Being a part of a student’s first year of music instruction is equal parts awesome responsibility and constant inspiration. Based on our combined experience, here are our top tips for making the year as rewarding as possible – for your students as well as yourself!
1. Expectations
The beginning determines the end and what you expect is what you will get from your students. Young students are capable of a very high level of performance and professionalism if they are taught explicitly how to demonstrate these characteristics. A high level of expectations must be consistently tied to the development of a process, grit and work ethic. Not only must every student (and teacher) believe they can achieve a high level of success but they must understand and believe that they can also work hard enough to make it happen when something is new or tricky.
2. Routines
Explain and show students how you expect every classroom routine to be executed. Model the correct way to perform even the most mundane tasks; opening cases, how to hold the instrument when carrying it, resting position for instruments while playing, etc. Have students demonstrate the correct way to perform routines until they are performed without reminders. When they slip or forget, go back to square one.
Consistently holding students to the daily routines and the behavior expectations you establish can be exhausting and sometimes frustrating but it is critical in training students in the correct way to be a musician and part of your ensemble.
3. Playing Position, Hand Positions and Embouchure
Correct posture, body position, hand position and embouchure are non-negotiable. There is one way to do things: the right way. Clearly teachers have differences in tips and tricks they use for these concepts but a student will not exceed the standard that a teacher sets. Model these concepts with your own set of instruments. Even if you are not strong on every secondary instrument a beginning band teacher should be capable of modeling the correct position, embouchure and tone on each instrument. If you cannot, then it is time to get busy and improve.
Modeling and playing along with students every day provides them with an exemplary model and builds their concept of skill and tone. When students become fatigued or resistant, explain the analogy of a sports trainer or coach. A trainer will push an athlete to do more work and reps than they would do alone. A coach will repeat a drill or skill until it is part of muscle memory and a skill set. You are their coach and trainer. Most young students have been on an athletic team and will understand this immediately.
4. Music Reading
After spending a considerable amount of time doing call-and-response exercises to establish tone production, articulation, rhythm and pulse, introduce music reading. We give students approximately 15 hours of instruction before we begin reading music.
Once it is time to start reading use a large screen or whiteboard to project music. When students begin to read music the majority of confusion comes from not knowing how to track across the music at the correct rate. Showing the students music symbols in one place on the board and making sure that each child is looking at the correct place in the music makes the process move quickly.
After spending several hours of instruction using a screen for their music we begin to use music books on their stands and we refer back and forth between the two sources. If students are having difficulty with the material we will direct them to look at the screen to review the note types, names, fingerings, etc. and will play several times before they return to looking at their books or music.
We also rehearse each piece or exercise in very small chunks, often measure by measure. If a measure does not sound good, DO NOT MOVE ON, repeat until students reach your set level of mastery. This will make putting together the entire piece/exercise much easier.
5. Quality Literature
​Keep things simple. Literature selections should provide a beautiful melody or tune, give every instrument fairly equal playing opportunities, and enable you to teach the characteristics of musicianship and ensemble. Set aside the “cool” pieces until students are technically and developmentally ready. The stress of chasing notes and rhythms sucks the fun and excitement out of performances for kids and teachers. The Queenwood “Red Book” series is one example that meets all of these requirements, is well crafted, and provides ample selections in a variety of genres and styles. Develop a set of core repertoire that you can rotate and know will work well with your first year students.

Every new piece of music is annotated by students before we begin working. Students have a study sheet for each piece of music. One side is this checklist. The other side has space for vocabulary, symbols and class notes.
Try it with your group for one piece and see if the reading and rehearsal is improved!

1. First and Last Name printed at top of each page  
2. Number each measure (small and neat)
3. Key Signature
   1. Circle and identify notes in the key
   2. Mark all notes affected by the key as they occur in the music
      1. Flats, Sharps & Naturals are placed before the note head.
      2. Mark fingerings of these notes as needed
      3. Highlight frequently missed notes
   3. Repeat this process when the key signature changes in the selection.
4. Time Signature
   1. Draw a square around the top number of the key signature.
   2. Repeat this process when the time signature changes in the selection.
5. Accidentals
   1. Locate accidentals and mark the note if it returns in the same measure
   2. Mark fingerings of these notes as needed
   3. Highlight frequently missed notes
6. Rhythms
   1. Circle any rhythms which are new or unfamiliar to you
   2. Write as many counts in on that measure as you are able to
7. Signs & Symbols
   1. Write the English translation of all tempi and style indicators
   2. Highlight all dynamic indicators including crescendos and decrescendos
      1. mf-f-ff in warm highlighter colors
      2. mp-p-pp in cool highlighter colors
   3. Find, identify and highlight any special directions: repeats, D.C. al fine, etc.
8. General Technique
   1. Locate any notes you are not familiar with
   2. Look up the note in your fingering chart.
   3. Write the note name in and confirm the fingering
9. Star sections which you have questions about.
10. Silently practice and finger through different passages as the group works.

​"As you work toward the performance, it's not enough to tell players what the problems are, you must help them to experience the solutions, turning each into a complete muscle/memory experience."

​Occasionally a student and parent will ask about an instrument change. This is the information I share with them. It has served the program well and keeps changes to a minimum and only when it is the best decision for the student's development.
We currently do not have the resources or schedule to accommodate instrument changes after the initial Summer Band Beginner Class. It is best that students stay on the instrument they chose during instrument appointments. Usually the reason students want to switch is because they believe they have already learned how to play that instrument and now want to try a new one or they think they are "bored" with the initial choice.
Each instrument comes with it's own set of unique challenges. Learning a musical instrument is a life-long process - and one never truly masters their instrument. There are times, however, when students are needed to switch instruments for the benefit of the band and having full instrumentation: alto sax to tenor and baritone sax; baritone to tuba; oboe to bassoon; clarinet to bass clarinet, etc.
Students have, on very rare occasion, been switched at a director's discretion, due to medical conditions which warrant a change.
It is normal for students to be curious and interested in learning other instruments, but the road to improvement is a single-lane, one-way, highway. Students should stay on the instrument they chose and be committed to mastering that instrument.
Our goal is for each student to work toward mastery on the instrument they selected at Beginner Band Appointments. We are very careful and methodical in how we help students select an instrument before Beginner Band starts.
Once the instrumentation of the band is determined it is very critical that we maintain that instrumentation for the benefit of the musical integrity of the entire ensemble. Correct and balanced instrumentation is one of the most important factors in the success of the ensemble. In the same way each athletic team has players in specific positions in the correct ratio of players, a band must have the correct ratio of players on each instrument.
Students may change the instrument of study under one of the following scenarios-
1. The director advises the student to switch based upon a need for a particular instrument or more advanced "color" instruments are needed to balance the ensemble.
2. The student re-enrolls with the Beginner Band the following school year to begin study on the new instrument.
3. The student continues in band while taking private lessons with an approved private lesson teacher outside of school on the secondary instrument. If the student catches up to the level of their current group and passes a playing assessment for the directors they may enroll in their grade level band on the new instrument the following year.

​Classroom Goals and Rules are a must but it is best to keep them simple. It is also helpful to leave some things general so you do not paint yourself into a corner. Some situations demand flexibility. The classroom expectations are there to eliminate distractions from rehearsal and yet, must be simple enough that you can uphold them consistently. I have included our program information as an example to generate your own brainstorming.
Signs are posted at the front of our room with these maxims. I often just silently point to one when students need a reminder.
Excellence in everything we do.
We do things one way in this room...the RIGHT way!
Do the right thing even when you don't feel like it.
Are you helping or hurting the rehearsal?
The Program Goals and Rules are also posted on a giant poster near the front of the room. If something is an issue I simply walk to the poster and indicate which element we need to address.
(Goals) In band this year everyone will…
                 ~show respect at all times to others in the group.
                 ~play with good tone, balance, blend, and pitch.
                 ~play musically.
                 ~play with good individual technique, posture, hand position and embouchure.
                 ~improve every time we play.
                 ~keep the room, instruments and music clean and neat.
                 ~be organized.
                 ~work as a group to reach our goals.
Traughber Band Rule: Do the right thing
This will include:
                  ~Come prepared with all supplies.
                  ~Be respectful (listen-pay attention-one person speaks at a time).
                  ~Do your best.
                  ~Play only when asked to.
                  ~Improve every time we play.
                  ~Handle only the equipment that you use.
                  ~No food, candy, mints, suckers or drinks in any music rooms.
Traughber Band Consequences:
Each situation handled on an individual-as needed basis
Remember-All school rules apply to all band rehearsals and events.