motivation take over, which sometimes led to playing the horn or singing outside of class.

For most students, the opportunity to perform in chamber groups with music they were able to choose was enough to increase the time spent playing and their performance ability.

This content is from the book "High Needs, Monumental Successes: Teaching Music to Low-Income and Underserved Students" by Don Stinson. Copyright © 2021 , Inc. Reprinted with permission.

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Yes, you read the title of this article correctly - please proceed with caution because this topic may offend most music teachers. I teach at Joliet Central High School , a low-income, high-needs population school and serve as the ensemble director, chamber ensemble director, general music teacher and even applied instructor.

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Carryover: Materials: What to Supply? (No need to respond again unless you'd like to)

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Carryover: Materials: What to Supply? (No need to respond again unless you'd like to)

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I'm transferring this post to this week because I want to address a few questions in this. I'll be reaching out via email to a few of you to address your concerns/questions.

I (my school/community) supply everything for my program. I often joke that you only need a pulse to be in our group, but when I look back at it, almost every single material necessary for class and performance is provided. All brass players receive valve, rotor, or slide oil, slide grease, mutes,  and a mouthpiece upgrade if needed. Woodwind players receive reeds, cleaning cloths and materials, upgraded neck-straps, and mouthpiece caps.  Percussionists receive sticks and a take-home practice pad.  All materials that are not consumable are checked out annually and sanitized after they are returned.  Instruments are available for no cost to "Rent" out as long as we have it in inventory.  The uniform is supplied.  Even pencils are supplied. I buy a box of 300 pre-sharpened pencils at the beginning of the year, place one in each student's folder and place the box back in our cabinet area, free for the taking. Our choir and orchestra program operate in similar ways.  Choir does not have as many materials, but they supply other services such as accompanists for solo and ensemble.

My main reasoning for supplying so many items is to remove any barrier of entry.  My secondary reasons are time saving (if the materials are always here, we'll never have to deal with a student that forgot something) and simply being a control freak on the small and accessory equipment that we use. However, I've heard from some of my students that they didn't understand how much care went into their instrument until they obtained their own instrument.  I've also had other teachers say that it's taking all responsibility off of the students and that they didn't agree with that.

What are your thoughts on joining and participating in music with no investment? If you supply a lot of materials, are you finding the same issues?  Consider similar materials to those mentioned above in addition to sheet music (solo ensemble music), uniforms, even field trips.

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How are your final projects going? If you need help or need me to look anything over, please feel free to email me at dstinson@vandercook.edu.

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Book Recommendation: Urban Music Education: A Practical Guide for Teachers

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Book Recommendation: Urban Music Education: A Practical Guide for Teachers

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I'd recommend this book for both urban and non-urban teachers. You'll find quite a bit of practical advice balanced with philosophy, and a chapter specifically against the "one size fits all" mentality of music education.

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The First Days of Schools: Harry Wong and Rosemary T. Wong

If you're a new teacher or a music teacher like me that needs to continually study up on the whole classroom education thing, this is a great book. Some tried and true methods without being too authoritarian/eliminating the student voice. I own the previous version and refer to it each summer.

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3.0 out of 5 stars Good purchase but check the fine print.
Reviewed in the United States on September 30, 2019

Came in great condition with disc and all but there were penciled lines on several pages that I could not erase without damaging the book. To my knowledge this was not mentioned prior to purchase.

Reviews with images

Top reviews from the United States

There was a problem filtering reviews right now. Please try again later.

Reviewed in the United States on August 10, 2021

This book is overrated, outdated garbage. I bought it after many teachers in an online group recommended it. There are a few useful things in this book about procedures, but that's about it. The majority of the book is just "fluff"--words to take up space and give acronyms without saying much of anything. The authors (who live lavishly selling books, programs, etc. and haven't been actual classroom teachers for many decades) go on and on throughout the book about negative, "'I' teachers."
Basically, they state that selfish, failing teachers do the following:
--want "peace and quiet"
--enjoy weekends
--need to go home after contracted time is done to "feed the dog," "pick up the kids," "prepare dinner," etc.
They suggest teachers need to attend games, funerals, and other events outside of school hours and should not be individuals who do things like wear "trendy clothes." They also insinuate early in the book that class sizes do not matter. Good to know that in order to be a great teacher you should have no personal life, family, pets, or self-care time; those teachers are selfish and only care about the paycheck, according to the Wongs.
They also have photos of signs that are troubling about dress code. For example, one sign they include as a prime example of a morning routine lists the first priority on the list as "conform to dress code." Pretty sure that's not the #1 thing a teacher should be worried about.
Save yourself the money (and frustration) and read books from newer educators or get advice from people who are actual classroom teachers in 2021.

Reviewed in the United States on September 22, 2019

Want to have a great classroom and students ready to learn? Read--no, STUDY--this book. It served me well through my teaching career. I always had one of the best classrooms in my school and the best-behaved students. I was known as the teacher who could teach anyone, and I give Wong and Wong full credit...and my professor who required us to read and use this in our final education course. I don't know where I'd have been without it!

Reviewed in the United States on April 19, 2019

This book was given loaned to me when I started substitute teaching ( i am a retired engineer). the teacher that loaned it to me allowed me to observe her class - WOW. Even though it was elementary school, those kids came in each morning, sat down and either read a book or started some other study - there was no talking or unruly behavior. When it was time to take up money and fill out forms for lunch, the kids took care of it. They were responsible, disciplined and learned what they were supposed to. I even ended up helping one boy who spoke mostly Spanish - my HS and College Spanish came back pretty easily.
The next day I went to a different class to observe - what a difference, complete chaos the entire day. Same age kids, just a different teacher.

Reviewed in the United States on October 17, 2018

This book was a required text for a class I am currently taking. I am a junior in college and I'm pursuing an education degree. This book has so much great information in it that I have found so useful. It is also actually an entertaining read unlike so many books on the same topic. I ended up finishing the whole thing way before I needed to for class. I definitely plan on keeping this for when I graduate because it is something I will return to again and again.

Reviewed in the United States on September 29, 2019

I bought this book as a resource to use in preparation for my first year teaching Kindergarten. It's packed full of tips and tricks, resources, and ideas. It's truly been a great resource for me starting out, and I would recommend it to others to help stock their teacher toolbox. :)

Reviewed in the United States on August 4, 2019

I honestly can't believe this text isn't a part of every single teacher education program across the nation - it has revitalized not only my passion for teaching, but also my desire to be the best teacher I can be by organizing age appropriate routines within my classroom. Such a wealth of ideas, I'll definitely be rereading as I prep for the start of the school year over the next two weeks!

Reviewed in the United States on March 7, 2021

First Days Of School: How To Be An Effective... this book came in perfect condition. Exactly what I needed to complete my class.

Reviewed in the United States on July 1, 2019

As a first time teacher, this book has helped me plan and execute what I need in my classroom. I would recommend this to anyone considering teaching.

Top reviews from other countries

5.0 out of 5 stars Super helpful!

Reviewed in Canada on May 8, 2021

A fantastic guidebook for any first-year teacher. Pick and choose what you want to gain out of this book. It is absolutely great at laying out foundations such as classroom management. Highly recommended.

4.0 out of 5 stars Great startup guide or refresher for teachers

Reviewed in Canada on October 19, 2018

Very helpful insights and structures that help set up a framework for effective classroom teaching.

1.0 out of 5 stars Damaged - Chronic Amazon Problem

Reviewed in Canada on August 26, 2020

The book is great but Amazon's packaging has deteriorated badly - this is the fifth book from Amazon I have received damaged.

1.0 out of 5 stars Could not watch DVD

Reviewed in Australia on December 3, 2019

The book arrived, but I cannot seem to play the DVD. I would have liked to do this. I wonder if it is a zone issue. So sad.

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THE First Days of School: How to Be an Effective Teacher, 5th Edition (Book & DVD)

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THE First Days of School: How to Be an Effective Teacher, 5th Edition (Book & DVD) [Harry K. Wong;Rosemary T. Wong] on Amazon.com. *FREE* shipping on qualifying offers. THE First Days of School: How to Be an Effective Teacher, 5th Edition (Book & DVD)

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Book recommendation: Grit by Angela Duckworth

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Book recommendation: Grit by Angela Duckworth

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This book changed that way I approached my students and my own children, and reinforced some other beliefs and actions. In short, it's an interesting view on courage, passion, and fear. Claims are made that talent doesn't necessarily lead to success, but rather, grit.

Also included: a TED talk from Angela Duckworth regarding Grit. Click here for the link.

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Grit: The Power of Passion and Perseverance

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Grit: The Power of Passion and Perseverance - Kindle edition by Duckworth, Angela. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Grit: The Power of Passion and Perseverance.

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Book recommendation: iGen by Dr. Jean Twenge

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Book recommendation: iGen by Dr. Jean Twenge

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I read iGen when it was first published in 2017.  The full title is iGen:

Why Today's Super-Connected Kids Are Growing Up Less Rebellious, More Tolerant, Less Happy--and Completely Unprepared for Adulthood--and What That Means for the Rest of Us.  Check your local library if you're interested.  I found this book to be extremely helpful when understanding behavior; not always negative, but just the day to day behavior, thoughts, and reactions of today's student.

It's not doom and gloom, but it's pretty insightful.  We used to rely on older students driving younger kids to rehearsal; now, the stats are showing that kids are waiting until they're nearly 20 to get their license.  They also like hanging out with their parents and would rather stay home than go to a movie.

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iGen: Why Today's Super-Connected Kids Are Growing Up Less Rebellious, More Tolerant, Less Happy--and Completely Unprepared for Adulthood--and What That Means for the Rest of Us

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Amazon.com: iGen: Why Today's Super-Connected Kids Are Growing Up Less Rebellious, More Tolerant, Less Happy--and Completely Unprepared for Adulthood--and What That Means for the Rest of Us: 9781501152016: Twenge PhD, Jean M.: Books

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Book Awareness (maybe a recommendation?): Hillbilly Elegy: A Memoir of a Family in Culture and Crisis by J.D. Vance.

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Book Awareness (maybe a recommendation?): Hillbilly Elegy: A Memoir of a Family in Culture and Crisis by J.D. Vance.

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The book examines one person's experience growing up in rural poverty.  His family moves from Kentucky to Ohio to escape their situation.  The author grows up to attend Yale Law but reflects on members of his family that are unable to escape their situations.

This is a polarizing books among my circle of friends.  Some us related to it, while others thought that the author was on a bit of an ego trip (although I suppose it's hard to avoid this when writing a semi-autobiography/case study of your family).  I've had friends that lived in rural areas both praise the book and also speak out against it due to generalizations.

I read this book when it was released five summers ago.  Disclaimer: it appears that the marketing of this book has changed since I first read it.  There's some promises that reading this will help people understand current political situations.  It's been four years since I've read the book; I'm not sure if this holds true, or if this is just timely marketing.

A movie based on the book was recently released. I have not watched the movie as of yet.

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Hillbilly Elegy: A Memoir of a Family and Culture in Crisis

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Hillbilly Elegy: A Memoir of a Family and Culture in Crisis [Vance, J. D.] on Amazon.com. *FREE* shipping on qualifying offers. Hillbilly Elegy: A Memoir of a Family and Culture in Crisis

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A class-member in last summer's session taught in Austin, MN. This is the home of the Hormel Factory. A famous labor strike occurred in the mid-80s, and the town drastically changed following this time period.

You may be pro- or anti-union, but the message and relation I got from this was how a town can change when a changes occur to that location's major industry. In Joliet, we had steel mills. Those closed, and the town depressed. Later on, more medical facilities and an Amazon Warehouse opens up. Things get a little better. Most of our workers in my town, however, are concentrated in these areas. Many of us have a concern if Amazon decides to leave for another location due to taxes, etc. If you've been in an area where an industry closes, you know the effects this can have on the entire town, including the schools.

Link to trailer: https://www.youtube.com/watch?v=7eZMfQqcjmM

Legal Watching Options: https://www.imdb.com/title/tt0099028/

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Course Calendar (Updated 6/20 to reflect assignment 2 change)

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Course Calendar (Updated 6/20 to reflect assignment 2 change)

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Here is the course calendar. It's available in the Schoology site under Course Information, but it's probably easier if it's just posted here. It is uploaded in Excel format - if you cannot view, please let me know and I can make a PDF of it for you.

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Don Stinson
dstinson@vandercook.edu
Cell: 815-919-8980

Please don't hesitate to reach out. You are free to contact me at any time for course related issues, such as content, questions, tech related issues, or ideas. If I don't reply right away, I will do my best to get back to you within 24 hours.

I will keep Fridays open for phone calls/Zoom appointments for groups or individuals. If you'd like to schedule a meeting with me on Friday to talk about any issues with your program, or even just to brag about a success with your students, please reach out!

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The Creative Director: Alternative Rehearsal Techniques by Edward Lisk. I love this book and cannot recommend it enough. It truly changed the way I plan and run a rehearsal. We moved towards actually playing less music in rehearsal and doing more units on techniques and musical elements, and the group got better overall. This was a tough sell for me, as I was a person that said we needed as much time on the music as possible in class, but these techniques helped me to shift to a different approach.

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The Creative Director: Alternative Rehearsal Techniques

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(Meredith Music Resource). A new dimension in band performance! Improve rehearsal efficiency through a more effective learning environment with access to the students' fullest musical potential. Emphasis is placed upon auditory and visual imagery techniques. Thinking skills and internal pulse are...

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Do you have any recommendations for musical selections, exercises, or curriculums that have worked for you and your students? Sometimes, we have to work in situations with limited voicing, instrumentation, or resources. Consider flex or adaptable pieces that you've had experience with, or even pieces that can be performed with some relatively easy substitutions.

If so, please place your comments in the appropriate boxes below. If you need to create a new category, please let me know.

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Resource: Rhythm Patterns for Scale Applications

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Resource: Rhythm Patterns for Scale Applications

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Only have time for scales or rhythm? This lets you do both. I believe this resource comes from Barbara Buehlman. This is a rhythm packet that will work with any eight pitch diatonic scale. I've used this for band, choral, and orchestral ensembles. Take these exercises as an example of efficiency: we only have so many minutes for class sessions, so the more we can combine goals, the more we can get through.

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Ensemble teachers: I've provided a link to a rehearsal schedule I used two years ago. I handed this out the entire ensemble. Areas were left blank for note taking.

The very last page contains a formula that ended up working pretty well for us. You essentially multiply the difficulty by the time of the piece. Divide this number by 100, and you get the percentage of how much rehearsal time you can spend on a piece. I've never tried this before two years ago, but it came out pretty accurately.