What Constitutes A "Good Musician": A Response To Creating Musical Flexibility Through the Ensemble By Brant Schneider

In his article Creating Musical Flexibility Through the Ensemble, Brant Schneider of Seymour, Connecticut's Seymour High School explores the core skills, which he believes every developing musician should possess. Schneider's list consists of musical discipline, technique, theory and composition, all topics that I firmly believe should be covered in the context of any band, orchestra, choral or jazz curriculum. The article introduces these concepts by way of a discussion on the expansion of your performing organization's repertoire. Schneider poses the question, "How can we create an ensemble whose members think for themselves and compose music?"

 

My teaching career to this point has consisted of adjunct assignments within The Hartt School's Jackie McLean Institute of Jazz at the University of Hartford, as well as holding the position of Woodwind and Brass Specialist/Jazz Ensemble Director at Martocchio Music in Simsbury, Connecticut. One of the most important lessons that I have learned is that the teacher must build a rapport with each and every student, by building off of what is already in place. The beauty of any teacher's work is that no class or student will be a carbon copy of any other. I find this to be particularly true in the musical universe. We all have different tastes and preferences, likes and dislikes. Brant Schneider uses the American Songbook Standard "Over the Rainbow" as an example of a piece that our students should know, inside and out. I agree wholeheartedly with this contention, but I think that if we expect our students, the majority of whom were born in the very last years of the twentieth century or thereafter, to be receptive to material that they have no cultural or historical connection to, we need to work just as hard to demonstrate that we have a keen awareness of "their music". Through a study of this nature, the instructor will be able to illustrate the parallels and distinct lineage that exists from a band or artist such as the Beatles to Oasis, Public Enemy to Drake and Madonna to Lady Gaga. Teachers across the content areas struggle with how to convey the importance of their given subject to students. If there is no buy-in, then the most well-meaning teacher's efforts will be all for naught. However, when students understand the intrinsic value of studying their predecessors, then the possibilities for growth and development are endless. The article Who Says Old School's Not Cool? by Jason King succinctly articulates the need to know one's history when attempting to bridge the generation gap in this digital age.

 

Teacher and students alike need to have mutual respect for one another. The chances for success increase dramatically when this unspoken creed has been established. If a student has the knowledge that we as educators are in their corner and genuinely want to see where they are coming from, then they will follow our lead, wherever it may take them. In this learner-driven culture, each of Brant Schneider's core skills are subsequently within reach and become both teacher's and student's for the taking. Musical discipline is a rightfully ambitious goal, because it places ownership on our students to become complete musicians. In an ideal world, the principal of a school, CEO of a Fortune 500 company and captain of a luxury ocean liner would each have a concrete understanding of the responsibilities and duties undertaken by his or her subordinates. A position of authority should dictate the ability to step into any position within an organization, regardless of specifics. This epitomizes what it means to truly be a contributing member of a performance-based ensemble. As a saxophonist, I should have an understanding of not only what goes on within my individual part and section, but across every other area of the given group. This means knowing the repertoire by memory, having the ability to transpose, understanding the limitations of each instrument and identifying the role that each part serves within a composition/arrangement. Charlie Parker's music might not have been conducive to the trombone, but that certainly didn't stop trombonist J.J. Johnson from throwing his hat into the proverbial bebop ring. Dig this clip from 1958 of Charlie Parker's "Buzzy" featuring Howard McGhee on Trumpet, Sonny Stitt on Alto Saxophone, J.J. Johnson on Trombone, Walter Bishop, Jr. on Piano, Tommy Potter on Bass and Kenny Clarke on Drums. I have a feeling that if you passed a flute part to J.J., he would have no trouble whatsoever in finding his way.

 

 

Schneider's article continues by outlining the merit and gains of technique, theory and composition respectively. All students need to know their specific instrument up and down, backwards and forwards, left and right. This most certainly includes "getting around" and holding one's own at any tempo, in any key and no matter what time signature a selection may be in. When looking at any of the iconic figures of music history, one thing that becomes evident is that without sufficient technical proficiency on their respective instruments, creative expression and artistic achievement would have been markedly lessened. Even the most naturally gifted improvisers need to have the utmost control over their axe of choice, because otherwise they will not execute over 50% of what they are hearing in their heads. Reading mastery and ear training are extensions of technical proficiency, offering the student ever increasing and diversified performance opportunities. If a musician can read well, he or she is guaranteed to book work. Adding aural recognition to one's arsenal opens up the vast world of improvisation, as you are able to play what it is that you are hearing. When we factor in theoretical knowledge, the ante is upped ever higher. It is wonderful to have so-called "good ears", just as a solid grasp of Western Harmony and Theory propel the aspiring musician further forward. Be that as it may, the "complete musician" will not have one without the other. I might have the most finely tuned ears this side of the Mississippi, but if my foothold in theory is not strong, then sooner or later, I will wind up in a situation where I don't know how to properly apply an idea that I am hearing in context. On the other hand, if my working knowledge of theory on paper is not connected to a concise aural awareness, then it won't matter. Once again I will not know how to apply the information contextually and in real-time. Brant Schneider makes an excellent point by reminding the enthusiastic music educator that students should constantly be given opportunities to compose for both small group and large ensemble interpretations. The incentive of a major symphony selecting a work to be performed during its summer series, serves as sure fire motivation to generate output of the highest caliber. This is not to say that students would find less inspiration by composing for their peers, but why not have them shoot for the stars? The sooner that they begin to compose, the more receptive to and engaged in the process they become. Dr. Steven G. Laitz is a Professor of Music Theory at The Eastman School in Rochester, New York and he recently came out with a comprehensive approach to teaching music theory, entitled The Complete Musician, which he chronicles in the following video clip. While there are many means to combine the teachings of theory and composition, this text appears to be a particularly interesting method to consider pedagogically.

 

 

Creating Musical Flexibility Through the Ensemble concludes with a thorough outline of one possible plan for implementing the execution of Schneider's core skills in action. The suggestions at hand are particularly helpful for any director and offer room for modification, depending on the specific challenges and unique needs of any program. The format can be tailored to accommodate all environments. When it comes to thinking of how a music educator can quantify a "good musician", I think that the formula will change from director to director. There will be those who look only at skill, while others will factor in commitment, preparation, attitude, enthusiasm and a host of other character traits. As several of my colleagues at the University of Bridgeport have stated, any person has the potential to develop into a musician. My biggest desire as an aspiring music educator is to see students have a sense of respect and reverence for the art form. When this can be said to be the case, the student is bound to recognize all that factors into being a musician. A good musician has a sense of work ethic, understanding that practice is a lifelong endeavor. He or she has the ability to interact with peers and perform as a contributing member of an ensemble, not merely an individual.

 

 

The list of qualities that a good musician should have could go on indefinitely, and as such I have attempted to begin at the beginning. Look for additions to be made in the coming weeks and please feel free to offer your thoughts and suggestions. Peace be unto all who take up the journey!