Performance is the essence of the music classroom

Music educators, please continue to do what you do, but consider taking it up a notch from time to time with a PBL project

PBL can help focus your instruction, build authenticity and create purpose and relevance for reluctant students in your classroom

The Condenser Microphone

USB Microphones

Here are steps for implementing PBL, which are detailed below:

First, the player must be aware of and be able to correct pitch discrepancy. The second step is to become aware of the intonation challenges of their own particular instrument. Finally, the player must be able to hear their pitch in relation to the various timbre and octaves in the ensemble.

fine intonation is not optional. It is the "grail" to be pursued with almost religious zeal.

The heart and the body agree with the ear when the pitch is right.

The skill that must be taught (and can be taught!) is that of awareness of pitch discrepancy, or "the beats". This is an aural skill

Chances are that if you are not a jazz musician, you may not spend very much time with improvisation at all

Musiclock provides many background “jam” tracks (loops) that are written in a specific scale (e.g. Major, or Pentatonic Major).  Those loops can be started on any note of the chromatic scale.  

This app is a great way to show kids the importance of learning their scales on piano or in band/orchestra

Teachers must think on their feet, modify plans on the spot, approach content from different angles, support uniqueness, and inspire and foster growth.

Think of teaching standards through the arts, not independently of the arts

Holding onto misconceptions might prevent you from unlocking your students' creativity, originality and spark for learning

Start with a standard or concept you need to address. Ask yourself the following questions, and jot down all ideas you can. Your creative brainstorming will take your students beyond worksheets and unlock your creativity as a teacher and your students' enjoyment of the learning process.

It is also important for students to practice with a model and without a model. I give them a model about 50 percent of the time. In the very beginning, when it’s only three or four notes, the rhythm is not usually a problem

Thumbs up means “I got it, let’s go.” Thumbs sideways means “Almost, I need another pass.” Thumbs down means “I’m lost!”  

Audiation is the musical voice inside your head, something like your musical imagination

Professional brass players use rebreather bags, incentive spirometers, and other tools to create an air model and to increase lung capacity

Children are used to taking conversational breaths; we need to teach them to breathe like musicians

For the inspiration I recommend using a breathing tube – basically a ½ to ¾-inch piece of PVC coupling

I use “sizzling” and “long tones.” Sizzling is great because you have the students create a natural resistance that simulates what it is like playing the horn

Long tones are very important to the development of a good sound

A different mouthpiece and reed combination. The classical and commercial genres require different sounds, approaches to articulation, etc. While the performer mostly accomplishes this, a purpose-built, high-quality mouthpiece will make their lives easier

Many charlatans are lurking in the world, touting their instruments as “perfect for jazz” or “great for classical playing!” In truth, a quality saxophone is a quality saxophone, and all reputable brands are manufactured to allow for absolutely any type of playing. The student should simply be on the highest-quality instrument possible

two “pants pockets.” In one, a saxophonist keeps their classical skills, and in the other they keep their jazz skills. The two different styles shouldn’t mix, but they should both be handy for any given musical situation.

classical alto performance include the Selmer S-80 C*, the Selmer S-90 190, the Selmer Concept, or the Vandoren Optimum AL3. For jazz alto, the Meyer 5M, Vandoren V16 5M, Jody Jazz HR 5M, and the D’Addario Select 5M are all great choices.

As far as reeds go, it’s really up to the preference of the student. Some players use “classical” reeds and “jazz” reeds, while others use the same make on both setups. However, since classical and jazz mouthpieces are designed differently, the student will normally need to play reeds that are slightly lower in strength on their jazz mouthpiece.

teachers advocate different embouchures for jazz and classical playing, I am of the opinion that one can serve both purposes

One of the biggest differences between the performance of commercial and classical styles is articulation

Classical and jazz saxophone sounds are vastly different

how are students supposed to know what a great classical or jazz sound is? How are they supposed to learn about style? As always, the musician’s greatest tool is a busy set of ears.

Young saxophonists, from the first day, should have quality recordings available to them. With online video-sharing and streaming services, it is incredibly easy to give a student a list of names and let them start exploring for themselves

the students’ enthusiasm fuels two purposes: bravado and attention-seeking behavior.

Left uncorrected, this rowdy behavior can be a pain in a band director’s side.

One example of the use of fear would be my weekly summer camp challenges

The challenge could occur in any section of any piece and this was a very effective tool at getting me to practice

Over experience and time, after attending numerous workshops, reading about this subject, and conducting research, I’ve come to the conclusion that students can be pushed to learn out of desire rather than fear

calm classroom rather than a happy classroom

A calm classroom has a lot of structure in place: the procedures are practiced and understood, there are rules and consequences for inappropriate behavior, and students are aware that learning is often a messy business.

The secret to developing a mature attitude comes from a love of sharing music and teaching patience.

Students need to be reminded why they’re doing what they’re doing.

When we develop our procedures and rules for the year, I make it a deliberate point to explain why the items were deemed important.

Treat your students as young adults. Another way to think of it would be to treat them as you’d like to be treated