Good and Bad Teachers?!

 January 10, 2021         

Throughout my life I have had many good teachers and my fair share of bad teachers. Some of the bad teachers I got along with outside the classroom and others I did not care for. The bad teachers that I did not care for were only looking out for themselves, did not put a lot of time into their jobs, did not plan for classes appropriately, and always wanted to move on to a “Better” position.

I have also had many wonderful teachers throughout my music education. Even today I talk monthly to my favorite music professor. He has helped me get to the place I am today. He has helped me when I was in a position at a University that was chaotic and toxic. I can not thank him enough for his continued support and advice for the past twenty years.

I have also learned a lot from Bad teachers just like Good teachers. I can say that I have come away knowing what not to do in the professional world. When I was younger, I did not see this straight away. So, I will tell anyone reading this, you will learn something from everyone. You never know what you will pick up over time until you need it. It is interesting how things come full circle, and the experience working with all teachers has been beneficial to me.

Remember, the world is not always perfect, and you need to be ready for it as much as possible. Keep an open mind and take what you learn and put it to work! Words can never express my gratitude to all the good teachers in my life. Their encouragement and advice has helped me grow into the person I am today.

Triad of Ability

May 13, 2020

As I grew up in music you could either play your instrument or you could not. There was NO middle ground! When I was a young teacher, I was part of this philosophy, but as I continued to teach and get to know my students and students in general, my attitude changed. Today, I go about ability in music in three ways:

1. There is the student who can easily play their instrument at a high level and is always engaged, on time, has a good attitude, and is ready to go. This student is respected and demonstrates what it takes to achieve a high level of musicality.

2. There is the student who tries day in and day out yet, does not necessarily achieve the highest level of musicality as found in “#1.” Overall, this student is always engaged, on time and ready to with a good attitude. They give their all no matter what and other students notice this.

3. There is also the student who does not give their all. This student is their due to being forced to be part of the band or for some other reason. Unfortunately, it is this student who can bring the entire band or ensemble down due to not caring or giving 100%. Even if this student gave 75% percent, that would be a plus. This is an example of the student who can not excel at their instrument or help the ensemble/group as a whole. The sad part of this is, there are several students in this category who have talent, yet do not care about using it. Students in this group may consider other items more important such as a job, playing video games, or anything else that allows them to not fully participate.

As a band director, I find it very sad when a student does not care about being part of a large group and at times will bring down the group purposefully. When there is a student like this, they need to shape up immediately or be asked to leave! A musical ensemble takes everyone to achieve the highest level of musicality. Unfortunately, it takes only one person to bring the ship down. Again, there is a difference between someone who does not care and someone who tries day in and day out. Do not be afraid to show #3 the exit!

What does it mean to commission a new piece of music and why is it important?

May 3, 2020

The commissioning of art and music has taken place ever since they came into existence. To commission means to ask an artist or composer to create an original piece of art or music. Almost always there will be some sort of fee included with a commissioning a work. This fee is prescribed by the artist or composer.

Why do we commission new pieces? – There are several reasons for commission of a new work. Over time various soloists and ensembles have wanted to present new contemporary works of their time and had to commission new pieces to be performed. Other instances could be the evolution of new instruments and ensembles that were looking for new pieces to demonstrate their ability. Many ensembles today enjoy commissioning works to create an original pieces where they get to work with the composer and perform the latest works. Some commissions may be based around arrangements of folk songs, religious music, or school songs where a new music composition my use them will come about.

What does it cost to commission a piece? – There is not a direct answer to this question. It could cost nothing at all, or it could run a price of $50,000.00 or beyond for a new work. Students studying composition may compose a new work for free with a guaranteed performance and recording from its premiere. This can help younger students get their name out there and practice their craft at the same time. It never hurts to ask a student to compose a piece for you. You never know what might come of it. In the end, it is a fun experience for both the composer and soloist/ensemble he or she is working with.

What is a consortium commission? – This is where a group of individuals or ensembles will together commission a composer. This keeps the cost down significantly for each group, yet it allows the composer to be paid their appropriate fee. An example may be where a composer wants $3,000.00 to write an original piece for band. Again, the price is set by the composer and may be based off of several items not including ensemble size, duration, ability, deadline, etc. With a consortium looking at a fee of $3,000.00, there could essentially be 12 members of the commissioning party with each member paying $250.00. This allows more ensembles to participate in the commission process.

Are there any other ways to commission a new work? – Yes, you may be able to obtain a grant or have someone give a donation to help with the process of commissioning a new work.

What do soloists/ensembles receive from being part of a commission? – Usually, the soloist or ensemble will receive a copy of the music and parts for them to perform the work. Several commissions will allow for the commissioning groups to have first performances of the new work before it is available to everyone else. In some commissions, performance rights will be waived for a designated amount of time to allow the new work to be performed without having to pay performance royalties. Finally, the names of the commissioning members will be listed within the score from here on out.

As a composer, I am fortunate to receive commissions. I have been commissioned through consortiums or from a single individual. It is very exciting for me to work on a new piece with those who have commissioned me. I really enjoy being able to attend rehearsals and performances of my new works. In the end, this what it is about! Working together to create a new piece of art.

Additionally, as a composer, performer, and conductor I have commissioned new works as well. Below is a list of works as of today that I have been a part of.

“Forerunner” (2024) - Concert Band - Mat Campbell

“Suadela (2022) - percussion Sextet - Caleb Pickering

“Symphony No. 1” (2022) - for Concert Band - Randall Standridge

“Symphony of Light” (2022) - Large Symphonic Suite for Concert Band - Ed Huckeby

“Musica Ignota”(2020) - for Concert Band - Ingrid Stolzel

“16 Days in Berlin” (2020) - 16 part online documentary about the last days of WWII created by Real Time History

“Concerto for Jazz Trumpet and Wind Ensemble” (2020) – Dana Wilson

“There, Their, They’re” (2020) Percussion Ensemble – Josh Gottry

“Beneath” (2019) Percussion Ensemble - Caleb Pickering

“Two Dances…. of Sorts” (2017) - Duet for Soprano/Alto Saxophone and Percussion – Josh Gottry

Why do we perform music?

A question for middle and high school band directors

by Nicholaus Meyers

April 7, 2020

For nearly two decades I have worked with countless numbers of ensembles and students preparing music. The majority of these ensembles and students were preparing for some sort of evaluation where they would be adjudicated/judged for a specific score. I find more and more educators pushing their students to obtain a certain score rather than purely enjoying music. As I have gotten older this has continued to bother me.  Yes, it is important to play music at the highest level, but sometimes educators get carried away with the idea that they have to obtain a certain score, or they feel like both their students and themselves have failed.

What happened to the enjoyment of making music at the highest level? What about just having pride in one’s own performance as a soloist or in an ensemble setting? Every where I go, I hear the phrase “we have to get a perfect score or straight “I’s” at the contest.” Does making a lower score mean you did not perform well or did not prepare for that event? No, it does not. We have gotten caught up with the idea that we have to receive the highest score in order to be successful. Competition is great, yet most of the time it can be treated wrong!

Yes, it is fun to be adjudicated and prepare for that adventure. Yet, it is how you go about it before and afterwards. I have seen several educators turn on their students telling them it was their fault that the group did not receive the ideal rating at that time. There are several items that can come into play during a performance or in preparing for an adjudicated event. What if you just have a bad performance that day and everything up to that point was running smoothly? What if the conductor chose music that was too difficult and did not know how to prepare it? To me getting a lower score does not matter if both the students and conductor gave all their effort that day. The growth of the performers is the key to success. Step back and ask, how far did the group or student(s) come from when they initially started the piece(s). Did you perform a concert for parents and the community? How was that received? Were your students enjoying and growing musically within their performance? Think about all of these items outside of being adjudicated in that one instance.

I will also comment that there are adjudicators that have no business judging anything! I have been around and have heard countless numbers of conductors/teachers tell me that their ensemble(s) or student(s) received a lower grade due to several unrelated factors. If a judge gives a lower score due to not liking the piece, he or she should not be asked back to judge again. It is about the music not personal preference. Recently I heard a judge score a group lower at a marching band contest because they did not like the tuning of the battery instruments. The instruments were tuned appropriately and did not take away from the overall sound of the band. Items like this can become confusing and stressful for both the conductor and student(s) when reading and listening to comments. Adjudication is there to help both the conductor and student(s) to grow within the field of music. Never, to bring them down or confuse them!

On the other hand, being evaluated can also show severe weaknesses in a band program. These weaknesses can be due to several items/issues that are not discussed in this article. Keep an open mind about being adjudicated and do not let it be the end of all things. Let students know that if they give their all, that is what is important. Not the score! Working together as a team, enjoying making music and having fun is the overall result!