I had the fortunate opportunity to start teaching private instrumental lessons to an ELL student. The situation itself is quite challenging since the student speaks little English, and I myself only speak a little of his native language. Thanks to a cooperative ELL teacher, and a supportive extended family who helps translate for me, I think this will be a very successful endeavor. The most difficult challenge I am having right now is in trying to modify certain musical behaviors. While I can ask him to blow faster or slower air, it is difficult for me/him to use specific language to ascertain solutions to pitch matching. This is certainly a fantastic lesson in using nonverbal communication, and focusing on specific language cues when necessary.

As someone who strongly believes in the philosophy that everyone should be taught music in the public schools, I think we need to take a closer look at ELL students, special education students, and at-risk students. It is certainly easy to say that everyone deserves a music education when the top half of your high school (GPA-wise) is already in your choir. How can we create meaningful, equal opportunities for music education for students who in the past have not been as involved in public school music programs?

More to come... I look forward to hearing and researching about success stories from other teachers.  

Be the best musician you can be.

Your mastery of your voice or instrument will aid you in teaching musical concepts, visualizing ideal sound images, and providing a positive role model for your students.

Observe masterful teachers.

By watching and analyzing experienced teachers, we open ourselves up to a whole world of possibilities. Ever wonder how to manage a classroom full of wild seventh grade students? Watch someone who knows how! Take the time to observe not only teachers in your field, but masterful teachers of any subject.

Take the opportunity to teach in many different settings.

Even if you have wanted to be a high school choir teacher since the moment you entered high school choir, learn how to teach music at every level. Being an effective music teacher requires you to be knowledgeable in teaching the fundamentals of your craft. Take time to teach in a large suburban school system, a small rural school, a diverse school, and learn about the advantages that each has to offer.

Be assertive, yet act with grace and humility.

Many preservice teachers act overconfident due to their experiences as students, rather than teachers. Be confident in your preparation, but always be open to others' ideas and opinions.

Learn to listen- in both the musical and the interpersonal sense.

Opening your ears to the world around you will allow you to be both a better conductor and teacher. Hear vivid, beautiful tones in the score before you hear them in the air. Listen to the needs of those around you.

Develop your own philosophy about teaching, music, and teaching music.

Know why you do what you do. Be an advocate of music education for all students regardless of background, socioeconomic factors, and behavioral issues. Be passionate and knowledgeable. Encourage and demonstrate lifelong learning.

Find balance in your life.

Spend time with family and friends, explore your faith, find a new (nonmusical) hobby. Your passion for music education will only be enriched by your ability to relate it to other aspects of humanity.

Ask for help.

Connect with other teachers and friends who can help assist you. Build strong relationships with your colleagues- asking for help demonstrates humility as well as the desire to improve yourself.

Be positive.

Look for the best in yourself, your students, and your colleagues. Encourage others with sincerity.

Take time to reflect.

At the end of your undergraduate experience, you may not be able to remember all of the bassoon fingerings or so-and-so's theory of development. Take time to reflect on what is important to you and your future students. Develop a plan for continuing your own education as you begin to teach others. Learn to love learning.

Reflecting and retooling were two of the prominent topics at the 2009 Wind Band Institute. At the opening session, Dr. Scott Jones encouraged teachers to reflect on the previous school year.

What percentage of your teaching time is devoted to skill development versus repertoire preparation?

Many teachers sensed the direction that this question was leading- that in fact, we spend so much time concerned with the level and quantity of repertoire, that we fail to focus on transferable, fundamental skills which lie at the heart of musicianship.

In a sightreading situation, what percentage of the mechanics of the piece should be performed well in order to be a “good fit” for the ensemble?

Many teachers contended that there was no set percentage, we should find repertoire with a variety of difficulty levels for our students. I think that we often fall into the trap of choosing repertoire to “challenge” our students; as a result, we spend too much time preparing pieces for the concert rather than honing mastery of musical skills.

What broad areas of musical skills do you teach well? Which ones do you need improvement in? How do you assess individual learning in these areas of musical development?

Most teachers agreed that their own musical strengths as performers were reflected in their teaching. One teacher pointed out that his own personal areas of musical strength were more difficult to communicate with his students because it came so naturally to him. Many different ideas were shared about assessment, which served as a good launching point for Dr. Doug Orzolek's session on assessment in the music classroom.

How does a student look/behave/think if we've done our job well?

Of course, this question relies on our own personal beliefs, insights, and philosophies. But if we start thinking of our students with the end result in mind, we can more clearly create the plan and environment by which we hope to teach and inspire our students.