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Conductor / Artist in Residence Program by: Bill Gourley

May, 2002

How would you like to energize your students, enhance your ensemble’s prestige, create excitement among the parents at the next concert, improve your group’s musicianship, grow professionally, and reinforce your credibility among your students? Sounds a bit like an infomercial, but you can achieve these results easier than you think. Bring in a guest conductor or soloist for a concert.

Lloyd Whitehead, the former director of bands in Ida and past statewide president of MSBOA, often used guest artists. “The students felt if a soloist felt the band was good enough for them to play with, they (the band) must be pretty good,” Lloyd states. Other benefits were another set of ears in a rehearsal, and it freed him up to stand back and hear what was going on in the tuba or percussion sections. One of the great benefits, Whitehead felt, was reinforcement of what he had said in the rehearsals.

Dr. John Madden, Associate Director of Bands at MSU, mentioned the benefits of reinforcement as well. “It is interesting to see the expression on the students’ faces, and the smile on the director’s face when I say something he or she has told them.” Madden mentioned a Conservatory Day that Perrysburg High School near Toledo, Ohio has. John spent half the day working with the band. The other half of the day the students had master classes with Toledo Symphony musicians and University of Toledo faculty.

Utilizing the Conservatory Day format is a great way to bring professionals in to work with your jazz ensemble. We would have an “in-school field trip” and bring in a professional jazz combo to work with the students in master classes for half the day. The combo would sit in a rehearsal with the students followed by an evening performance sharing the concert.

Madden suggests, “Just sharing and collaborating on a concert with a neighboring school is a goal toward positive growth.” Jed Fritzemeier, at Chelsea and Bob Phillips, at Saline, have worked together over the years with each others’ orchestras. They have exchanged rehearsals and shared concerts. When Jed first arrived in Chelsea the string enrollment was small. To invigorate the students, Jed approached Bob to combine the groups at Saline’s annual fall string camp. Chelsea’s orchestra students were able to experience a camp with large numbers creating more excitement and a more positive attitude. The Grand Ledge Bands and Okemos Orchestras present a joint concert enabling the wind players in Grand Ledge, where there is no orchestra, to have an orchestral experience.

As a band director I always found the excitement of bringing in guest artists to work with students energizing at all levels from student, to audiences, to myself. I was fortunate enough to have Director of Bands at EMU, Dr. Max Plank, take over the wind ensemble for ten rehearsals in preparation for a concert. I asked him to select the music and take over as if it where his group. We scattered the rehearsals over a twenty day period culminating in a concert where Max conducted. The students welcomed the opportunity to experience another approach, exposing them to other areas of expertise they wouldn’t have received from me. I was able to gain new insight into my ensemble and add to my abilities as a teacher by observing Max.

While he was a high school director in Illinois, Professor John Williamson, Director of Bands at CMU, had a steady stream of guest conductors. It became an essential part of what they did in instrumental instruction. Exposing his students to different views enhanced their understanding of music. Surprisingly, Williamson said he guest conducts out of state more than in Michigan. When asked why this is the case he mentioned many directors don’t feel their ensembles are ready for such an experience. However, their apprehensions are misplaced. “I’d conduct Air for Band, music is music.” John said. “I don’t feel any group is beneath me”

The guest artist is another opportunity to build interest in your ensemble. Performance majors and university faculty offer many possibilities for your ensemble. You can offer monthly master classes during rehearsal. The clinician is able to focus on the needs of the section and the individual needs of each student. You will be amazed the progress your students will make. They are able to work with a role model for their instrument and get the individual attention you have so little time to give. An added bonus is some students are inspired to take private lessons once they get to know the clinician. Featuring these clinicians in your concerts adds to the variety and a soloist adds prestige to your program in the minds of the students and parents.

It is surprising that, in spite of the resources available to the schools in our state, more educators do not take advantage of such a rewarding experience. When you consider the wealth of university and college conductors, and studio teachers as well as highly regarded high school and middle school directors, both working and retired, it is easy to find someone who will fit with your group. Many directors feel their ensemble isn’t proficient enough to warrant the expertise of university and professional musicians. Others are concerned with the cost of such an undertaking. Also, there needs to be a comfort level with having someone address your perceived weaknesses.

Finally, there is a strange Catch 22: who should approach who to initiate the project. There is an awkwardness among university and college educators in approaching high school and middle school directors. It can be perceived as self promotion. The public school director often feels uncomfortable approaching the university or college educators, not wanting to appear pretentious.

It is practical for the high school or middle school educator to make the contact. Trying to call schools to find someone who would like their services is time consuming for clinicians.

Don’t limit your search for clinicians. This past February I had the opportunity to work with the Saline Middle School Bands. The other clinician that night was Prof. Michael Haithcock, Director of Bands at UM. He was wonderful dealing with the students and was able to work with them at their level. Imagine what a thrill it was for those middle school students to have the director of bands from The University of Michigan work with them.

Saline makes good use of clinicians. This past year the bands have had, in addition to Prof. Haithcock and myself: Steven Ward, Hope College; Prof. John Whitwell and Associate Prof. Wes Broadnaks of MSU. The orchestra has had professional fiddler, Randy Sabien, UM Prof. Robert Culver, Hot Club of

Cowtown Fiddlers, and Arie Lipsky, conductor of the Ann Arbor Symphony. Nat Lampman, of Saline, comments, “It’s great, amazing, and you find new ways to teach something you have had difficulty with. It’s a great way to get new ideas.”

Generally, most of the artists I spoke with would welcome the opportunity to work with students at any level. If there are problems with money, scheduling or how they could best meet your needs, these professionals are able to offer alternatives or suggestions to address your goals. The potential to refine your craft as an educator and invigorate your teaching is worth exposing your weaknesses. After all, these clinicians are still learning from each other and appreciate working with someone who is seeking to improve their abilities.

There are a great many opportunities available to music educators to incorporate the guest artist. This resource is a wonderful experience for all involved and adds a new and refreshing dimension to your program. You may want to consider a guest artist or artist in residence for your school.

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