Playing outside venues in the Midwest during the summer months has had it share of challenges. Lately though, it seems that Mother Nature has been extremely moody.
Last week I played an outside event for our local library during a 102* heat warning. The event was for children highlighting "animals in our neighborhood".
I had planned a variety of sing a long songs and a few activity ones as well to allow the kids to move and use motion in a fun and creative way.
Rational heads prevailed and the event was moved to an inside conference room. After a few tunes and freestyle dancing around a conference table, the kids asked to go outside!
Well, I agreed if they all took long drinks at the water fountain and we met under the old shady Oak in the back.
Opening the door to the outside instantly reminded me of checking if the pizza was done in my kitchen oven!
We all settled down under the tree and sang a few more songs. One rather slow and graceful song was about the swans in the park. One by one the kids started to yawn and stretch as the heat was acting like a big warm blanket. Several kids were asleep by the second verse.
We only stayed outside for the last ten minutes, but the parents and chaperons commented that the Oak tree songs were their favorite.
After the show, many parents carried their small children to the car as they were still in a very deep sleep. One Mom whispered, "Thank You, I can mever get him to take a nap!"
Good gigging,
Larry Marra
www.musicteachers911.com
Sunday, July 1, 2012
Thursday, April 26, 2012
Let there be LIGHT!
You would think that after forty years of professional gigging, I wouldn't have seen this one coming.
I was recently hired to play the electric bass in the pit orchestra for the musical, "Singing in the rain".
They seated me with my back against the stage facing the director who was facing the stage to cue the actors. Afternoon rehearsals were great and I was actually enjoying the experience as the writing for this is very entertaining. Kudos to the talented cast and directing.
So far so good, right?
As soon as the curtain went up on opening night. From the very back of the theater appeared a bright light from the 5000 watt follow spot behind the last row.
That's when everything for me went totally black.
The light as bright as the Sun was shining into my eyes against that darkened room. I couldn't see the director, the music rack, or even my hand in front of my face.
As luck would have it, I keep a visor in my soft shell bass case for when I perform outside at festivals, fairs, and other venues.
I reached for the case under my seat and felt around until I knew the visor was in my grasp.
Around measure 32, I re-entered the ensemble while wearing said visor, tilting my head so that the brim was blocking the spotlight but not the music. I never did see the director for the entire first act, creeping in at the every first measure until a steady tempo was established.
At intermission, I asked that the spotlight be placed off center in the back.
Act two went much better.
Live and learn, I guess...
good gigging,
Larry Marra
www.musicteachers911.com
I was recently hired to play the electric bass in the pit orchestra for the musical, "Singing in the rain".
They seated me with my back against the stage facing the director who was facing the stage to cue the actors. Afternoon rehearsals were great and I was actually enjoying the experience as the writing for this is very entertaining. Kudos to the talented cast and directing.
So far so good, right?
As soon as the curtain went up on opening night. From the very back of the theater appeared a bright light from the 5000 watt follow spot behind the last row.
That's when everything for me went totally black.
The light as bright as the Sun was shining into my eyes against that darkened room. I couldn't see the director, the music rack, or even my hand in front of my face.
As luck would have it, I keep a visor in my soft shell bass case for when I perform outside at festivals, fairs, and other venues.
I reached for the case under my seat and felt around until I knew the visor was in my grasp.
Around measure 32, I re-entered the ensemble while wearing said visor, tilting my head so that the brim was blocking the spotlight but not the music. I never did see the director for the entire first act, creeping in at the every first measure until a steady tempo was established.
At intermission, I asked that the spotlight be placed off center in the back.
Act two went much better.
Live and learn, I guess...
good gigging,
Larry Marra
www.musicteachers911.com
Saturday, March 17, 2012
Student performance will now make up 50 percent of teacher evaluations in Ohio
By Jill Kelley, Staff Writer (Dayton Daily Newspaper)
Student performance will now make up 50 percent of teacher evaluations in Ohio under a new law requiring school districts to adopt more extensive assessments.
This change, as mandated by the governor’s budget bill passed in June and set to go into effect next year, is part of a nationwide effort to maintain federal funding and improve classroom instruction.
“Many states that are looking at this right now, and a lot of them are tied to Race to the Top grants,” said Patrick Gallaway, spokesman for the Ohio Department of Education.
The remaining half of the evaluation will be based on a teacher’s growth.
“In other states, you might see that there’s just this sense of a call to action about how we help our students who are struggling academically,” Gallaway said.
Large-scale state budget cuts, an increasing shift to merit-based pay, greater focus on spending at every level, and federal Race to the Top grants requiring teacher evaluations that measure student improvement have all helped motivate legislators to develop new requirements.
At the same time, job security across the country has weakened, drawing attention to how teachers and other public employees are compensated.
In Ohio, this change in evaluations also is designed to prepare teachers and students for new academic content standards that will be implemented in 2014-15 and to create a uniformity across the state.
“Before, it was hard to say why one school district is struggling when another one isn’t, and some of that could have gone down to how districts are evaluating their teachers,” Gallaway said.
To develop and refine the evaluations, last year the ODE assembled 138 districts and community schools for a pilot program. Locally, Northmont, Beavercreek, Mad River, New Lebanon, Tipp City, Troy and Xenia school districts, as well as Dayton Early College Academy, are helping to craft the framework developed by the Ohio Teacher Evaluation System.
Student growth
Prior to the passage of House Bill 153, each Ohio district could adopt or develop its own evaluation system. Many used similar models with teacher performance criteria that will be used in the new evaluations, but there was no impetus to align the standards.
There also was no consistent or significant measure of student growth required in these evaluations, and how that will be measured is still being defined.
Since the student growth component will make up half of a teacher’s evaluation, local teachers and administrators have expressed concern about how to best measure it across subjects and grades.
Julia Simmerer, director of the ODE’s Office of Educator Standards, said growth would be determined by the value-added data from the state report card and other testing, and would be somewhat flexible within each school district.
Debbie Baker, director of curriculum, instruction and technology for Northmont City Schools, said she is in favor of the uniformity the new evaluations will bring, but the accuracy of the value-added data is a concern.
Value-added scores, implemented in 2003, chart whether districts have exceeded, met or not met expected growth on fourth- through eighth-grade math and reading tests as compared to the previous year.
“We’re not opposed to student growth figuring into our evaluations, but maybe we need a more proven system,” Baker said.
Kathy Harper, director of the ODE’s Office of Educator Equity and Talent, said she has confidence in the measure, but said it is just one aspect of that measure. “I also know that, year after year, as they get more and more data, it gets more reliable,” Harper said.
Time concern
Probably the biggest change for districts and schools will be the increased time needed to conduct these more intensive evaluations.
Teachers used to have smaller annual evaluations that could include one observation period, with more formal evaluations every two to five years. Instead, the new evaluations will be conducted annually and will include the student growth aspect and require multiple observations and conferences.
“We haven’t put it into dollar figures, but the new evaluations will take approximately three hours per person, annually,” said Deron Schwieterman, Beavercreek City Schools’ human resources director, noting that Beavercreek has 468 teachers. “I’m guessing now we probably spend an hour to an hour and a half per person, on average, each year for evaluations.”
New Lebanon Superintendent Barbara Curry agreed the time element will require adjustment.
“But, we’ve taken a proactive approach, and are reviewing building schedules and meeting schedules (to find time),” she said.
Classroom benefits
Even those with concerns about the new evaluations agreed that the new method will support teacher and student improvement.
“We have great optimism that this new evaluation will help us, and get great teachers recognized,” said Judy Hennessey, DECA superintendent. “And it will give us a more firm foundation to get teachers who are not effective removed.”
Centerville High School math teacher Brian Cayot, who also is president of the teachers’ union, said teachers want to make sure every student has a qualified, caring and committed teacher, and this system can help toward that end.
“All of us need to be held accountable: not just the teachers, but the parents, families, administrators, students,” he said. “Everybody has a stake in this.”
Key elements of Ohio teacher evaluation law
• Goes into effect in 2013-14 school year.
• Requires public schools to adopt a new teacher evaluation system, based 50 percent on teacher performance and 50 percent on teacher growth.
• Evaluates teachers annually, and includes two formal, 30-minute observation periods as well as periodic classroom walk-throughs.
• Allows teachers who are rated “accomplished” on their most recent evaluation to be evaluated every two years and districts to consider having top-rated teachers submit a portfolio in lieu of having a second classroom observation.
• Requires student growth to be measured by the value-added data, which applies to specific grades and subjects on the state report card; approved “vendor list,” or outside testing; and local measures, which would include testing before and after a student takes a specific class.
• Uses evaluations to determine whether to promote, retain or remove a teacher, and prohibits districts from considering seniority, except when deciding between teachers with comparable evaluations.
• Allocates financial resources to support professional development.
• Requires adoption by July 1, 2013 and implementation once current teacher contracts expire.
Student performance will now make up 50 percent of teacher evaluations in Ohio under a new law requiring school districts to adopt more extensive assessments.
This change, as mandated by the governor’s budget bill passed in June and set to go into effect next year, is part of a nationwide effort to maintain federal funding and improve classroom instruction.
“Many states that are looking at this right now, and a lot of them are tied to Race to the Top grants,” said Patrick Gallaway, spokesman for the Ohio Department of Education.
The remaining half of the evaluation will be based on a teacher’s growth.
“In other states, you might see that there’s just this sense of a call to action about how we help our students who are struggling academically,” Gallaway said.
Large-scale state budget cuts, an increasing shift to merit-based pay, greater focus on spending at every level, and federal Race to the Top grants requiring teacher evaluations that measure student improvement have all helped motivate legislators to develop new requirements.
At the same time, job security across the country has weakened, drawing attention to how teachers and other public employees are compensated.
In Ohio, this change in evaluations also is designed to prepare teachers and students for new academic content standards that will be implemented in 2014-15 and to create a uniformity across the state.
“Before, it was hard to say why one school district is struggling when another one isn’t, and some of that could have gone down to how districts are evaluating their teachers,” Gallaway said.
To develop and refine the evaluations, last year the ODE assembled 138 districts and community schools for a pilot program. Locally, Northmont, Beavercreek, Mad River, New Lebanon, Tipp City, Troy and Xenia school districts, as well as Dayton Early College Academy, are helping to craft the framework developed by the Ohio Teacher Evaluation System.
Student growth
Prior to the passage of House Bill 153, each Ohio district could adopt or develop its own evaluation system. Many used similar models with teacher performance criteria that will be used in the new evaluations, but there was no impetus to align the standards.
There also was no consistent or significant measure of student growth required in these evaluations, and how that will be measured is still being defined.
Since the student growth component will make up half of a teacher’s evaluation, local teachers and administrators have expressed concern about how to best measure it across subjects and grades.
Julia Simmerer, director of the ODE’s Office of Educator Standards, said growth would be determined by the value-added data from the state report card and other testing, and would be somewhat flexible within each school district.
Debbie Baker, director of curriculum, instruction and technology for Northmont City Schools, said she is in favor of the uniformity the new evaluations will bring, but the accuracy of the value-added data is a concern.
Value-added scores, implemented in 2003, chart whether districts have exceeded, met or not met expected growth on fourth- through eighth-grade math and reading tests as compared to the previous year.
“We’re not opposed to student growth figuring into our evaluations, but maybe we need a more proven system,” Baker said.
Kathy Harper, director of the ODE’s Office of Educator Equity and Talent, said she has confidence in the measure, but said it is just one aspect of that measure. “I also know that, year after year, as they get more and more data, it gets more reliable,” Harper said.
Time concern
Probably the biggest change for districts and schools will be the increased time needed to conduct these more intensive evaluations.
Teachers used to have smaller annual evaluations that could include one observation period, with more formal evaluations every two to five years. Instead, the new evaluations will be conducted annually and will include the student growth aspect and require multiple observations and conferences.
“We haven’t put it into dollar figures, but the new evaluations will take approximately three hours per person, annually,” said Deron Schwieterman, Beavercreek City Schools’ human resources director, noting that Beavercreek has 468 teachers. “I’m guessing now we probably spend an hour to an hour and a half per person, on average, each year for evaluations.”
New Lebanon Superintendent Barbara Curry agreed the time element will require adjustment.
“But, we’ve taken a proactive approach, and are reviewing building schedules and meeting schedules (to find time),” she said.
Classroom benefits
Even those with concerns about the new evaluations agreed that the new method will support teacher and student improvement.
“We have great optimism that this new evaluation will help us, and get great teachers recognized,” said Judy Hennessey, DECA superintendent. “And it will give us a more firm foundation to get teachers who are not effective removed.”
Centerville High School math teacher Brian Cayot, who also is president of the teachers’ union, said teachers want to make sure every student has a qualified, caring and committed teacher, and this system can help toward that end.
“All of us need to be held accountable: not just the teachers, but the parents, families, administrators, students,” he said. “Everybody has a stake in this.”
Key elements of Ohio teacher evaluation law
• Goes into effect in 2013-14 school year.
• Requires public schools to adopt a new teacher evaluation system, based 50 percent on teacher performance and 50 percent on teacher growth.
• Evaluates teachers annually, and includes two formal, 30-minute observation periods as well as periodic classroom walk-throughs.
• Allows teachers who are rated “accomplished” on their most recent evaluation to be evaluated every two years and districts to consider having top-rated teachers submit a portfolio in lieu of having a second classroom observation.
• Requires student growth to be measured by the value-added data, which applies to specific grades and subjects on the state report card; approved “vendor list,” or outside testing; and local measures, which would include testing before and after a student takes a specific class.
• Uses evaluations to determine whether to promote, retain or remove a teacher, and prohibits districts from considering seniority, except when deciding between teachers with comparable evaluations.
• Allocates financial resources to support professional development.
• Requires adoption by July 1, 2013 and implementation once current teacher contracts expire.
Friday, March 2, 2012
The Volunteer State
After I became successful at supporting myself by performing local venues, I felt that it was time to give back to the same community that enabled me to live quite comfortably by playing the music I love.
Every so often, I would inform my band-mates that this months rehearsal would be at a local nursing home cafeteria or children's hospital. After all, why let all that music go to waste rattling around my empty house when there are people desperate for an emotional lift.
Once in a while, I would come across a substitute musician that would inform me that they won't perform in public for less than a certain fee (around $100). I would thank them for their honesty, but promptly replace them. I can understand that they need to make a living, but one benefit public rehearsal wasn't going to bankrupt them.
It is important to recognize that talent shouldn't be squandered. I am grateful for the tools I was given and realize that those same tools go disappear just as easily.
So the next time your ensemble is planning a rehearsal, pick up the phone and find an appreciative audience for a truly heartwarming experience for all concerned.
good gigging!
Larry Marra
www.musicteachers911.com
Every so often, I would inform my band-mates that this months rehearsal would be at a local nursing home cafeteria or children's hospital. After all, why let all that music go to waste rattling around my empty house when there are people desperate for an emotional lift.
Once in a while, I would come across a substitute musician that would inform me that they won't perform in public for less than a certain fee (around $100). I would thank them for their honesty, but promptly replace them. I can understand that they need to make a living, but one benefit public rehearsal wasn't going to bankrupt them.
It is important to recognize that talent shouldn't be squandered. I am grateful for the tools I was given and realize that those same tools go disappear just as easily.
So the next time your ensemble is planning a rehearsal, pick up the phone and find an appreciative audience for a truly heartwarming experience for all concerned.
good gigging!
Larry Marra
www.musicteachers911.com
Thursday, February 16, 2012
A new perspective on ensembles
Directors,
Here's a fun activity that gives everyone in your performance ensembles a new perspective.
Whenever I use a university student teacher or observer, I have them conduct my various ensembles while I grab an instrument and "sit in" the last chair of a section. This gives me a "student view" of both the podium and the rest of the group. It also keeps my playing "chops" up on all the instruments as well as sharpens my sight reading skills.
The kids love it (especially if I occasionally make a glaring mistake) as it humanizes me in their eyes. Lastly, it gives the university student a valuable perspective on what it will be like when they have their own ensembles.
One humorous aside is that I find out just how difficult it is to focus on the director and not talk to my favorite students next to me when in rehearsal.
good gigging and successful teaching!
Larry Marra
www.musicteachers911.com
Here's a fun activity that gives everyone in your performance ensembles a new perspective.
Whenever I use a university student teacher or observer, I have them conduct my various ensembles while I grab an instrument and "sit in" the last chair of a section. This gives me a "student view" of both the podium and the rest of the group. It also keeps my playing "chops" up on all the instruments as well as sharpens my sight reading skills.
The kids love it (especially if I occasionally make a glaring mistake) as it humanizes me in their eyes. Lastly, it gives the university student a valuable perspective on what it will be like when they have their own ensembles.
One humorous aside is that I find out just how difficult it is to focus on the director and not talk to my favorite students next to me when in rehearsal.
good gigging and successful teaching!
Larry Marra
www.musicteachers911.com
Wednesday, February 1, 2012
What we would change about teaching music....
I asked a few music teaching friends to write down what the biggest challenges to their music teaching are.
Here is a smattering of the results.
feel free to add yours in the "Comments" section below.
Andrea Wilborn
Administrators who want a good and strong music education department, but have no clue how to achieve it.
Grade level teachers who want their class to perform something special for a program, but expect the music teacher to do all the work. (when you only see that class once a week for 45 minutes)
Parents who bring their child to school for an after school program, then leaves.
Parents who pick up their children late all the time. (30 minutes to 1 hour)
Hearing a child say, they can't practice at home because someone is looking at TV and they don't want to hear that noise.
Students who think that choir consist of singing nothing but songs they hear on the radio or their CD's.
Ernie
Being constantly referred to as an "extra curricular" subject when we know we are of extreme curricular importance to many if not most kids.
Administrators who equate the "size" of a school's band or orchestra or choir with how "good" the program is - as in: "we have a great band program, we have over a 100 kids in the marching band".
Getting music budgets cut, staffing cut, larger classes, less time for general music, etc. because we are "just" the music program, then being expected to provide the "entertainment" for sports, parent events, seasonal celebrations and concerts, etc. as if we were the most valued program at the school - i.e. when they need us to show off their good programs they hold us up but then cut our resources so we can no longer do the job well.
Cutting the "feeder" system for a band or orchestra or choir (e.g. eliminating elementary grade programs) then getting pressured because the high school program eventually suffers, and we music teachers get the blame.
Being relegated to holding general music classes on the stage behind a curtain while gym classes are making loud noises on the other side of the curtain (especially frequent in our older buildings).
Having really talented students be pulled from a solid music program experience because he/she is not talented in a "core" subject and has to take extra courses in order to pass those tests - i.e. take something away that a kid does really well and loves because he/she doesn't do well in another area - like a punishment.
Marina Salsbury
Students who don't practice their music
Students who miss lessons and don't inform teachers until the last minute
When students run out of necessary materials such as reeds, cleaning supplies, drumsticks, etc.
Not having adequate funding for legitimate resources such as working music stands, batons, etc.
Not having an outlet for exemplary students to showcase their talent (local honors bands, other teachers willing to teach private lessons)
Having to photocopy sheet music instead of buying them
Having ambitious students missing class because of class time constraints/sports events/etc.
Students who don't know how to get in tune with others/tune their own instruments
Overbearing parents who have to control their children's musical development
Close-minded students who are only interested in playing one form of music (pop, jazz, etc.)
Michelle
1. Students asking if it's OK if they don't play in class that day so that they can do homework for another class. Really?!? Do they play their violins in English or algebra? No way!
2. Students not putting instruments and music away proplery and then wondering why they can't find stuff the following day. Makes you wonder what their bedrooms at home look like.
3. The influx of students who aren't passing standardized tests for whatever reason: this is becoming hard to maintain music programs, especially in urban districts where students often have to take remedial or "prep" classes just to pass those tests. Several of my band and orchestra students were removed from my class just so that they can be placed in an OGT prep class for an entire year, even though the test is only in March and those students cannot come back to band or orchestra after the testing week is finished.
Mark Nekoba
1. We live in a world of great technology, yet it is not available to everyone due to budget constraints. It would be nice to be in class and be able to use a lot of the new computer programs.
2. Schools facing more and more pressure to improve their test scores at the expense of electives such as music.
3. Music students are often portrayed in movies as being the nerdy kids.
4. Instructional time is needed for core subjects.
Elaina Blevins
Fund Raising
Missing uniform parts just before a performance.
Papperwork, Paperwork, did I mention paperwork!
Barbara James
Being told that you need to provide music for an event with little or no notice.
You want me to do what? Tomorrow?
Yeah, just throw something together.
Wayne Markworth
1. Parents who have "perfect children"
2. Administrators who know "all about" music
3. 7th graders
Cissy Matthews
Students losing their music.
Parents and students forgetting the dates of the concert.
Principals and teachers thinking that music has no academic worth- it's
fun time!
Funds are not set aside in the school's budget for music.
Tom Billing
1. other teachers (from other areas) and/or principals thinking that music is of third tier importance, always using band time for other things like tutoring or whatever
2. being assigned to teach a totally different band in subsequent years-making continuity a non entity
3. kids not showing up for concerts
4. kids not having materials for classes, like instruments and/or music
5. the public thinking that the arts classes are blow-off courses
6. being the first cut in budget situations
feel free to add your in the "Comments" section below.
good gigging!
Larry Marra
www.musicteachers911.com
Here is a smattering of the results.
feel free to add yours in the "Comments" section below.
Andrea Wilborn
Administrators who want a good and strong music education department, but have no clue how to achieve it.
Grade level teachers who want their class to perform something special for a program, but expect the music teacher to do all the work. (when you only see that class once a week for 45 minutes)
Parents who bring their child to school for an after school program, then leaves.
Parents who pick up their children late all the time. (30 minutes to 1 hour)
Hearing a child say, they can't practice at home because someone is looking at TV and they don't want to hear that noise.
Students who think that choir consist of singing nothing but songs they hear on the radio or their CD's.
Ernie
Being constantly referred to as an "extra curricular" subject when we know we are of extreme curricular importance to many if not most kids.
Administrators who equate the "size" of a school's band or orchestra or choir with how "good" the program is - as in: "we have a great band program, we have over a 100 kids in the marching band".
Getting music budgets cut, staffing cut, larger classes, less time for general music, etc. because we are "just" the music program, then being expected to provide the "entertainment" for sports, parent events, seasonal celebrations and concerts, etc. as if we were the most valued program at the school - i.e. when they need us to show off their good programs they hold us up but then cut our resources so we can no longer do the job well.
Cutting the "feeder" system for a band or orchestra or choir (e.g. eliminating elementary grade programs) then getting pressured because the high school program eventually suffers, and we music teachers get the blame.
Being relegated to holding general music classes on the stage behind a curtain while gym classes are making loud noises on the other side of the curtain (especially frequent in our older buildings).
Having really talented students be pulled from a solid music program experience because he/she is not talented in a "core" subject and has to take extra courses in order to pass those tests - i.e. take something away that a kid does really well and loves because he/she doesn't do well in another area - like a punishment.
Marina Salsbury
Students who don't practice their music
Students who miss lessons and don't inform teachers until the last minute
When students run out of necessary materials such as reeds, cleaning supplies, drumsticks, etc.
Not having adequate funding for legitimate resources such as working music stands, batons, etc.
Not having an outlet for exemplary students to showcase their talent (local honors bands, other teachers willing to teach private lessons)
Having to photocopy sheet music instead of buying them
Having ambitious students missing class because of class time constraints/sports events/etc.
Students who don't know how to get in tune with others/tune their own instruments
Overbearing parents who have to control their children's musical development
Close-minded students who are only interested in playing one form of music (pop, jazz, etc.)
Michelle
1. Students asking if it's OK if they don't play in class that day so that they can do homework for another class. Really?!? Do they play their violins in English or algebra? No way!
2. Students not putting instruments and music away proplery and then wondering why they can't find stuff the following day. Makes you wonder what their bedrooms at home look like.
3. The influx of students who aren't passing standardized tests for whatever reason: this is becoming hard to maintain music programs, especially in urban districts where students often have to take remedial or "prep" classes just to pass those tests. Several of my band and orchestra students were removed from my class just so that they can be placed in an OGT prep class for an entire year, even though the test is only in March and those students cannot come back to band or orchestra after the testing week is finished.
Mark Nekoba
1. We live in a world of great technology, yet it is not available to everyone due to budget constraints. It would be nice to be in class and be able to use a lot of the new computer programs.
2. Schools facing more and more pressure to improve their test scores at the expense of electives such as music.
3. Music students are often portrayed in movies as being the nerdy kids.
4. Instructional time is needed for core subjects.
Elaina Blevins
Fund Raising
Missing uniform parts just before a performance.
Papperwork, Paperwork, did I mention paperwork!
Barbara James
Being told that you need to provide music for an event with little or no notice.
You want me to do what? Tomorrow?
Yeah, just throw something together.
Wayne Markworth
1. Parents who have "perfect children"
2. Administrators who know "all about" music
3. 7th graders
Cissy Matthews
Students losing their music.
Parents and students forgetting the dates of the concert.
Principals and teachers thinking that music has no academic worth- it's
fun time!
Funds are not set aside in the school's budget for music.
Tom Billing
1. other teachers (from other areas) and/or principals thinking that music is of third tier importance, always using band time for other things like tutoring or whatever
2. being assigned to teach a totally different band in subsequent years-making continuity a non entity
3. kids not showing up for concerts
4. kids not having materials for classes, like instruments and/or music
5. the public thinking that the arts classes are blow-off courses
6. being the first cut in budget situations
feel free to add your in the "Comments" section below.
good gigging!
Larry Marra
www.musicteachers911.com
Tuesday, January 24, 2012
Music Teachers National Association Foundation Fund
I would like to invite all music teachers to explore the fantastic opportunities through a great organization called the Music Teachers National Association Foundation Fund.
The MTNA FOUNDATION FUND is a support program that enables music teachers to pursue continuing education opportunities, provides awards for student competitions and assists organizations in funding educational and community outreach programs.
for more information, here is their contact information.
441 Vine St., Ste. 3100, Cincinnati, OH 45202
Phone
(888) 512-5278
Website
http://www.mtnafoundation.org
You can also become a facebook fan at:
https://www.facebook.com/pages/Music-Teachers-National-Association-Foundation-Fund/83300906832
good gigging!
Larry Marra
musicteachers911.com
The MTNA FOUNDATION FUND is a support program that enables music teachers to pursue continuing education opportunities, provides awards for student competitions and assists organizations in funding educational and community outreach programs.
for more information, here is their contact information.
441 Vine St., Ste. 3100, Cincinnati, OH 45202
Phone
(888) 512-5278
Website
http://www.mtnafoundation.org
You can also become a facebook fan at:
https://www.facebook.com/pages/Music-Teachers-National-Association-Foundation-Fund/83300906832
good gigging!
Larry Marra
musicteachers911.com
Thursday, December 22, 2011
Crowdsourcing for Aspiring Musicians
By Musicteachers911 contributing writer, Marina Salsbury
A relatively new phenomenon among musicians that was born on the capabilities of high speed Internet connections is crowdsourcing. A PhD program level definition by Merriam-Webster describes the concept as, “the practice of obtaining needed services, ideas, or content by soliciting contributions from a large group of people and especially from the online community rather than from traditional employees or suppliers.” In other words, crowdsourcing uses the internet to scale projects at a level and efficiency never known before. The respected dictionary site also states that the first known use of the word was in 2006.
With traditional avenues of distribution steadily losing market share, an individual or band needs to expand their outreach to fans through innovative ways. In today’s tech-savvy landscape, fans have come to expect a more personal way of connecting to their favorite artists. Crowdsourcing offers a way to not only do so but also a way in which to tap into the creativity of their listeners.
The popularity of mash-ups is an example of how the idea can be effectively implemented. Bands such as Nine Inch Nails have reached out to their fans seeking these clever re-mixes. Posting stems of a song on the Internet, the band allowed listeners to download and mix to their hearts content. Some of the results were compelling, but by doing this they achieved an even more important goal. They have increased fan loyalty which translates into more sales.
A related track is posting free music. British progressive rock band Marillion garnered increased sales after posting a recent album in its entirety. Those downloading were required to watch a short video from the band plainly explaining what they were trying to accomplish. Other artists have reported exponential increases in sales after posting free music.
YouTube is another essential channel for today’s musician. Even simple videos engender a greater connection with fans when posted. There is also the distant promise of one’s video going viral. Don’t scoff; stranger things have happened.
A different type of outlet being utilized today is Kickstarter. Their website offers applicants a way to finance projects by seeking donations from interested parties. An artist submits a project through their website. They offer certain incentives such as their new album for a twenty-five dollar donation. Kickstarter then either approves the project or asks you to tweak it some more. Once online, you have a deadline (set by you) to raise the amount of funds you are seeking. By harnessing the collective ability of the internet to finance large-scale projects, Kickstarter has helped many aspiring musicians self-produce and distribute their music.
Crowdsourcing is just the tip of the iceberg in outreach to fans. Other Internet avenues such as Facebook and ReverbNation are also excellent avenues to pursue. If an artist or band uses all of these to make the fans their most important resource, they will find their popularity on the increase.
Monday, December 12, 2011
Plan B?
Last night, I was to play piano with an 18 piece swing band for a local Christian radio shows remote broadcast at a local attraction, The Christmas farm. Every year this farm displays over one million lights depicting the life of Christ. The venue is truly spectacular.
The show was started at 4 pm. We were recording two broadcasts, one at 5 and one at 7 (with a short rehearsal for bumper music in between).
The first show started off great. Then, the clock struck 5:30, the time when the light displays are to be illuminated. That is when everything got very dark!
Needless to say, one million Christmas lights, a 32 channel PA, and 1000 watt radio transmitter tend to draw more than it's share of electrical power. I think I actually heard the transformer "POP" over the sound of all our horns.
So there we were, the live audience, a swing band, the radio show hosts all sitting in total darkness.
Then, a small Christmas moment occurred.
From the crowd, a tiny flame from a cigarette lighter startd to flicker. It was immediately followed by another lighting one of the hundreds of Christmas candles that were for sale in the Christmas store.
From the dim glow, I saw a very old church piano near the stage. I grabbed the music and winked at the band leader. He knew in an instant what I was scheming.
"The show must go on!" he said.
One by one, audience members entered the stage bearing candles. The church piano was so old that it had candle holders mounted on either side of the music tray. I couldn't help but wonder how many carols were played by candle light by church musicians before electricity became the norm.
Since the show was no longer broadcasting, the pressure was off as we were pretty much free to do whatever we felt like.
I started playing "Silent Night" as one by one, the horns entered improvising luscious harmonies. The crowd sang rather well and the moment was truly inspiring.
After about 20 minutes of traditional carols shared by audience and band alike, the power was restored. Personally, I was a little disappointed as this signaled we had to re-enter the 21st century and get back to work.
The shows continued, uninterrupted.
Afterwords, everyone was musing about how the carol sing was the best part of the evening.
My mind hearkened back to a time long ago in Bethlehem where the first Christmas miracle lay in a lowly manger lit by candles an ancient torches.
After forty plus years of performing, one thing I have learned is that there is always a "Plan B".
Luckily, last nights Plan B was the best part of all!
good gigging!
Larry Marra
www.musicteachers911.com
The show was started at 4 pm. We were recording two broadcasts, one at 5 and one at 7 (with a short rehearsal for bumper music in between).
The first show started off great. Then, the clock struck 5:30, the time when the light displays are to be illuminated. That is when everything got very dark!
Needless to say, one million Christmas lights, a 32 channel PA, and 1000 watt radio transmitter tend to draw more than it's share of electrical power. I think I actually heard the transformer "POP" over the sound of all our horns.
So there we were, the live audience, a swing band, the radio show hosts all sitting in total darkness.
Then, a small Christmas moment occurred.
From the crowd, a tiny flame from a cigarette lighter startd to flicker. It was immediately followed by another lighting one of the hundreds of Christmas candles that were for sale in the Christmas store.
From the dim glow, I saw a very old church piano near the stage. I grabbed the music and winked at the band leader. He knew in an instant what I was scheming.
"The show must go on!" he said.
One by one, audience members entered the stage bearing candles. The church piano was so old that it had candle holders mounted on either side of the music tray. I couldn't help but wonder how many carols were played by candle light by church musicians before electricity became the norm.
Since the show was no longer broadcasting, the pressure was off as we were pretty much free to do whatever we felt like.
I started playing "Silent Night" as one by one, the horns entered improvising luscious harmonies. The crowd sang rather well and the moment was truly inspiring.
After about 20 minutes of traditional carols shared by audience and band alike, the power was restored. Personally, I was a little disappointed as this signaled we had to re-enter the 21st century and get back to work.
The shows continued, uninterrupted.
Afterwords, everyone was musing about how the carol sing was the best part of the evening.
My mind hearkened back to a time long ago in Bethlehem where the first Christmas miracle lay in a lowly manger lit by candles an ancient torches.
After forty plus years of performing, one thing I have learned is that there is always a "Plan B".
Luckily, last nights Plan B was the best part of all!
good gigging!
Larry Marra
www.musicteachers911.com
Monday, November 28, 2011
Be Happy, make money
Be Happy, make money
It's no secret that December is the biggest money making month for professional musicians (with June weddings as a close second).
With this years holiday events abounding, I am totally booked up with great paying gigs, while many of my more talented musicians friends aren't nearly as busy.
Wonder why?
There is much more to being a professional musician than musicallity (although that is a big part).
Your overall persona is a HUGE factor when an event committee is choosing just the right form of entertainment.
1. If it's a Holiday gig, I wear FESTIVE clothing. Sometimes, it's a Santa Hat, of maybe a cheery bright red Christmas tie.
2. I arrive early at each venue THRILLED to be there! I show that I am honored to have been selected to be a part of their very special occasion. To me, every performance is a special occasion.
3. During the breaks, I mingle with the crowd and am genuinely interested in how they will be spending the holidays I really listen to them and play all requests ( even if I've already played the same songs before).
4. I am especially attentive to any kids in attendance (being an elementary teacher gives me an advantage as I can dial in on the special interests of each age group).
You would be surprised at how many children of event planners beg their folks to have me back at annual events.
5. Nobody wants a sour puss at the party!
You have an opportunity to be much more than a musician. You can be the "pied piper" leading the crowd to an evening of exciting and cherished memories.
6. Accept payment with a grateful heart and let the host know that it was the best event that you have played all year. Compliment the decor and the quality of attendees.
7. Trade their check for a bunch of your business cards. Many future gigs depend on having your contact info handy when their guests ask them about hiring you for their future events like those upcoming June wedding.
good gigging!
Larry Marra
www.musicteachers911.com
It's no secret that December is the biggest money making month for professional musicians (with June weddings as a close second).
With this years holiday events abounding, I am totally booked up with great paying gigs, while many of my more talented musicians friends aren't nearly as busy.
Wonder why?
There is much more to being a professional musician than musicallity (although that is a big part).
Your overall persona is a HUGE factor when an event committee is choosing just the right form of entertainment.
1. If it's a Holiday gig, I wear FESTIVE clothing. Sometimes, it's a Santa Hat, of maybe a cheery bright red Christmas tie.
2. I arrive early at each venue THRILLED to be there! I show that I am honored to have been selected to be a part of their very special occasion. To me, every performance is a special occasion.
3. During the breaks, I mingle with the crowd and am genuinely interested in how they will be spending the holidays I really listen to them and play all requests ( even if I've already played the same songs before).
4. I am especially attentive to any kids in attendance (being an elementary teacher gives me an advantage as I can dial in on the special interests of each age group).
You would be surprised at how many children of event planners beg their folks to have me back at annual events.
5. Nobody wants a sour puss at the party!
You have an opportunity to be much more than a musician. You can be the "pied piper" leading the crowd to an evening of exciting and cherished memories.
6. Accept payment with a grateful heart and let the host know that it was the best event that you have played all year. Compliment the decor and the quality of attendees.
7. Trade their check for a bunch of your business cards. Many future gigs depend on having your contact info handy when their guests ask them about hiring you for their future events like those upcoming June wedding.
good gigging!
Larry Marra
www.musicteachers911.com
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