port comes from retired band directors from the district. My retired colleagues have everything I am looking for to aid in the progress of my young musicians: usable and applicable knowledge, experience with middle school and high school students, a multitude of “tricks of the trade,” and invaluable constructive criticism so that I can improve myself as a mu- sic educator. In addition, I turn to my college professors for reinforcement. They are often more than happy to sit in on a rehearsal or work with small groups of students in a clinic format. A lot of college educators and studio professors consider this a recruiting opportunity for their university and will occasionally offer their services free of charge. My third resource is my colleagues. Obviously, this option is more challenging because it would require him or her to take a day off to spend time with you and your students. Sometimes schools will approve this as a professional development day. If a day off is not possible, the optimal solution to this sched- uling difficulty is to invite colleagues to your concerts. They are not able to work directly with your students, but they can provide written comments. This is particularly beneficial during festival season since this is the traditional format. Never stop looking for opportunities to bring in experts from the outside world!
Local Collaborations
I do not have a large high school band. We are now forty members strong! If I taught in a large school with several large bands, we would have jazz bands, chamber ensembles, brass bands, percussion ensembles: all those things that contribute to being a well-rounded musician. It is just not possible to have a percussion ensemble when you only have four percussionists or a jazz band with three students, no matter how eager they are. BUT! It is also not possible for your neighboring schools either. You are not in this boat alone. Pool your resources.
Four years ago, with the help of two local band directors in nearly the same situation as myself, I was able to start a large percussion ensemble and jazz band using students from my district and two neighboring districts. We join together enough students, equipment, and repertoire to cre- ate a unique educational opportunity that otherwise could only happen in larger schools. The success and benefits the programs experience is immeasurable. The percussionists from each school are given the extra attention that they crave and an outlet for the extra energy that they possess. The jazz students explore the technical and stylistic demands of a dif- ferent genre. We rehearse weekly from November through May, perform at participating schools’ concerts, perform at various community events, and participate in MSBOA District and State Solo and Ensemble. There are accommo- dations for interscholastic events at these MSBOA festivals. Consult the yearbook for the specific guidelines and offer this creative outlet for your students.
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Through these interscholastic ensembles the technique and abilities of the students are pushed to the limits and it creates an overwhelmingly positive outcome. Both groups are very successful. The students from all schools become better mu- sicians, the community enjoys the additional performances from these unique groups, and our administrators truly ap- preciate our willingness to go above and beyond to provide challenging opportunities for our students. It’s a win-win no matter how you slice it. No small school has the wealth of supplies to offer large school musical experiences, but together, you are stronger.
Develop Individual Musicians
The final event in which we participate to ensure musical growth is MSBOA Solo and Ensemble Festival. Seven years ago when I arrived at Capac, three students participated in this festival. Last year, all but six students participated. In the weeks leading up to the festival, I have the privilege of spending time after school with individuals and small groups of students. We discuss sophisticated musical concepts, they learn what it truly means to play in an ensemble, and you get to know individual students on a deeper musical level and more completely understand their strengths and weaknesses. Even the students who receive a less than desirable rating are far better and more independent musicians than when they started. That improvement is brought back to the ensemble as a whole. There is a marked improvement of the band’s tone by the middle of February every year.
Conclusion
There is no question that students from larger schools with access to more resources have an advantage over small, country schools in struggling communities. However, just because you teach at a small school does not mean you have to accept those limitations. You, too, have unlimited resources, you just have to be more creative in how you use them. I am very fortunate to have a strong support system in my colleagues. Because of their willingness to share their talents, my bands and I are better. Seek out these profession- als near you. Don’t be afraid to think “outside-the-box” with your colleagues to do what’s best for your students. If all of you work together and help each other, you create a circle of greatness that benefits everyone. Sometimes it takes a vil-
lage to raise a band.
Christine Dodge has been the director of bands at Capac Community Schools for seven years. She has her undergraduate degree from Oakland University and is currently pursuing a masters in conduct- ing. Christine is also the proud mom of five boys.
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