Jiggs Whigham P-Bone, Month One

About a month ago, purely for kicks, I purchased a brand new Jiggs P-Bone. I’m curious to see how it will stand up to the rigors of a middle school music classroom, so I’ll be keeping track of the journey here and sharing feedback.

First impressions

The instrument doesn’t feel as sturdy as I’d like, at least not right out of the case. It seems like a good breeze would reduce it to a pile of smoldering ashes. A lot of this worry comes from the fact that the bell section doesn’t attach to the slide as securely as it does on my Bach 42T. Maybe I’m just being nitpicky.

After playing a few notes, it feels just like a “real” trombone. It plays relatively freely in all registers (except the low register, but we’ll get there in a minute), and it’s easy to keep an even sound through all registers.

I’ve got two complaints though. First, the low register does not speak well, even compared to a typical small-bore trombone. It’s even worse if you use the plastic mouthpiece that comes with the P-Bone (I just gave mine to a student.) As long as you stay above D in the staff, you’re fine. Start getting below that and your tone could suffer.

Lastly, the slide is nowhere near as smooth as I expected. The demo horn I played at a music conference had a good, but not great, slide. According to the flyer tucked into the case that came with the P-Bone, the slide will break in over time. It’s just a little frustrating waiting for that to happen.a

In the next installment, I hope to be able to speak a little bit about the durability of the P-Bone.

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#musedchat Mock Interview Questions

Interview Practice Questions

1.Tell me a little bit about yourself.

2.What is the role of the teacher in the classroom?

3.Tell me about your student teaching.

4.What was your favorite course in college?

5.What techniques do you use to motivate students?

6.How do you know what you are teaching is really being learned?

7.Where do you want to be 5 years from now?  10 years from now?

8.State a behavioral objective you taught in your last class.

9.What is the most exciting thing happening in music education today?

10.What have you found to be the toughest aspect of discipline?

11.Describe an ideal music curriculum.

12.How do you introduce career education in music?

13.How do you individualize learning in your classes?

14.What are the current curriculum trends in music?

15.What is the ratio of time spent talking to students about music versus time spent making music?

16.Describe independent study projects your students have completed.

17.What’s your favorite musical concept to teach?

18.What rules do you establish in your classroom?

19.What is the most important: content, outcome or process?

20.How do you handle the different ablilty levels in your classes?

21.What made you decide to become a teacher?

22.What are your plans concerning professional development?

23.What is the toughest aspect of teaching today?

24.Describe your most positive teaching experience.  Your most negative.

25.How should music teachers contribute to the development of the total school program?

26.What extracurriculars could you assist with if you are hired for this position?

27.Could a student of low academic ability receive a high grade in your class?

28.What kinds of music would you program on concerts?

29.How do you intend to grade music students?

30.What is your philosophy of music education? What is your philosophy of education in general?

31.Why is music an important in the curriculum?

32.How do you feel about tracking students versus mainstreaming them?

33.What are your weaknesses?  What are your strengths?

34.How do you encourage students who are musically gifted?

35.How would you mainstream special education students in your ensembles?

36.Define a superior music teacher.

37.What are your hobbies and recreational interests?

38.How much practice time do you expect from students?

39.What should schools do for students?

40.What makes your class different from other subjects?

41.How would your peers describe you?

42.How do you develop aesthetic responses in students?

43.Which five words would you use to describe yourself?

44.How would you deal with a student who has a habitual behavior problem?

45.What would you do if a student missed a performance?

46.How do you feel about using detention for managing student behavior?

47.Which units would you include in sixth grade general music?

48.How will you manage and protect the school’s equipment?

49.What are important components of a band method book?  What are the important components of a general music book?

50.What kind of field trips would you be interested in organizing?

51.A student tells you he or she has experimented with drugs.  What would you do?

52.Are you well organized?

53.How do you feel about corporal punishment?

54.How many performances do you expect from your students each year?

55.What do students gain from studying music?

56.How many years should a student participate in ensembles?

57.Will you be using any religious music?

58.What would you like to change about music teaching in the U.S.?

59.What do you like most about being a music teacher?

60.How important is it that students like you?

61.How do you cope with stress?

62.How do you involve parents in the music program?

63.Describe your last teaching day.

64.Name the titles of the last three books you read.

65.Who is your favorite composer for band? Orchestra? Choir?

66.How do you feel about music competitions and festivals?  Show choirs? Strolling strings?

67.How many days of school did you miss last year?

68.Why should we hire you?

69.What questions have I not asked that you were hoping I would?

70.What are three words that describe your teaching style?

71.Who is responsible for discipline in schools?

72.What would you do if a student could not afford to buy a uniform?  An instrument?

73.What is your philosophy concerning fundraising?

74.How will you conrol behavior in large ensembles?

75.Would you ever punish an entire class?  When?

76.How would you respond to a parent complaint about your attendance policy?

77.If you could change one aspect of your personality to help you get along better with people, what would you change?

78.Describe the perfect music student.

79.Why do you want to teach this age level?

80.How will you decide who plays which instruments?

81.How will you make sure that students are challenged in your music class?

82.What would you do if you caught a student cheating?

83.How much input should students contribute to a music program?

84.How can you tell if you’ve had a good rehearsal or class?

85.When you listen to a student who stutters, how do you feel?

86.Should students be allowed to evaluate their teachers?

87.When did you first decide to become a music teacher?

88.How much should a teacher know about the personal lives of his or her students?

89.Do you think that students are capable of self discipline?

90.What do you do when you’re bored?

91.How much travel would you be doing with your groups?

92.Do you think its possible for a teacher to get too close to his or her students?

93.Describe a “failing” student in your class.

94.What do you consider justifiable reasons for being late to work?

95.How much time outside the school day should a music teacher be willing to work?

96.If you weren’t able teach music, what would you do for a living?

97.If you had a forty minute class period, how would you divide that time in a rehearsal setting?

98.Can you play all the instruments in the band?  The orchstra?  How well?

99.How will you incorporate technology into your classroom?

100. How would you handle racial tension in your classroom?

101. Why do you want to work for us?

102. What strategies would you use to help a student with a bad attitude toward music class?

103. What do you consider an adequate budget for your program?

104. What would a student have to do to get “kicked out” of your class or ensemble?

105. How do you feel about students who want to be involved in both music and sports? How would handle scheduling conflicts?

106. Why did you choose to attend your college or university?

107. How often will your marching band rehearse?

108. Can you coach any sports?

109. How do you usually cope with stress and burnout?

110. If you could write a book, what would the title of the book be?  Describe the content.

Questions to ask

1.How often would my classes meet?  For how many minutes?

2.Who are the other music teachers?  What are their responsibilites?

3.Is music required or an elective?

4.How much say will I have in scheduling my classes?

5.Is there an addendum contract for extra duties?

6.How transient is the student population?

7.When would I get to start?

8.What would my budget be?

9.How many students are participating in ensembles now?

10.Are there any special commitments that would be expected of me or my ensembles? Assemblies? Traditions?

11.How successful has the program been recently?

12.What are the facilities like?  Can I see them?

13.What is the district policy on professional leave for conferences, etc.?

14.Could I have a copy of the salary schedule?

15.Does the district reimburse travel expenses if I have to work at more than one bulding?

16.What other duties are expected?  (Lunch monitor, etc.)

17.When will you be making your decision?

18.Is there a music parent organization in place?

19.Have your music students traveled in the past?  How often?

20.How important is muisc competition in this district?  Would this be required?

21.What types of music technology are available?  Will music students have acces to a technology lab?

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The Trombonist’s Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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#Musedchat Music Resource Smackdown

Mobile Apps

  • Thumbjam
  • Cleartune
  • APS MusicMaster Pro
  • Bebot
  • iKaossilator
  • GarageBand
  • MadPad
  • Notion
  • Beatwave
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Becoming Creators, Not Just Consumers

Nothing makes a student’s eyes light up quite like the chance to independently create. For our students to realize their maximum potential, not just in music but in any subject, we must allow space for creation in our classrooms. Creativity is activity, while merely consuming content is largely passive. Creating content allows students to synthesize the skills learned in a classroom. Creation is relevant. Creation is problem-solving. Creation fosters all the traits that we supposedly desire in a student, yet we may be reluctant to allow those traits to develop.

To have a successful classroom that allows for content creation, a few things must be in place. First, the teacher must be willing to cede a great deal of control. In my classroom, students are encouraged to compose their own original music. Often this involves me saying something along the lines of, “Here is the task, you are free to accomplish this in any way you see fit.” From that point forward, the creative process is largely under the command of the student. If I, as the teacher, am overseeing every step of the process, is it their piece or mine? Relinquishing that control may be a difficult adjustment to make, but without it the students can not truly feel ownership.

Relinquishing control does not mean abandoning students. Far from it. Students will want guidance and feedback during the creative process. Students also benefit when a teacher shares new creative tools. My young composers really took off when I showed them how to use Noteflight and Musescore. They were still in control of their creations, I was merely showing them more options to accomplish their task.

Your classroom also has to be a safe environment. Students not only need to be allowed to make mistakes, it needs to be encouraged. Some of the most musically rewarding moments for our student composers have grown out of mistakes. One student has been composing a saxophone quartet, and struggling to find an ending.

“Mr. Guarr, this doesn’t sound very good.”

“Well, why not?”

“It doesn’t sound complete.” (He wasn’t ending on tonic.)

“What other notes have you tried?”

“Well, none.”

“Go try every note you can think of. Some might sound really bad, but some might sound really good, too. If you do that and still can’t find an ending you like, I’ve got some ideas for you.”

Five minutes later, the student had wrapped up his quartet with a perfect authentic cadence. Not through the study of music theory, but through rigorous trial and error. The student was told to go make mistakes, and the mistakes led to a great musical decision.

Lastly, we need to ensure that the student creations do not live in isolation. Record their creations, post them online, perform them in public. What good is the student’s effort and investment if they never get to share their product? We can distribute student work for FREE with a site like Soundcloud, so take advantage.

Allow your students space to create, and they will become more engaged and involved in your class. They will grow as students, and have a truly memorable experience.

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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The Evolution of a Profession

Tonight’s edition of #musedchat had me in the mood for reflection. I graduated from high school in 2004. I finished my bachelor’s degree in 2009, and I’ve been teaching full-time for nearly two years. In that time, the field of music education has been rapidly evolving. We are capable of doing things now that were unthinkable when I decided to enter the field of music education.

This evolution was possible thanks to advances in music technology, as well as several very creative individuals constantly pushing themselves to find new uses for that technology. Music technology is serving to revitalize our profession and keep it relevant in the modern world.

Think back to just five years ago. There was no GarageBand, no iOS. Audacity was still in its infancy. We could record our students, but not with the ease of GarageBand, Audacity, or the multitude of multitrack recorder iOS apps. Once the recording was done, we couldn’t upload it to Soundcloud or a similar service.

There were a few pieces of music notation software available, but I don’t recall them being as refined as they are today. I used Finale and Noteworthy composer a little bit at the end of my high school career, but most of my composing was done with pencil and paper. Today, I can fire up my interactive whiteboard and have my students collaborate on a composition with MuseScore or Noteflight. That was our favorite project last year, and I plan on repeating it.

The key thing that music technology has done though, is make existing activities easier. With a few clicks, I can connect to another teacher or a clinician via Skype. I can post an audio recording of my groups online for them to check out and evaluate. I can put a group project on our IWB which the students can see grow and evolve. This ease of use is key as we look to draw more adapters to the available technology, and we look to evolve what we currently have.

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Three Days of MMC in the Form of a Tweet

The past few days were spent in Grand Rapids attending the 2012 Michigan Music Conference. It’s always a great way to learn something new, recharge my batteries, and make new connections. What follows are some of the highlights from three days worth of sessions, summarized as tweets (140 characters or less, or your money back.) Bonus points if you caught the Erik Satie reference.

  • Escravos de Jo
  • Engage somebody rather that lecture at them.
  • Encourage play. It’s how kids naturally learn.
  • Using technology you can accelerate artistry and advance music making.
  • The joy of learning overrides all fear. Be child-like.
  • Wouldn’t it be cool if every kid didn’t have “general music”, but just “music”?
  • Feel free to say what you want, but feel free to deal with the consequences as well.
  • Take great care to stay professional on public social media. Know your district policies!
  • Facebookforeducators.org – Educator’s learning guide for do’s and don’t’s on facebook.
  • (Electronic ensembles) offer chance to create your own tradition/standards/literature. Lots of freedom.
  • Musicality is controlled by the musician, not the instrument.
  • Give students a goal and tell them how to get there, don’t just mindlessly dictate.
  • Know your teaching philosophy. It will guide everything you do.
  • Delegate, communicate, network, plan, retain, go the extra mile, stay healthy (7 steps to success)
  • We MUST open the doors for students, people, others. NOT close them. (via @nicholas_hardy)
  • We need to find music that connects to the real musical world.
  • Getting your students to compose/arrange gets them making independent musical decisions.
  • Is it a tool for teaching and learning? If yes, you need it. If not, you don’t.
  • Mozart used all the latest technology to create his music. Are you teaching the next Mozart? Do you provide the tools? (via @johnchurchville)
  • The best musicians need to be teaching the youngest students. (@johnchurchville)
  • You’re either part of the steamroller or you’re part of the road.
  • Electronic ensembles/tech classes are a great way to involve the ‘other 80 percent’.
  • An electronic ensemble can foster student creativity like no other.
  • The Pangea Choir Project
  • Use social media in your classroom because that’s what the kids are doing. Engage them directly.
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YouTube Roundup—January 4th

Bobby McFerrin demonstrates the power of the pentatonic scale.

From TEDxSydney, Richard Gill on the value of music education.

JJ Johnson performs Blue Bossa. Love that bass groove.

Lady Gaga Fugue

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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Musical Resolutions for 2012

Last year, my roommate made the insane admirable pledge to not drink for all of 2011. This is a guy who I’ve shared many a beer with, over birthdays and Michigan State games. Somebody who was always up for a casual Friday night game of “Let’s pick up a couple of fancy-sounding brews and clink glasses.”

He stuck to his resolution for 365 days of torture and temptation. It’s something that I admire, because it would have been very easy for him to plop down on the couch after a long day at work and cave in for 15 minutes of sweet, hoppy refreshment. He kept his resolve for an entire year, and is a better person for it. While I won’t be replicating his resolution exactly, I would like to draw upon that dedication in the coming year.

  • Love the sinner, hate the sin. I teach middle schoolers. Middle schoolers can often…do things that you and I would not consider smart. I was speaking with my assistant principal during my first month on the job last year, and he casually mentioned having to suspend a couple of kids for peeing on each other in the bathroom. Yeah. In the coming year, I’d like to show more patience toward my students, even when their decisions don’t make a ton of sense.
  • Get back to school. This is my third year out of college already. I haven’t exactly been eager to start shoveling money into another college, but it’s high time to start putting some serious thought toward a Master’s program. The VanderCook MECA program looks like a promising way to ease back into the student role after a few years. Plus I could lazily bum around during the week, between sessions. That’s definitely attractive.
  • Play more trombone. In college, I was a passable-to-decent trombonist. I was never going to be at the top of the studio, but I could tell the difference between alto and tenor clef, and play in tune about 60 percent of the time. I don’t have the time to dedicate four hours a day to practicing, but I’d at least like to get back some of my past trombonability.
  • Play more…everything else. When I pick up a clarinet, babies cry. Benny Goodman rolls over in his grave. If there’s a French horn in my hand, even the profoundly tone deaf are diving for cover. It’s time to work on my secondary instrument “abilities”.
  • Incorporate something new. I’m still a quite green teacher, lots to learn. Every time I go to a conference, I come back energized and excited to work some of the new concepts into my teaching. In the fall, I attended a jazz workshop and learned a great deal about listening activities. My jazz band has been keeping listening journals (and enjoying it!) ever since. The Michigan Music Conference is just around the corner, and I’m excited to bring some new knowledge back to my classroom.

What are your plans for 2012?

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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The Best Tweets of 2011

I’m constantly impressed by the folks I follow on Twitter. It’s a wide variety of people, from college music students to web developers. Following such a great variety of people has meant that I’ve been able to discover boatloads of new resources. The “favorite tweet” feature has been getting a hefty workout this year. Here’s a list of some of my favorites from 2011.

That’s only a very small sampling of the learning experiences provided by my PLN over the past 12 months. I look forward to adding to this substantial list of resources over the next 12 months.

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Same old Christmas music…not exactly

This Christmas season, take the time to learn a few new pieces of Christmas music. To get you started, here are a few of my favorites.

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