Monday, February 25, 2019

The quote above is one that students of mine have heard me reference for many years. I imagine that many of us, in one way or another, make it our mission as educators to instill some sort of habitual excellence in our students. Whether through some sort of 'achievement program' for individual students (band ribbons, band awards), or establishing lofty performance goals for our ensembles, we won't be successful without setting the highest possible daily expectations. Which brings me to 14 snow days since January 1...anybody pulling their hair out yet?!! Have you noticed a difference in the way the students engage in rehearsal when you are in school? Have you heard the difference in the tone quality of your instrumentalists? It has been eye-opening -- or should I say "ear-opening." Turns out, what we say is actually true!!!!! Without daily attention to any habit or skill -- particularly, a motor skill -- the neuro-connections weaken and we all become underachievers. We know this, and yet, until we live through a winter of polar vortices and snow in obscene amounts, we don't see it play out quite so vividly in band rehearsal.

We would all like to believe that each precious band student proudly takes that instrument home each and every evening to fulfill their 30-45 minute practice obligation. Pareto's principle (the 80-20 rule) suggests that, at best, 20% of our students actually fulfill this obligation. In a program with multiple, auditioned ensembles, we may be so lucky as to have the top 20% in our top ensemble, but what of the other 80%?

How do we encourage more students to continue the excitement about home practice that they had as beginners? In 1982, a study on band program attrition by the Gemeinhardt Co., known as The Gemeinhardt Report, concluded that the primary reason that students drop out of band is because they don't think they can play their instrument very well. By the time a student has advanced through to high school, their self-image as an instrumentalist is well-established. The flurry of activities, jobs, and academic demands make it more and more difficult for students to actually find the time to practice. They don't believe they are good, and are not able to find time to take the steps to get better.

Two books that I have read and enjoyed recently: Atomic Habits by James Clear and The Talent Code by Daniel Coyle really highlight the power of helping our students develop strong patterns of intelligent, thoughtful practice. This is, most importantly, not time-bound, but results-bound. By results-bound, I mean "how many correct repetitions have been completed?", rather than "how long have I practiced?" By reframing practice, we give students hope that they can improve if they take simple, easy steps to establishing a better practice ethic.

For that dreaded 80%, one thing we push in Cameron is the "hit some correct repetitions before band class" approach. This does NOT always involve a student having to take the instrument home -- a home they may not even get to until 10:00 that night. It involves giving themselves ten to twenty extra minutes in the morning, coming in before band and digging in! Find something in the repertoire that you are struggling with, and play 5-8 correct repetitions. (What about that perfect long-tone warm up? Lip slurs? As Voltaire wrote, "the perfect is the enemy of the good") They may not be investing the amount of time you wish they were, but at the very least, they are doing something to take ownership of their progress and accountability on their part. They are also getting "face time" with their instrument, which can only be a good thing.

James Clear, in his book Atomic Habits, outlines 4 Laws for habit formation that provide a "how-to" framework for creating better habits and/or breaking bad habits. Among the many things that he recommends is the idea that in order to form a positive habit (such as helping our students rediscover a desire to practice), we have to help create an atmosphere where they don't have to be perfect --they just have to do it. Practicing some, even a little, is better than not practicing at all.

If I were to recommend only one book for educators looking to develop talent, Daniel Coyle's The Talent Code is that book. It is a scientific, physiological approach to helping build the wiring necessary for motor skill development in a systematic way. Using data based on his exploration of what he calls "hotbeds" of talent from not only musicians, but various types/ages of athletes, even students in mathematics, Coyle lays out a detailed case for the systemic insulation of wiring in our brain in the proper development of talent. He suggests that students aren't "born" with talent, as much as that we create conditions that allow us to develop their talent.

These two books were game-changers for me. I haven't begun to fully mine all of the great information they contain. They have changed my personal life, as well. I can't recommend them highly enough. When we are faced with the frustrating issue of students that don't come to class prepared (or 14 snows days...since January 1!!!!), these ideas can spark strategies that we can implement for making practice not seem so overwhelming. It makes practice actually doable for the active, involved teenager. Practice can be something not to dread, but something that provides that next step to higher achievement and better enjoyment.

Meet the Team

Up Close With...

Casandra Carson

Sales, Springfield

How long have you been with PMC, and what brought you to the company?

I've been working at PMC for a little over five-and-a-half years. My dad has worked here for the past 20 years, and I always thought it would be a cool place to work. In 2013 I worked at Disney World for a college internship, and when I came back, they had a job opening, so I jumped on it!

Where did you grow up? Musical family?

I grew up in Springfield and finished out my schooling at Rogersville. A large portion of my family is musical. My dad plays guitar, mom's side of the family is all singers, and both of my siblings play multiple instruments. No one has done music professionally until my dad and I started our band Paralandra, and began recording and touring.

Any pets?

I have two pets! There's my sweet puppy (I say puppy, but she's 12), Maci. She's a little fox terrier mix, and I have a betta fish named Mega Man that stays here at the store. One of my co-workers got him for me as a joke for my birthday a few years ago, and he's still going strong!

Any interesting hobbies?

My main hobby is traveling and performing in my band, Paralandra. We tour all over the country; it's super fun! I've gotten to visit and experience SO many cool places in the last couple of years: the Grand Canyon, LA, Niagara Falls (US and Canada side on two occasions), Gettysburg, Washington DC, NYC -- the list goes on and on. We're actually getting ready to do a two-month run with Yngwie Malmsteen this spring. Besides that, I love playing volleyball when I'm home (if I have time).

Anything else to share?

Fun fact: Paul Reed Smith gave me my main PRS guitar for my birthday a couple years ago! Super awesome guy, and KILLER guitar.