This week we discussed implementing the national standards into the music classroom. While I think the point that every piece does not need to cover the standards may have been over looked, the point that it is important to get them in your program was very evident. Some of the national standards take care of themselves (playing alone with others, reading and notating music) while others are much harder to implement in the instrumental classroom. What I took away most from this week was that it is possible, you just have to be creative.
In my opinion the more you collaborate the better off you are. If you can have a think-tank working on ideas for a band program you will have much more success than going at it alone. While we did not really cover this in class, I was able to see the necessity that is collaboration. Just hearing all the different ideas that came from everyone was really cool. Everyone has a different way of teaching and when we are able to share, we all become much more inspired and better at our professions.
Something that worries me is the implementation of the standards that I consider harder to do. The phrase, 'do it from the beginning' was used over and over again in the reading and in class. While the concept is not lost on me, I do find that to be a bit of a sham. I have experienced the tension that occurs when something is used that breaks a norm or the way the band functions. I can remember times in high school when I tried very little in band at the 'extracurricular' work because I was convinced it would not do me any good. While I was not off from the truth (for the most part) I realize now the benefit it had on me.
I wish I had the opportunity to actually know why I was doing work outside the classroom and how that would affect my playing. I know that when I put in that extra effort now I am a much better player because of it. I think that this is the key that gets students to perform weird or new tasks is to show them the benefits of doing them. Find people that use what you are trying to teach and show your students how much good it actually does.
Lastly I would like to touch on something that I wanted to cover in class; knowing your students. Before we talked about knowing your students in order to know who will be a leader, who can play what parts, and who is able to promote your band. What I found was that this is all fine and dandy, but I do not just want to know my students for those reasons. I want to know my students so I can be a better teacher and so that I can find ways where I can better mentor them based on what they like and are interested in in their own lives.
If I am able to know who sings in their church choir or who volunteers at a shelter on the weekends I am better able to teach concepts if I use their strengths. This is also beneficial because you can start to network a bit and start reaching out into the community and becoming a face instead of a name on a piece of paper. If a teacher knows their students they can better relay messages to them, use them to promote the band, use the band to promote their students, and, overall, have the respect of their students because they know that you are invested in their lives more than just as a teacher.
Running a band or orchestra is a lot of work. There is no way that one person can do it all, no way. But that is why it is a band or orchestra program you have students and other teachers willing to help out because they love the same thing you do. Students love music and each other. Music educators love music and teaching. Other teachers love teaching and the students they teach. As long as a teacher is able to connect and find ways to help themselves they will continue to be successful.
Saturday, April 23, 2011
Sunday, April 17, 2011
MUED 352: Week 13 (But should be week 12)
Because this will be a very retrospective blog, I apologize for any ranting that may appear due to some massive time thinking about the topics discussed.
Anyway, this week we covered assessment and its importance in the musical classroom. The first point in which I would like to cover is a bit of a rant, but it has to do with application. I honestly have no chance to implement what I am learning about assessment until I student teach. This, to me, is highly ineffective because I would like to have the chance to use some assessment skills other than 'aural observations.'
So, what we experimented with in class was some extreme ways to give assessment to students. While I thought this 'game' was very educational, I was saddened because I realized it would be a while until I even get to try to give any form of assessment and even longer until I can give students any feedback. I would have liked to have had a chance to actually design and give some for assessment to students to 'get my feet wet.'
Another topic that is interesting to me is one about grading. In high school almost everyone got an 'A' and that was the standard. Now, I was wondering if that is because the grades are only for paper and the real grading is based off of children making music.
Part of me understands why grading and assessment is very necessary and that it should be essential in the music classroom. However, a big part of music is learning how to create music, and that I do not think can be graded. If a student does not conceptually understand what a slur is, but is able to perform one in order to make a piece as musical as possible, I think deserves an 'A'.
Grading in a band is very difficult in this regard because I think that the understanding part does not have to come from any written test or exam; and, instead, can come from a completely musical understanding. One of my teachers always advocates a spiritual part of music that is inherent in it. This sense of spirituality is quite hard to comprehend unless you have experienced it yourself. However, I think it is very easy to tell when someone has.
I guess my real point in writing is asking what do I do to hone my skills at assessment when I do not have a chance to really practice at all? I can read everything I can, but I cannot do anything unless I get a classroom full of students. I really would not like to get 'rusty' (although I cannot rust because I have not been made yet) at assessment. I wish that we had some opportunity to assess some people and have it count for something.
Anyway, this week we covered assessment and its importance in the musical classroom. The first point in which I would like to cover is a bit of a rant, but it has to do with application. I honestly have no chance to implement what I am learning about assessment until I student teach. This, to me, is highly ineffective because I would like to have the chance to use some assessment skills other than 'aural observations.'
So, what we experimented with in class was some extreme ways to give assessment to students. While I thought this 'game' was very educational, I was saddened because I realized it would be a while until I even get to try to give any form of assessment and even longer until I can give students any feedback. I would have liked to have had a chance to actually design and give some for assessment to students to 'get my feet wet.'
Another topic that is interesting to me is one about grading. In high school almost everyone got an 'A' and that was the standard. Now, I was wondering if that is because the grades are only for paper and the real grading is based off of children making music.
Part of me understands why grading and assessment is very necessary and that it should be essential in the music classroom. However, a big part of music is learning how to create music, and that I do not think can be graded. If a student does not conceptually understand what a slur is, but is able to perform one in order to make a piece as musical as possible, I think deserves an 'A'.
Grading in a band is very difficult in this regard because I think that the understanding part does not have to come from any written test or exam; and, instead, can come from a completely musical understanding. One of my teachers always advocates a spiritual part of music that is inherent in it. This sense of spirituality is quite hard to comprehend unless you have experienced it yourself. However, I think it is very easy to tell when someone has.
I guess my real point in writing is asking what do I do to hone my skills at assessment when I do not have a chance to really practice at all? I can read everything I can, but I cannot do anything unless I get a classroom full of students. I really would not like to get 'rusty' (although I cannot rust because I have not been made yet) at assessment. I wish that we had some opportunity to assess some people and have it count for something.
Friday, April 15, 2011
MUED 352: Week 12
This week in class we discussed the many ways that a instrumental music ensemble could be rehearsed. While, in all honesty, this topic is lost on me because I have very limited experience leading, I have formed my own opinions of how a rehearsal should be run and the styles that I find most useful.
First, I think that a rehearsal is very amorphous and needs to take the form of whatever needs to happen for the ensemble. Many of my rehearsals that I have been in have been, "Go, go go!" rehearsals. This is where you pummel through your music and do not give much thought to the musicality of what you are playing. This is the opposite of what I feel is a good rehearsal technique.
The rehearsal should be specific to the needs of the ensemble. One of my 'mentors', although he is more of a sage, is Dr. Peter Boonshaft and I would model my ensembles after his. Dr. Boonshaft tells marvelous stories of how when he was honest to his students, and to himself, how his rehearsals would pick up and be much more beneficial.
What I am able to take away from these stories is that the band is made up of living, breathing beings who need to experience a director who is just as real as them. Being able to run your rehearsals with that in mind, that is treating your ensemble as a living being, will be more beneficial than if you do as a machine.
A topic that we discussed in class was the podium. The podium is a place of teaching, not just of conducting. The podium signifies dominance over the players. But, a director cannot abuse the power that comes from his spot at the front of the classroom. Because the students literally look up at the conductor the conductor needs to epitomize what their band represents.
To me, the director is the band. I know that the band, or orchestra, is made up of many members, but to me, the director is the leader and the face of the organization. They are responsible for the learning of the members and in charge of the musical abilities that they will learn.
Briefly, we covered blending and intonation within the ensemble. This concept, in my opinion, is the hardest to relay to students. As a saxophonist I was encouraged to find my own sound and my own style. So when it came to time to blend, I was a bit lost because I had to match so many other people.
In the reading there was a technique that, I think, could have helped me a great deal when I was in band. The reading talked about hiding your sound. In this technique, you tried to hide your sound in the full ensemble by playing very brash and bombastic and then refining your sound until it was "lost" in the sound of the ensemble.
For me, I think this makes a lot of sense. I feel that it would be very beneficial to have students hear their sound in contrast with the band and then change it themselves to what they hear. This helps in so many ways it is tough to explain them all. The biggest way, I believe, is that it gets students to 1) play out and 2) play with an ensemble. Very cool indeed.
First, I think that a rehearsal is very amorphous and needs to take the form of whatever needs to happen for the ensemble. Many of my rehearsals that I have been in have been, "Go, go go!" rehearsals. This is where you pummel through your music and do not give much thought to the musicality of what you are playing. This is the opposite of what I feel is a good rehearsal technique.
The rehearsal should be specific to the needs of the ensemble. One of my 'mentors', although he is more of a sage, is Dr. Peter Boonshaft and I would model my ensembles after his. Dr. Boonshaft tells marvelous stories of how when he was honest to his students, and to himself, how his rehearsals would pick up and be much more beneficial.
What I am able to take away from these stories is that the band is made up of living, breathing beings who need to experience a director who is just as real as them. Being able to run your rehearsals with that in mind, that is treating your ensemble as a living being, will be more beneficial than if you do as a machine.
A topic that we discussed in class was the podium. The podium is a place of teaching, not just of conducting. The podium signifies dominance over the players. But, a director cannot abuse the power that comes from his spot at the front of the classroom. Because the students literally look up at the conductor the conductor needs to epitomize what their band represents.
To me, the director is the band. I know that the band, or orchestra, is made up of many members, but to me, the director is the leader and the face of the organization. They are responsible for the learning of the members and in charge of the musical abilities that they will learn.
Briefly, we covered blending and intonation within the ensemble. This concept, in my opinion, is the hardest to relay to students. As a saxophonist I was encouraged to find my own sound and my own style. So when it came to time to blend, I was a bit lost because I had to match so many other people.
In the reading there was a technique that, I think, could have helped me a great deal when I was in band. The reading talked about hiding your sound. In this technique, you tried to hide your sound in the full ensemble by playing very brash and bombastic and then refining your sound until it was "lost" in the sound of the ensemble.
For me, I think this makes a lot of sense. I feel that it would be very beneficial to have students hear their sound in contrast with the band and then change it themselves to what they hear. This helps in so many ways it is tough to explain them all. The biggest way, I believe, is that it gets students to 1) play out and 2) play with an ensemble. Very cool indeed.
Friday, April 1, 2011
MUED 352: Week 11
A topic this week that I would like cover is competition in instrumental music. Another topic that will find its way into competition will be the 'band philosophy'. I think that competition is a very useful tool and that every instrumental program should adopt some form of competition.
In my opinion competition is inherent to everything living. From a very basic perspective; buying toothpaste is a competition. Do you buy the toothpaste that is less expensive? That tastes better? That has a nice looking label? These question are very minute competitions that you make in order to decide what toothpaste you want to use. Competition does not have to be anything like the world series, it can be something very simple. Relating this back to instrumental music, competition can range from chair placement, repertoire selection to solo and ensemble competitions.
Now, I do not think that 'competition' in the sense of pitting one person against the other is not for all people. I also do not think that 'competition' in the sense that one person beats another is not for everyone. But, both of these concepts can be utilized in a band setting in order to improve musicianship.
Although having a pure competitive style program will not be beneficial (because you will lose out on a lot of musicality and camaraderie). But, a band director will need to use competition to aid them and they must keep a competitive mind set if they wish to have their program flourish. Again, in my opinion, competition is inherent to humans, and therefor inherent in music (because, again, in my opinion, music is inherent to humanity).
So how should a band director incorporate competition into the band philosophy? I do not actually know how to do this. If a band program happens to take on the personality and philosophy of the band teacher(s) then the competition would be inherent. But, the band is made up of so many individuals that I have a hard time believing that one band director influences so many students.
I really think that the teacher should adopt a strategy that Dr. Peter Lowell Boonshaft repeats over and over. "Praise, tact, and kindness." Right now I am having a hard time understand how to utilize competition correctly. I would like my own personal program to have a strong foundation in competition, but have it be intrinsic.
After I wrote that last statement, I realize how hard that sounds, and also how ridiculous. Honestly I do not know what my program should be, as I do not have one.
This week has really opened my eyes to the fact that I am still very inexperienced when it comes to music education. I see the benefits of creating my own philosophies now, but I am still weary of many of them. I am learning so many new things that I find my beliefs changing all the time. I am certain that I want to be a music educator, and I am willing to learn as much as possible until I can become one.
In my opinion competition is inherent to everything living. From a very basic perspective; buying toothpaste is a competition. Do you buy the toothpaste that is less expensive? That tastes better? That has a nice looking label? These question are very minute competitions that you make in order to decide what toothpaste you want to use. Competition does not have to be anything like the world series, it can be something very simple. Relating this back to instrumental music, competition can range from chair placement, repertoire selection to solo and ensemble competitions.
Now, I do not think that 'competition' in the sense of pitting one person against the other is not for all people. I also do not think that 'competition' in the sense that one person beats another is not for everyone. But, both of these concepts can be utilized in a band setting in order to improve musicianship.
Although having a pure competitive style program will not be beneficial (because you will lose out on a lot of musicality and camaraderie). But, a band director will need to use competition to aid them and they must keep a competitive mind set if they wish to have their program flourish. Again, in my opinion, competition is inherent to humans, and therefor inherent in music (because, again, in my opinion, music is inherent to humanity).
So how should a band director incorporate competition into the band philosophy? I do not actually know how to do this. If a band program happens to take on the personality and philosophy of the band teacher(s) then the competition would be inherent. But, the band is made up of so many individuals that I have a hard time believing that one band director influences so many students.
I really think that the teacher should adopt a strategy that Dr. Peter Lowell Boonshaft repeats over and over. "Praise, tact, and kindness." Right now I am having a hard time understand how to utilize competition correctly. I would like my own personal program to have a strong foundation in competition, but have it be intrinsic.
After I wrote that last statement, I realize how hard that sounds, and also how ridiculous. Honestly I do not know what my program should be, as I do not have one.
This week has really opened my eyes to the fact that I am still very inexperienced when it comes to music education. I see the benefits of creating my own philosophies now, but I am still weary of many of them. I am learning so many new things that I find my beliefs changing all the time. I am certain that I want to be a music educator, and I am willing to learn as much as possible until I can become one.
Friday, March 25, 2011
MUED 352: Week 10
The subject matter of this week was very similar to that of last week.
The main point that I took away was that every piece of music has an infinite number of teaching concepts contained within it. While this idea has not been lost on me at all, I never really noticed it until now. Just viewing the different interpretations of the pieces that we reviewed was very interesting.
There was a clinic at OMEA that was very helpful for me. It was given by Dan Crain, Brad Hruska, and Ryan Huch. The clinic was incorporating all of the national standards for music into a band curriculum. Again, many of the concepts that the trio covered were not new to me, and most of them I have either done or would consider using in my own classroom.
What I found most interesting was how each teacher chose a different piece of music to play with their band and, furthermore, how they would teach the standards with them. Like this weeks class, I was surprised at how differently I would have chosen literature as well as what I could get out of each piece. This is a fun aspect of teaching instrumental music that I think I can really enjoy.
On this subject, I have been pondering a subject that I hope we will cover, programming music for a concert. I also attended another clinic at OMEA about programming. Instead of answering my questions, it made my questions more in depth and intense. I was surprised by how much I wanted to know about programming. I never really put any thought into picking music for an ensemble. I hope that we can have a lesson, soon, on how to pick a program that suits your band, community, and school.
The main point that I took away was that every piece of music has an infinite number of teaching concepts contained within it. While this idea has not been lost on me at all, I never really noticed it until now. Just viewing the different interpretations of the pieces that we reviewed was very interesting.
There was a clinic at OMEA that was very helpful for me. It was given by Dan Crain, Brad Hruska, and Ryan Huch. The clinic was incorporating all of the national standards for music into a band curriculum. Again, many of the concepts that the trio covered were not new to me, and most of them I have either done or would consider using in my own classroom.
What I found most interesting was how each teacher chose a different piece of music to play with their band and, furthermore, how they would teach the standards with them. Like this weeks class, I was surprised at how differently I would have chosen literature as well as what I could get out of each piece. This is a fun aspect of teaching instrumental music that I think I can really enjoy.
On this subject, I have been pondering a subject that I hope we will cover, programming music for a concert. I also attended another clinic at OMEA about programming. Instead of answering my questions, it made my questions more in depth and intense. I was surprised by how much I wanted to know about programming. I never really put any thought into picking music for an ensemble. I hope that we can have a lesson, soon, on how to pick a program that suits your band, community, and school.
Saturday, March 19, 2011
MUED 352: Week 9
This week we conversed on score study and selecting repertoire; both of which I do not get to do very often. After my readings I have a few topics which lingered all the way through my reading process. While they cover both subjects of the week, I think that may be more geared to score study.
The first topic: when is score study a hindrance? I have had access to the score of "Molly on the Shore" by Percy Grainger. If you have a kickin' high school band, this is a piece to play. Now, I have had ample time to delve into its intricacies (of which there are many). What I have been noticing is that I have become very critical of the recordings that I own. I do not like this feeling.
None of the recordings are bad, in fact they are very good and I love listening to them. But when I put on my Skull Candy ear phones, I am saddened by all the mistakes that I find. It is at this point where I feel bad that I have studied the score so much. Like, I know what I want to hear, and what I should hear, and when I don't I am let down or put off.
I am hoping that this is because I am noticing what I have studied and am making educated choices. But, when do I put my score down and say, that was a beautiful performance? I feel that since I have such a knowledge of the score that it is taking away from the piece that I love. When should I let go of the music and praise the ensemble for doing a wonderful job? It has been lingering in my mind since the reading. I understand how important it is to know your scores, but at what cost?
My next topic: chances to study score and have access to literature. As a student at Case I have many opportunities to play great literature, but not chose it. I see this as very detrimental to my education. I have been lucky to work with the marching band here at Case, and I have been doing some limited study and choosing, but I feel that it is not enough.
I guess my question is, how can I start to learn to read scores and choose repertoire? I really hope that I do not have to wait until I get a job, because I think that it would overwhelm me very much. So if anyone who reads this has any suggestions, please let me know, I would love the opportunity to sit down and work through some literature.
Third topic: a list of band piece please! So I have been searching, for my own edification, for a compilation of band works that fits certain criteria. I have found some wonderful material like Dr. Ciepluch's publication and an online guide. But, I think there should be something like a database. One that details the specifics of pieces and what they can teach your band.
From my experience, certain composers have strengths at writing for specific instruments and specific styles. Philip Sparke writes very emotional slow movements, and David Gillingham writes very nice percussion works for example. I think it would be wise for some band directors to get together and compile a database of the band literature and what function they best serve. I think that would be very handy.
Lastly: I want to vent about teaching this week. I do not know what I did, or what I did not do, but I felt horrible after my teaching this week. I am proud that I tried, I really am. I am proud that I tried to do so many new things in my lesson. I tried really hard to think of ways in which I could relay my concepts to the students, and how I could scaffold the information to make it more accessable to the students.
Unfortunately I felt like I crashed and burned. I remember a certain point in which I intrinsically gave up because I just did not want to keep beating a horse to death. For a lot of the lesson, I felt like I was being fought; like there was a struggle between some of the students and the material I wanted them to learn. And by the time I wanted to get to the important musical techniques in my piece, I had lost the students.
I guess the lesson was not all lost, I am just very new at this type of teaching. I mean I remember that the students played a phrase well out of context, but had trouble playing it in context. So, I achieved .5 of that goal. The students also played the rhythms in the variation well, so again, another positive. I wish that I did not lose as much control as I did.
Oh well, things to work on. Till next week!
Ian
The first topic: when is score study a hindrance? I have had access to the score of "Molly on the Shore" by Percy Grainger. If you have a kickin' high school band, this is a piece to play. Now, I have had ample time to delve into its intricacies (of which there are many). What I have been noticing is that I have become very critical of the recordings that I own. I do not like this feeling.
None of the recordings are bad, in fact they are very good and I love listening to them. But when I put on my Skull Candy ear phones, I am saddened by all the mistakes that I find. It is at this point where I feel bad that I have studied the score so much. Like, I know what I want to hear, and what I should hear, and when I don't I am let down or put off.
I am hoping that this is because I am noticing what I have studied and am making educated choices. But, when do I put my score down and say, that was a beautiful performance? I feel that since I have such a knowledge of the score that it is taking away from the piece that I love. When should I let go of the music and praise the ensemble for doing a wonderful job? It has been lingering in my mind since the reading. I understand how important it is to know your scores, but at what cost?
My next topic: chances to study score and have access to literature. As a student at Case I have many opportunities to play great literature, but not chose it. I see this as very detrimental to my education. I have been lucky to work with the marching band here at Case, and I have been doing some limited study and choosing, but I feel that it is not enough.
I guess my question is, how can I start to learn to read scores and choose repertoire? I really hope that I do not have to wait until I get a job, because I think that it would overwhelm me very much. So if anyone who reads this has any suggestions, please let me know, I would love the opportunity to sit down and work through some literature.
Third topic: a list of band piece please! So I have been searching, for my own edification, for a compilation of band works that fits certain criteria. I have found some wonderful material like Dr. Ciepluch's publication and an online guide. But, I think there should be something like a database. One that details the specifics of pieces and what they can teach your band.
From my experience, certain composers have strengths at writing for specific instruments and specific styles. Philip Sparke writes very emotional slow movements, and David Gillingham writes very nice percussion works for example. I think it would be wise for some band directors to get together and compile a database of the band literature and what function they best serve. I think that would be very handy.
Lastly: I want to vent about teaching this week. I do not know what I did, or what I did not do, but I felt horrible after my teaching this week. I am proud that I tried, I really am. I am proud that I tried to do so many new things in my lesson. I tried really hard to think of ways in which I could relay my concepts to the students, and how I could scaffold the information to make it more accessable to the students.
Unfortunately I felt like I crashed and burned. I remember a certain point in which I intrinsically gave up because I just did not want to keep beating a horse to death. For a lot of the lesson, I felt like I was being fought; like there was a struggle between some of the students and the material I wanted them to learn. And by the time I wanted to get to the important musical techniques in my piece, I had lost the students.
I guess the lesson was not all lost, I am just very new at this type of teaching. I mean I remember that the students played a phrase well out of context, but had trouble playing it in context. So, I achieved .5 of that goal. The students also played the rhythms in the variation well, so again, another positive. I wish that I did not lose as much control as I did.
Oh well, things to work on. Till next week!
Ian
Friday, March 4, 2011
MUED 352: Week 8
I GOT TO TEACH!
It really is hard not to focus on anything else at the moment. There are so many things that I wish to tell everyone about my experience teaching trumpet, and yet I am speechless. I guess this is because I am so happy that I got to teach, I got to lead a classroom of students, I got a taste of what my future job could be. I am so excited.
There is no feeling, for me, greater than watching children learn. Watching the students play and absorb the information that I was giving them was truly enjoyable. What is most amazing to me is the dichotomy of feeling that you can have right before teaching, during teaching, and after teaching.
Before I was in the front of the class, I was so nervous; running through every possibility of what could go wrong, what I would do if a student fainted, what I would do if I fainted. And then when it was my turn to teach, I was fine. I knew what my job was and I knew how I was going to accomplish it. In fact during my lesson I started walking around more because I was letting off energy rather than actually listening to the students. Although that is not the best thing to emit, I think it did more positive than negative.
After I taught I was all smiles, I was on a cloud that didn't even have a number, I was just so happy that I was able to teach again. So to review, at first I'm wondering what to do if I lose consciousness and I end with wanting to keep on teaching. Wow!
I am saddened by one fact, however. I know that these students only have a few chances to learn from me. So my question is, how can I make each of my lessons meaningful? I am saddened because I feel that my lessons are but a tiny chunk in an otherwise vast musical world. I know that what I teach has to be powerful enough and meaningful enough for it to stick in the minds of the students. Even though they are not my students, I am treating them like they are. And knowing that I have a limited time with them, I am going to really miss them when I have to go.
What was best about teaching the trumpets was the self realization that I am in the right profession. I loved every second that I was in front of those kids, and I didn't want it to end. I was just so happy to actually realize that I am one of the lucky few who have found their passion and have a chance to use that passion every day of my life. For me, there is nothing more amazing than that.
It has been a good week!
It really is hard not to focus on anything else at the moment. There are so many things that I wish to tell everyone about my experience teaching trumpet, and yet I am speechless. I guess this is because I am so happy that I got to teach, I got to lead a classroom of students, I got a taste of what my future job could be. I am so excited.
There is no feeling, for me, greater than watching children learn. Watching the students play and absorb the information that I was giving them was truly enjoyable. What is most amazing to me is the dichotomy of feeling that you can have right before teaching, during teaching, and after teaching.
Before I was in the front of the class, I was so nervous; running through every possibility of what could go wrong, what I would do if a student fainted, what I would do if I fainted. And then when it was my turn to teach, I was fine. I knew what my job was and I knew how I was going to accomplish it. In fact during my lesson I started walking around more because I was letting off energy rather than actually listening to the students. Although that is not the best thing to emit, I think it did more positive than negative.
After I taught I was all smiles, I was on a cloud that didn't even have a number, I was just so happy that I was able to teach again. So to review, at first I'm wondering what to do if I lose consciousness and I end with wanting to keep on teaching. Wow!
I am saddened by one fact, however. I know that these students only have a few chances to learn from me. So my question is, how can I make each of my lessons meaningful? I am saddened because I feel that my lessons are but a tiny chunk in an otherwise vast musical world. I know that what I teach has to be powerful enough and meaningful enough for it to stick in the minds of the students. Even though they are not my students, I am treating them like they are. And knowing that I have a limited time with them, I am going to really miss them when I have to go.
What was best about teaching the trumpets was the self realization that I am in the right profession. I loved every second that I was in front of those kids, and I didn't want it to end. I was just so happy to actually realize that I am one of the lucky few who have found their passion and have a chance to use that passion every day of my life. For me, there is nothing more amazing than that.
It has been a good week!
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