The Rewards of Teaching

Steve Raybine:


Blog #116:


The Rewards of Teaching


Teaching has many personal rewards and those individuals that pursue this vocation do so because they believe in the importance of education and its impact upon an individual's life. A teacher, much like a parent or other family member, can provide proper guidance and direction for his or her students that hopefully will prove beneficial throughout that person's life. Because of the short- and long-term implications regarding the teacher/student relationship, conscientious teachers shape the entire person, not just one aspect of the student. In the field of music and perhaps within the arts in general, teachers philosophize and motivate, as well as instruct their students within the appropriate area of study (music; drama; art; writing; etc.,). Considering the demands and expectations placed upon teachers within contemporary society, it is an ongoing journey to not only teach, but to mentor your students as well.


Students need teachers that are committed to assisting them now and throughout their careers. After a student acquires the necessary information and skills from his or her teacher, I believe the teacher assumes a mentor relationship with the student as his or her career progresses. Because of this lifelong educational commitment, which undergoes a transformation throughout the course of time and events, teachers must be prepared to always provide the best possible instruction and guidance for their students.




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Updating Teaching Materials

Steve Raybine:


Blog #115:


Updating Teaching Materials




In order to stay current with musical trends and contemporary innovations, teachers will find it imperative to update their teaching materials regularly. By doing so, they will better prepare their students for a successful career in the world of contemporary music. The key to this concept is up-do-date, not out-of-date.




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Attend Conferences and Workshops

Steve Raybine:


Blog #114:


Attend Conferences and Workshops



Conferences, workshops and seminars are designed to provide teachers with important information germane to their area of interest. The amount of materials and information presented and discussed as presented by clinicians and specialists is condensed into a relatively brief period of time. In most instances, the presentations are outstanding and beneficial to most of the participants. Therefore, teachers should confer with their department chair regarding the feasibility of attending a conference, workshop or seminar when the situation presents itself.





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Replacing Irresponsible Ensemble Members

Steve Raybine:


Blog #113:


Replacing Irresponsible Ensemble Members


At any point in time, certain members of an ensemble may be habitually late or erratic in their attendance. Moreover, he or she may also cease practicing their parts and become a musically non-productive member of the ensemble. If either or both of these scenarios occurs, I would recommend speaking with the individual(s) to discern what is causing the attendance problem or the lack of musical productivity. If the absence and/or tardiness continues, the director must decide what the next logical step is. As difficult and awkward as it may appear, replacing the individual may be in the best interest of the ensemble and the student. The same conclusion would result with the other problem area that was defined.


An ensemble needs to operate with 100% efficiency. This cooperation requires nothing less than total commitment from all ensemble members. If there are any individuals that are unwilling or unable to make that commitment, perhaps a substitution or replacement is in order. Furthermore, if a personal conflict between members of an ensemble occurs and cannot be resolved, group morale can suffer, a situation which can erode the overall musical effectiveness of the band. Should the entire ensemble suffer because of one or two individuals? I think not! The adjustment should be made. Perhaps one positive aspect on behalf of the person causing the conflict will be that he or she will come to a greater understanding of what is involved in becoming a significant contributor to a musical ensemble.






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Marking the Parts

Steve Raybine:


Blog #112:


Marking the Parts





One of the most productive ways to prepare music is to learn how to mark the parts. Marking parts requires highlighting various aspects of the music (meter shifts; crescendos/diminuendos; dynamics; tempo markings; coda signs; etc.,) that shape and define the overall design of the composition. The visual articulation of these musical parameters (in different colors) will help students do a better job of preparing and interpreting the music. No one should ever mark in ink or a use a permanent marker on an original part since doing so would deface the printed music. I recommend copying the music and making the requsite marks to enhance the visual comprehension of the composition.







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Scheduling Weekly or Bi-Weekly Sectional Rehearsals

Steve Raybine:


Blog #111:



Scheduling Weekly or Bi-Weekly Sectional Rehearsals





Without exception, every ensemble benefits from productive and frequent sectional rehearsals. The instructor should create an environment wherein he or she or an assistant (this could also include student section leaders within the ensemble) is available on a weekly- to bi-weekly basis to direct sectional rehearsals. This process will refine the sound and technical capabilities of individual sections and also contribute to an improved large ensemble sound. In addition, sections within the ensemble that meet regularly for sectional rehearsals will develop an increased sense of inner pride. The instructor should challenge his or her members to give 100% of their time and talents to an organization that will bring them the most musically rewarding ensemble experience they are collectively capable of producing.






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Devising Mental Games to Memorize Musical Material

Steve Raybine:
 

Blog #110:


Devising Mental Games to Memorize Musical Material



A teacher that challenges students with intellectually-stimulating games helps them to better retain and memorize important musical facts and concepts. In order for this to be effective and interesting, one must be clever and creative when devising games of mental acuity. Suggestions for your mental gymnastics might include the following:


1.) Reciting scale/mode-connecting exercises (verbally articulating the immediate and intermittent shifts in ascending and descending order between various scales or modes).


2.) Listing all the available chord extensions in altered and unaltered forms and other color tones with a specific root from the primary chord categories (major; minor; dominant; augmented; diminished and half-diminished) within a certain time allotment.


3.) Reciting the note names and rhythms at any place within a specific composition the student is currently studying.



Games the require mental agility are not only entertaining and refreshing, but they also stimulate the student's desire for knowledge and for retaining that information.





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Aural and Visual Components=Comprehensive Learning

Steve Raybine:



Blog #109:



Aural and Visual Components=Comprehensive Learning






The contemporary music student responds favorably to aural and visual stimulation. The visual component has become integrated into the mainstream of our culture via television, movies and sophisticated computer-generated graphics, etc. Therefore, the teacher should use videos and other visual aids in conjunction with audio examples to enhance and augment the learning experience for his or her students whenever possible--listening and observing as the comprehensive educational experience unfolds.






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Using Computer-Based Technological Innovations when Teaching

Steve Raybine:



Blog #108:



Using Computer-Based Technological Innovations when Teaching





MIDI (Musical Instrument Digital Interface) is a manifestation of new technological innovations in music. This well-integrated computer-derived system has created seemingly endless modes of expression for performers, arranger/composers and teachers. Interfacing computer equipment with MIDI-compatible sound units and software packages has greatly expanded the parameters of musical expression and educational instruction. A teacher should investigate the ways in which he or she can effectively utilize this and other contemporary computer-based technologies to expand and enhance his or her teaching methods.






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Defining One's Musical Design

Steve Raybine:


Blog #107:



Defining One's Musical Design




An instructor should define, articulate and clarify his or her musical and/or visual creation or intention on paper in order to enhance and solidify his or her understanding of the musical objectives he or she has chosen. Committing these thoughts to paper in essay or outline format will provide the students with an alternate and tangible means of evaluating, assessing and defining the music and method of creation that is being presented to them.






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Accept Difficult Assignments with a Positive Attitude

Steve Raybine:


Blog #106:




Accept Difficult Assignments with a Positive Attitude


When you are given a difficult or frustrating assignment, it should be done with a pleasant demeanor. Throughout the course of everyday events within any music department; music school; band; etc., there will invariably be jobs that must be done, which are onerous at best. Every teacher or band member will be called upon periodically to perform a task, which is done for the benefit of the entire department (a.k.a. "for the good of the order"). When it is your turn to complete such a task, accomplish the chore efficiently and with a good attitude. Being a team member benefits the entire faculty or band and functioning selflessly within this capacity is the hallmark of a true professional.






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The Intellectually-Superior Musicians

Steve Raybine:



Blog #105:


The Intellectually-Superior Musicians



Over the years, I have taught many students, a significant number of whom could be considered intellectually gifted in music. These students, both young and old, possessed an innate ability to process sophisticated musical concepts and techniques. Furthermore, they were able to utilize and manipulate these musical elements in their own creative ways and to become talented composers; performers; technologists; teachers; etc. Teaching these students was and continues to be a challenge, but eminently rewarding--at least in the long run.




Attending to the needs and demands of the so-called "superior" musicians is not easy--they require constant intellectual stimulation. Finding new and creative ways to inspire them and to keep them motivated puts the onus on the teacher, which can be difficult. I've always felt that as the teacher, it was and still is my ongoing responsibility to inspire my students and to provide them with the materials that would enable them to succeed within the music field. Many times, however, providing them with the proper guidance, motivation and instruction has been my greatest challenge. When any student, gifted or otherwise fails, the teacher fails, at least to a certain degree. This is why the field of music and all other fields for that matter, needs to have our very best teachers teaching all of our students--not teachers that are unable to meet the needs of all their students.










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Radio Rules the Music World

Steve Raybine:

Blog #104:

Radio Rules the Music World

Many musicians are amazed that my music has been played on over 150 terrestrial and internet radio stations worldwide. My best assessment is that someone is listening to my music at all times throughout the global community. As a young musician, this was a particular goal of mine--acknowledgement and acceptance of my music by the archetypical jazz listener. I worked a long time to achieve this goal and I am particularly proud of this achievement. The internet has certainly enabled my music to be heard internationally as well as nationally. Radio airplay is all-important to any musician if they desire commercial success as a recording artist.

What makes my music appealing to radio stations is its melodic orientation. Moreover, it has strong rhythmic underpinnings and is produced well. It is, however, the strong melodic component within the design of the songs that attracts it to radio, which is why many of my songs have been played on numerous radio stations. In contemporary music, radio airplay is essential to the overall success and longevity of a performer. Radio enables one's music to be heard, which in turn, creates an interest in the music from prospective audience members. Moreover, radio airplay helps to generate CD sales in both hard copies and downloads.

Without radio airplay, a performing musician's career will most likely stall at some point in time and become less popular on a large or even moderate scale. Radio greases the proverbial 'wheel' and enables a musical artist to expand his or her music to a much larger audience.

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Should You Relocate for Your Music?

Steve Raybine:

Blog #103:

Should You Relocate for Your Music?

Occasionally, I am asked my opinion whether a musician associate of mine should consider relocating to a new location. My answer is typically a cautious perhaps and/or perhaps not. Relocating just for the sake of trying something new in a different environment may not yield the results you're looking for (more gigs; better money; performing opportunities with different musicians; etc). Although these are three good reasons to contemplate relocating, are they, in fact feasible and achievable? If they are, then maybe you should consider it. However, if you're truly uncertain as to the viability of these situations actually occurring, then maybe you should put on the proverbial 'brakes' and do some more careful research before you consider any professional move.

Let's face it: most musicians and most people in general are interested in expanding their business. They want new challenges and new opportunities. If that means that they need to relocate in order to achieve that goal, then it bears consideration at the very least. However, the bottom line should be, can you afford to make a move of that magnitude. If the price of living on various levels (housing; medical care; food; entertainment; etc.,) is too expensive for your current income level, then rethink the relocation before you jump into something you really can't afford to do. Any substantial elevation in income will probably evolve over time, even within the new environment. You would still need to spend a considerable amount of time establishing yourself and your musical product within the new location. And, as it has been said so eloquently before, "Time is money." Can you realistically afford the monetary investment that relocating requires? Would you be able to sustain yourself financially while you're networking and becoming an established musical presence within your new environment? These are serious questions, which should be thought out very carefully before you embark upon any move.

In summation: proceed with caution and a realistic viewpoint as to the pros and cons of relocating. Perhaps a relocation is exactly what you need in order to reinvigorate your career...or perhaps not.

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All Day, Everyday

Steve Raybine:


Blog #101:


All Day, Everyday




I work at my craft--music, everyday. I spend endless hours either teaching music, or performing/practicing; composing and doing the endless chores associated with the business of music. Music is an exceedingly demanding profession. In order to survive and perhaps thrive within this ultra-challenging field, it appears to take a superhuman effort, which is why I work so hard. I want to be successful at music and I am determined to put forth the time and effort to realize as many of my musical ambitions as I possibly can.




Many of you are either contemplating a career in music or are presently engaged in this endeavor. If you are new to this business, you have a great deal to learn about how things work and whether or not you have the talent and drive to make music your full-time career. Unfortunately, many of you will not succeed because the music field is too competitive and difficult for your skill set. Others of you will find your way within the world of music as you too, come to the realization of what is truly involved in becoming a successful contemporary musician. Music will consume you as you champion your own musical voice and all that entails. Promoting yourself and your musical projects is an ongoing daily experience that requires a supreme effort...and money to invest in yourself.


Do you have what it takes to become a successful contemporary musician? Do you possess an unrelenting drive to excel within music? Are you willing to dedicate yourself to seemingly endless hours pursuing your musical exploits? These are answers that you must reconcile within your own mind. Music is not a career that should be entered into lightly--it will test your mettle all day...everyday.






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