It Takes a Village: Band Life in a Small Town
Capac Community Schools is an agricultural/ bedroom town in the thumb. As with many communities in Michigan, a large percentage of the population has moved away, seeking employment opportunities. The population of the school has been consequently affected. This Class C school had grade levels of roughly one hundred twenty students my first year teach- ing in this district. Within five short years, the school dwindled to incoming classes of about eighty students and is now a Class D school. Like countless other districts around the state, it is struggling to stay afloat.
The outlook for the arts here is equally bleak. When I was hired in 2008, my budget for high school band was $2000. As it stands today, my budget is $0. Scheduling problems due to a shift in state requirements plague the upperclassmen. Limited resources and failing equipment make everyday rehearsals a struggle. Sound familiar? Yet in the midst of these bleak circumstances, the band population at the middle school level is exploding, the high school band is of a higher quality than it has ever been, and our students are being recognized on the state and even national levels for their excellent musicianship. I have spent many hours contemplating how it is possible to have this level of success in a place where nothing should be happening. Every school and community is different, but I believe there are a few simple things that anyone can adapt to their situation so your band program can improve in the face of adversity. Three dif- ferent strategies that are working for me are: 1) utilizing guest clinicians, 2) collaborating with local colleagues to provide opportunities for non-traditional ensembles, and 3) participating in solo and ensemble festivals to develop musi- cal skills and motivate individuals.
Guest Clinicians
One of the most powerful gifts we can offer our students is to bring in guest clinicians to work with the ensembles. The day-to-day grind does not necessarily give an accurate portrayal of the progress of our bands. Our ears become numb to the intonation problems, undesirable
Christine Dodge
tones, and wrong notes. Sometimes, however, the band has made drastic improvements but we don’t recognize it because we hear them every- day and are still haunted by that run in measure twenty-six that we’ve rehearsed six hundred times (and it is still wrong). Having an objec- tive set of ears is essential for identifying weak points as well as strengths of the ensemble. It’s also such an illuminating experience for your students to hear the same information coming from a different voice.
Another essential element to having guests in your room is gleaning constructive criticism on your rehearsal techniques. Outsiders often see deficiencies that are easily remedied and have the greatest impact on the overall performance of your ensembles. Be eager and willing to listen to their suggestions. The end result is that your students will have a better respect for your musical knowledge, you will have a better grip on the reality of your band’s ability, and you’ve gained suggestions for professional develop- ment.
The students’ and my favorite special activity is to invite a steady stream of outside expertise to the classroom. I am by no means an expert on every instrument and I will never pretend to be. Each year we invite instrument-specific profes- sionals to do after school clinics with the stu- dents. I don’t know alternate fingerings to help my clarinets play better in tune. I don’t know how to help my tubas achieve the best warm, glowing sound. It is impractical for directors to spend large portions of class time discussing reeds or altissimo register of a saxophone, yet we all know it’s crucial to the overall success of the band. The experts you bring in give the individualized attention that every section needs. At the end of the day, it is ever so important for these experts to share their information with you so that you are able to reinforce the new infor- mation and continue the growth after he or she has left. This outside attention is invaluable to the success of my program.
Finding the people to use as your resources is easier than you think. My main source for sup-
20
Instrumental
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56