Coach's Corner

Mission statement: To educate my students concerning the realities and expectations that exist in the world of performance and to prepare them for working in those types of environments.

Student Responsibilities (Attend, Prepare, Devote, Represent)

1. To have perfect attendance.
2. To prepare your music thoroughly.
3. To devote your full energy to making music at all times.
4. To represent the school, city and county in the most mature performance possible in on-campus concerts, annual tours and competitions.

MY Responsibilities (Devote, Encourage, Inspire, Diagnose, Show, Expose)

1. To devote my full energy in helping you become a better musician, (in general) and better ensemble musicians (specifically).
2. To encourage and inspire you to achieve your optimum level of performance at all times.
3. To diagnose your problems individually and as an ensemble, and show you how to solve them.
4. To expose you (through analysis, study, rehearsal, sight-reading and performance) to the finest symphonic band, wind ensemble and chamber winds literature. To help you grow as well-rounded musicians through teaching an understanding of performance practices, historical perspectives, theoretical analysis and interpretation.

Statement of grading policy.

The following areas describe behaviors associated with successful bands. Part of your education is to learn what these behaviors are and to adopt and follow them.

Attendance:
Attendance is mandatory. Perfect attendance is strongly suggested and rewarded. In many other musical groups, absence without prior notification is grounds for dismissal; rehearsals being just as important as performances in that respect. Your "occupation" is "student" and as such your classes should be your top priority. Outside work, study time, car problems, personal conflicts, etc. should never get in the way. Serious illness or serious emergency are the only conditions for excused absence.

Communication with the conductor concerning absence is essential. You should notify the conductor, IN ALL CASES, BEFORE THE REHEARSAL, if you are unable to attend. Arrangement for a substitute for that rehearsal, or to have your parts covered by and understudy, is strongly suggested, (and a courtesy). If you cannot attend a final rehearsal or a concert you must communicate with the conductor WELL IN ADVANCE so other arrangements can be made.

Punctuality
Rehearsals begin at 1:20pm and 6pm on Tuesdays and Thursdays. This means that you are in the rehearsal room, with all of your instruments, accessories, equipment and music and are READY TO TUNE at 1:20pm or 6pm respectively. Tardiness is rude, disruptive and unacceptable. Communication with the conductor regarding problems related to a "cross campus commute", or other problems with being in rehearsal on a regular basis, is essential. Problems will be considered on a case-by case basis.

Rehearsal preparation
Often musicians see the music for the first time at the initial rehearsal, or even "at the gig". When musicians have the music in advance, they assume that means they are expected to show up for the initial rehearsal (or gig) with the music TOTALLY PREPARED.

I will publish detailed rehearsal schedules as far in advance as possible. These should be considered as "homework assignments". GOOD STUDENTS "read the material" ahead of class and come to class "prepared to enter into an intellectual discussion" on the rehearsal. GOOD STUDENTS OF MUSIC consult their rehearsal schedules and come to class having "practiced the music" and are "prepared to interact with other musicians in an enlightened, intelligent and artistically sensitive manner".

Grading procedure;
In the music world, an "average" musician has perfect attendance, is NEVER late, resolves all conflicts, comes to every rehearsal prepared and is respectful of his/her fellow musicians at all times.

In addition to all of the above, an above average musician consistently plays to the peak of his/her potential, shows intelligence and sensitivity in their playing at all times, and contributes positively in the process of musical communication with his/her peers.

In addition to the above, an outstanding musician considers him/herself and ARTIST, and this is reflected in their music-making at all times.

The criteria above will be used in evaluating a student's work in this class.

JRZ