The Happy Classroom
by: William W. Gourley

This past festival season I was reminded of one of those little pearls of wisdom, “Kids join band/orchestra because they like ­music, they stay in because they like the ­director”. Another of these pearls came from Ken Bloomquist, Director of Bands at Michigan State when I was a student, “Band directing is 10% talent and 90% personality.” Both of these are oversimplifications of the complexities of teaching but they do put the focus of successful teaching on its primary source, the teacher.

All of us in education have had the ­opportunity to witness a variety of classrooms, band, orchestra and choir rehearsals with a wide range of personalities and styles teaching the class. There are ­effective ­teachers with higher standards and stringent classroom management expectations, and there are those with a relaxed classroom ­atmosphere and an apparent liaise-affair style of classroom management.

One can debate the merits of various styles but in the case of the music instructor we are concerned with how we encourage students, with a cornucopia of choices, to stay in our programs year after year. ­Students are required to take English Lit., science, social studies, etc. As long as the school’s enrollment stays the same or grows the “core” classroom teacher can be assured of a room full of students each fall. Music is an option competing with a lot of other classes that require far less commitment for a limited number of bodies. Even if the student body enrollment increases, filling the chairs each fall becomes more challenging with each added graduation requirement, AP offering, extra-curricular activity or job taken to earn money for the latest video game on the market. Considering these factors, that 90% personality thing is quite daunting.

I am not suggesting personality alone makes an effective teacher. It is, however, a key factor in inspiring students to want to learn, and in band or orchestra, want to ­return. In my experiences, whether it is a kindergarten teacher, high school math teacher or music educator, 95% of the ­successful, inspiring teachers have happy classrooms. Even if there is intense focused learning going on, the teacher infuses joy into the learning.

The artist in us would love to think the rewards from playing great music is reason enough to endure hours of scales, long tones, rhythm, bowing and tonguing exercises, etc. and stay in band or orchestra year after year. The fact is we are not teaching ourselves we are teaching our high school classmates who did not go on to become music ed teachers. What factors encouraged them to sign-up for band each year and what ­factors encouraged them to discontinue? Of all the reasons to stay-trips, marching band, drum line, color guard, friends, great performances-if the student isn’t in a happy environment on a daily basis it is difficult to cling to the other incentives.

Let me clarify, happy does not necessarily imply a lack of order, discipline or high expectations. I know many teachers who have a reputation for being disciplinarians and their students toe-the-line. Teachers, students and parents are amazed that these same teachers instill laughter and joy into their teaching and the students. Everything from academic expectations to classroom behavior is taught, reinforced and administered in a positive, respectful and joyful manner.

Pacing

Busy hands are happy hands and idle hands are the Devil’s playground.

A middle school assistant principal related a story to me about a student who had problems in every class except mine. The student had been referred, again, for ­disciplinary problems and, knowing the young man enjoyed my class, when the ­assistant principal asked, “What would happen if you did that in Mr. Gourley’s class?” the student replied, “There is no time to get in trouble in Mr. Gourley’s class.” The younger the student the more vital pacing is. The children don’t come to band or orchestra to listen to the instructor talk any more than adults come to community bands to listen to the director talk. They want to play.

Routine

A routine starts the class or rehearsal with a focus, it gets the show on the road and the class moving whether it’s beginners or 85 year olds. Too often teachers create a negative environment at the beginning of the class by admonishing students for not being ready to play. A routine during the first 25% of the class creates an environment where students are ready to go and gets hands busy while reviewing and reinforcing musical skills.

Stay as non-verbal as you can. Model how to play by using play-response or ear-to-hand exercises. Incorporate a lot of ­review in this section to reinforce a feeling of accomplishment in the students and ­allow less advanced students a chance to catch-up to the class. Accomplishment = Happy.

The next 15% of the class period ­introduce new concepts or material. Teach the new note, rhythm, finger pattern, etc. while the students are fresh and focused. Even here, you need to use as little talking as possible. Rhythms can be taught by echo playing a rhythm, then adding the symbols and playing; and finally counting and ­performing it. New notes can be reinforced by pointing to them on an overhead or ­monitor and asking the students to name the note. The key is not over-teaching a concept. Break it into smaller units and spread it over a few class periods if possible.

The remaining 60% of the rehearsal is equally divided between learning a few new exercises or songs from the lesson book or perfecting a section of the concert music and review of previously learned songs or concert music. In the beginning classes don’t hesitate to play material from the front of the book during this reinforcement section of the class period. Playing is ­playing.

Accentuate the Positive Eliminate the Negative

Recognized behavior is reinforced ­behavior. One of the greatest teaching tools we can utilize is behavior modification. Yes, those education courses do have relevance for band and orchestra.

One of the traps teachers can be drawn into is letting the students control the environment. Admonishing students who aren’t ready when you are, raising and lowering instruments a half dozen times until everyone does it together, chastising poor posture, complaining about talking, badgering about practice cards, forgotten instruments and music/lesson books; all create negative vibes. And, Negative does not equal Happy.

Instead of attacking the bad behaviors, reward those who are doing the right thing. If students aren’t ready to go when you are, just start the class and reward those who are ready. A simple, “Johnny, Susie, Bob, Danny, great work! You are right with me. Bonus star in my book. Thanks!” You may have a little chaos for a couple weeks but eventually you will bring the vast majority around. When you see bad posture find a student that is using great posture, “Great posture, Jason. Everybody look at Jason’s hand position and straight back. Terrific! Bonus star.” Here is one I stole from John Whitwell, Director of Bands at Michigan State University while working with a ­summer band camp, “Trombones, the clarinets would really appreciate it if you can play that section tomorrow.” Another Whitwell-ism, “Clarinets, great sound (great rhythm) now, if you can just get the B natural next time.” There is always a ­positive comment before the correction.

The good-news-bad-news philosophy is always a winner whether it’s kindergarten students, parent teacher conferences or working with adult ensembles. “Your tone is getting better. Can you:

work to relax the back of the throat a bit more to sound even better?

try to start the notes with the tip of the tongue?

be sure to hold the half note 2 full counts?

play the eighths evenly?

Hang-up and Drive

You know how people chatting on their cell phones tend to drive slower? Well, the more you talk in a rehearsal the slower the class goes for the students. Prof. Robert Culver, University of Michigan, observed hundreds of music educators across the country while researching his “Master Teacher Profile” and found the most ­effective music educators talked less than 20% of the class period. Happy students are playing music, not listening to lectures from the podium.

Non-verbal cues help alleviate the need to criticize students. To correct poor
posture just make eye contact with the student, model poor posture and then good posture with a smile and a wink. Then give a big thumbs-up for any improvement. Remember, even though your verbal ­criticisms may be directed at one student the entire class hears them and feels the ­negativity. Bonus stars, points, buttons, ­trinkets all are effective non-verbal ­reinforcements for good behavior. Those ­Dollar Stores are great places to stock up on incentive items. I have seen middle school ­students go nuts just to get a car from one of those five cars for a buck packs or a ten cent plastic zoo animal.

For a fun change of pace try not talking in a rehearsal. Initially there can be some confusion and giggling but after a while the students catch on. This doesn’t need to take a great deal of preparation for the ­­students. In fact, springing it on them is
very effective. I have taught classes, first year to high school, in schools where I was mentoring for the day and started the class without saying a word for the first fifteen minutes. That includes my warm-up techniques: playing only on mouthpieces, long tones, scales, rhythm and note name review. I use hand signals, modeling and echo-­playing/hand-ear exercises. It really focuses the students’ attention.

Let the Games Begin

Using games to teach concepts helps make the class fun. Placing poker chips or small pieces of candy (Hershey Kisses or small candy bars) on shoulders and not letting them fall off can help with posture. Placing them on the top of shoes can help students restrict tapping their feet so loudly (see Newsletter Archives – Educational - The Games We Play by Al Johnston). Practice card lotto (see Newsletter Archives – Here’s an Idea) is a contest between the director and students. Once a week a date and student name are randomly selected and if the student’s signed practice card has any time at all on it the day selected everyone in the band gets a small candy bar. If the student doesn’t have time on the date and the card properly signed by the parent the director gets the candy bar. Have a contest of naming the notes in a song or exercise in rhythm with students taking turns on each measure. Every four measures correctly done is a point for the class. Any mistake is a point for the instructor. Finding creative ways to review the material other than the old flash card, or point and repeat method will pep things up.

Beat the Boredom Magic

We all know that the best musicians and ensembles have an impeccable sense of time. We also know the only way to acquire this skill is to practice constantly with a metronome and that becomes very annoying and definitely not fun. An inexpensive electric keyboard loaded with 30 or more preset accompaniment rhythms with amplification is a great metronome. Everything from long tones to scales and rhythm
studies can be performed over a steady fun pulse (just stay away from the swing styles). The added feature of pressing a key and including some harmonic function to the beat gives students a pitch reference as well. By changing the accompaniment styles you can play an exercise twenty times and keep everyone happy.

I used the Rubank Drum Method with my beginning percussionists along with an electric keyboard or the “Movement to Music” record of Dr. James Froseth to instill pulse and add a little fun to the class. It was a lot more fun than just hearing the class hit a snare drum while I beat a woodblock. Teaching rhythm reading accompanied by the music of Spira Gira, Weather Report, Big Bad Voodoo Daddy, Blood Sweat and Tears, Chicago, Bela Fleck, etc. develops a strong inner sense for pulse while creating an enjoyable atmosphere in the classroom.

Seek Success in Every Student

In every ensemble there are various ­levels of proficiency among the members. The more advanced the ensemble the fewer levels of proficiency differential. If you can help a student experience some success on a regular basis you will add to the pleasure of his/her experience. This may mean allowing a student to play something the class learned a month ago, acknowledging the slightest improvement in posture or tone (“Your ­sitting on the front edge of the chair, great! Can you get that back straighter?”) or going down the line on a section you know even the least accomplished student can play. Before ­anyone calls this, “dumbing-down” I would ask you how do we inspire a student to want to challenge him/herself to work harder on his her instrument? By helping the student find the joy in success perhaps we can motivate them to work a bit harder to improve, have more fun, be happy and stay in the ensemble. You never know when a student will ­blossom.

You Get What You Expect

I have heard teachers say how they dreaded a certain class. The students were all monsters or worse. I have always felt the class responds to your expectations. If you expect proper behavior and quality music making you will teach to that level and the group will respond. If you expect the class to be monsters, you will teach to that ­mentality and reinforce that behavior by ­continually focusing on it. Recognized ­behavior is reinforced behavior, remember? It’s a head game but it works. I have ­encouraged teachers to see the class ­differently to expect them to be a great class and focus on the positive. In a couple weeks I get a phone call or email saying it worked. It takes patience and a strong will, but it works.

In the competitive school environment with students being enticed with fourth
year French, drama, sports and the need for earning spending money we must exercise a bit of the Music Man’s, Prof. Harold Hill’s, salesmanship while maintaining ­integrity. High performance standards and classroom expectations do not have to be sacrificed to sustain a Happy Classroom. In fact, they add to the pleasure of the class. It is up to the teacher to determine if he/she wants to achieve these goals through intimidation or exaltation. The Happy Classroom needs to be our goal 80% of the time. Of course there are times teachers stray from the path but the better the teacher the closer he/she is to 100% realization of a Happy Classroom. Simply stated, at the minimum, there needs to be four positive experiences to every negative experience.

Going back to, “students come to band or orchestra for the music but stay because of the teacher,” or “10% talent 90% ­personality,” we must realize we are not teaching music. We are teaching children how to play music. Until students become proficient enough to perform music well so the music can provide the joy of a Happy Classroom, the teacher needs to provide ways to make the journey enjoyable and encourage students to return next fall. A Happy Classroom is the result of accomplishment and a nurturing environment which are determined by the teacher.