The State I'm In

I'm Selling My House!

2012-01-14T18:06:00.002-05:00

I haven't had time to blog lately because I AM SELLING MY HOUSE! I will be writing soon on making huge changes and how to stay sane. In the meantime, please view the link and share with your friends and enemies. Thanks.

828 ELKINS AVE Elkins Park, PA 19027 - Montgomery County Homes for Sale Richard Parke (OFFICE_NAME)

Weaving The Basket with The MMB

2011-12-17T12:30:00.004-05:00

Starting a band is hard. Keeping that band together is near impossible. If you haven't achieved some modicum of success, the members will become dismissive and inpatient and begin to look for opportunities elsewhere. Without success, only the music is left to act as a fixative for the (perhaps latent) frustration that can permeate the group. Does your band show signs of stress? Do you feel you are the only one really trying to make the band successful? Here are some concepts you need to think about when starting a band or keeping it together. I will use the example of my band, the MMB, to illustrate my points.

1. COMMON BELIEFS

The MMB (Mike Montrey Band) has been together for about five years and, although we haven't reached our goals, we manage to stay cohesive through a common belief system. When we sit down for a meeting, we each air our thoughts on the procedures necessary to achieve the next level of success. (Could you define levels of success?) Ideas are heard, processed, and commented on with the common understanding that it is all focused on MUSICAL accomplishment, nothing personal or malicious. If personal matters start creeping into the conversation, you are ripe for failure. It shows a lack of focus, insidious selfishness and little professional ethic. Could you sit down with your band mates and have a serious discussion about where you would like to be without arguing? You don't need to like each other to make this work, however, you do need common vision to make your band successful. Listen to Roger Daltrey:

“I don’t care when people say we’re not getting on—it’s not fucking important. All that matters is what exists on stage and in our music. In that music is our relationship, is our love."

citation: http://moreintelligentlife.com/content/arts/simon-garfield/wont-get-fooled-again?page=full summer 2011.

Could you say the same? Is your relationship fixed by the music? Your common beliefs - and you need to establish them early - are referential when dealing with any problems. Go back to them when it feels the train is running off the tracks. They could be as simple as "We will each contribute to make this band successful and not allow personal issues to hinder the pursuit of that goal." It is essentially your band mission statement.

2. PERSONAL RESPONSIBILITY

What can you, as an individual, do to support your band? In the MMB we all serve roles. Each individual provides a service - whether musically or technically - that furthers the overall goal. Is your contribution destructive or productive? Get too drunk to play? Do you help set up before or break down after? What about learning tunes? Good bands devise a system for assigning tasks as well as staying in communication. The MMB uses dropbox to keep everyone apprised of the latest tunes being created as well as sharing thoughts and other materials. This way we show up to rehearsal ready to work. Do you come prepared? You need to decide if you can afford the time and energy it takes to make a business successful. There is no shame in walking away if it is not feasible. Be considerate and do not waste other peoples time by being fickle.

3. COMPLETE HONESTY

Can you say, without hesitation, that you believe your band will be successful? Not just say it, but feel it? If you say it but don't feel it, you are wasting time. Be honest with yourself. Is this what you want? At a recent meeting for the MMB one of the topics that came up was "how committed are we to move to the next level?" To a man, everyone stated that they felt this was the best project they had been a part of and felt we each were presented with a unique opportunity for success. This came naturally from our discussions and was not prompted by any peer pressure. Ask yourself, and then the others, if they all feel the same way. Don't worry about personal conflicts or musical choices. Are the people in the room with you at that moment the people who offer the best chance for success? If not, move on.

4. PERSONAL SUPPORT

In the MMB, we are very fortunate to have people backing us up, people who believe in us. Sure, without them we would soldier on, but it is much easier having a great supporting cast. Spouses/girlfriends/boyfriends/kids all influence the individual members of a band. Do you feel they detract or add to the vibe of the band? Nothing is worse than personal drama before a gig or session due to a non-member. True professionals leave personal matters at the door and never use excuses for lack of effort (my car is in the shop, my girlfriend says I have to go shopping, etc.) Be aware if someone is using their personal life as a reason to bail out on band practices or gigs. It would be easy to blame someone you never see for problems that occur, but are they really coming from outside the band or are they easy exemptions from inside. Every failure is preceded by a trail of excuses. Excuses are usually the sub-conscious telling you it's time to leave.

"He that is good for making excuses is seldom good for anything else" (Benjamin Franklin)

If you feel strongly about your dreams and goals with your band and someone outside of that circle is saying the opposite, decide if this is someone you need in your life. If they say no to this, what would stop them from squashing other dreams?

5. KNOW WHEN TO LET GO

It can be difficult to fire a member of a band, but if the entire unit is threatened by one person's actions then it must be done. In music, it is easy to build relationships with the other members that go beyond just making music and these personal relationships can blind us from the reality of what is happening. This is a business you are building. If it is your true life goal to make it work, you simply cannot allow one individual to bring it down. In the MMB we have had many discussions about destructive behaviors and addressed them when they occur. Don't fire someone because of one slip. However, don't ignore it, either. Confront the issue and settle it immediately. Waiting will only ensure it happens again and will increase resentment within the ranks. The MMB enjoys being on stage because of the great music we make AND the lack of frustration and resentment we feel towards each other. It appears we don't have problems because they never last long enough to become problems.

I hope this helps in your efforts to become successful. To see how well a band can function together, please watch the video below. It is the MMB documentary "Weaving The Basket." It details our creative efforts in the studio that produced our latest release. Enjoy.

The 95 theses of American Homeowners.

2011-12-14T22:03:00.003-05:00

Out of love and concern for the truth, and with the object of eliciting it, the following heads will be the subject of a public discussion in America under the attention of the people and duly appointed sufferers on these subjects. We request that whoever cannot be present personally to debate the matter orally will do so in absence in writing.

When our Lord and Master, the banks, said "Remit", They called for the entire life of homeowners to be one of remittance.
The mortgage cannot be properly understood as referring to the implementation of penance, i.e. foreclosure and usury, as administered by the mortgager.
Yet its meaning is not restricted to investment in one's home; for such investment is null if it produces outward signs in various mortification of the family.
As long as hatred of the middle class abides (i.e. true inward regret) the penalty of foreclosure abides, viz., until we enter the kingdom of modification.
The bank has neither the will nor the power to remit any penalties beyond those imposed either at his own discretion or by federal law.
The bank itself cannot remit guilt, but only declare and confirm that it has been remitted by their agents; or, at most, they can remit it in cases reserved to their discretion. Except for internal cases, the guilt remains untouched.
Banks never remit guilt to anyone without, at the same time, making them humbly submissive to the agents, the banks representative.
The penitential mortgages apply only to those who are still alive, and, according to the loan agreements themselves, none applies to the dead.
Accordingly, the CEO, acting in the person of the bank, manifests grace to us, by the fact that the regulations always continue to apply at death, or in any hard case.
It is a wrongful act, due to ignorance, when banks retain the mortgage penalties on the dead in loan modification purgatory.
When mortgage penalties were changed and made to apply to loan modification purgatory, surely it would seem that tithes were sown while the homeowners were asleep.
In present days, the mortgage penalties are imposed, not after, but before insolvency is pronounced; and are intended to be tests of true submissiveness.
Death puts an end to all the claims of the bank; even the dying are already dead to the regulatory laws, and are no longer bound by them.
Defective piety or love in a dying mortgage is necessarily accompanied by great fear, which is greatest where the piety or love is least.
This fear or horror is sufficient in itself, whatever else might be said, to constitute the pain of foreclosure, since it approaches very closely to the horror of despair.
There seems to be the same difference between foreclosure, loan modification, and independence as between despair, uncertainty, and assurance.
Of a truth, the pains of souls in foreclosure ought to be abated, and charity ought to be proportionately increased.
Moreover, it does not seem proved, on any grounds of reason or law, that these homeowners are outside the state of merit, or unable to grow in grace.
Nor does it seem proved to be always the case that they are certain and assured of debt easement, even if we are very certain ourselves.
Therefore the banks, in speaking of the plenary remission of all interest accrued penalties, does not mean "all" in the strict sense, but only those imposed by the government.
Hence those who preach modifications are in error when they say that a man is absolved and saved from every penalty of the banks indulgences.
Indeed, he cannot remit to homeowners in loan modification any penalty which the mortgage declares should be suffered in the present life.
If plenary remission could be granted to anyone at all, it would be only in the cases of the most perfect, i.e. the 1%.
It must therefore be the case that the major part of the people are deceived by that indiscriminate and high-sounding promise of relief from penalty.
The same power as the bank exercises in general over foreclosure is exercised in particular by every single agent in their office and telemarketer in their cubicle.
The bank does excellently when they grant remission to the homeowners in foreclosure on account of intercessions made on their behalf, and not by the power of ethics (which they cannot exercise for them).
There is no divine authority for preaching that the homeowner flies out of foreclosure immediately when the money clinks in the bottom of the chest.
It is certainly possible that when the money clinks in the bottom of the chest avarice and greed increase; but when the agent offers intercession, all depends in the will of mortgage holder.
Who knows whether all souls in foreclosure wish to be redeemed in view of what is said of the senators and congressmen (Note: The legend is that senators and congressmen were willing to endure the pains of foreclosure for the benefit of the faithful).
No one is sure of the futility of his own contrition, much less of receiving plenary loan forgiveness.
One who bona fide buys out their loan is a rare as a bona fide man, i.e. very rare indeed.
All those who believe themselves certain of their own salvation by means of letters of loan modification, will be eternally damned, together with their families.
We should be most carefully on our guard against those who say that the bank modifications are an inestimable divine gift, and that a man is reconciled to the bank by them.
For the grace conveyed by these modifications relates simply to the penalties of the loan arrears decreed merely by the bank.
It is not in accordance with American doctrines to preach and teach that those who buy off mortgages, or takeover owned homes , have no need to repent of their own sins.
Any homeowner whatsoever, who is truly American, enjoys plenary remission from penalty and guilt, and this is given him without letters of foreclosure.
Any true hoemowner whatsoever, living or dead, participates in all the benefits of America; and this participation is granted to him by God without letters of foreclosure.
Yet the banks remission and dispensation are in no way to be despised, for, as already said, they proclaim the divine remission.
It is very difficult, even for the most learned lawyers, to extol to the people the great bounty contained in the foreclosures, while, at the same time, praising contrition as a virtue.
A truly contrite homeowner is sought out, and is forced to pay, the penalties of his dreams; whereas the very multitude of foreclosures dulls agents consciences, and tends to make them hate the homes.
Bank loan modifications should only be preached with caution, lest people gain a wrong understanding, and think that they are preferable to other good works: those of forgiveness.
Homeowners should be taught that the bank does not at all intend that the foreclosure of mortgages should be understood as at all comparable with the works of good faith.
Homeowners should be taught that one who gives to the poor, or lends to the needy, does a better action than if he forecloses mortgages.
Because, by works of love, love grows and a man becomes a better man; whereas, by foreclosures, he does not become a better man, but only escapes home-ownership.
Banks should be taught that he who sees a needy person, but passes him by although he gives money for bonuses, gains no benefit from the governments bail out, but only incurs the wrath of America.
Banks should be taught that, unless they have more than they need, they are bound to retain what is only necessary for the upkeep of their business, and should in no way squander it on bonuses.
Homeowners should be taught that they get loan modifications voluntarily, and are not under obligation to do so.
Banks should be taught that, in granting modifications, the bank has more need, and more desire, for happy costumers on his own behalf than for ready money.
Homeowners should be taught that the banks loan modifications are useful only if one does not rely on them, but most harmful if one loses the suspicion of banks through them.
Banks should be taught that, if the homeowners knew the exactions of the loan modification agents, they would rather the Federal Reserve were reduced to ashes than be built with the skin, flesh, and bones of Americans.
Agents should be taught that the bank would be willing, as they ought if necessity should arise, to sell Wall Street, and give, too, their own money to many of those from whom the mortgage brokers conjure money.
It is vain to rely on salvation by letters of modification, even if the commissary, or indeed the bank itself, were to pledge their own soul for their validity.
Those are enemies of America and the people who forbid the word of loan forgiveness to be preached at all in some homes, in order that modifications may be preached in others.
Americans suffer injury if, in the same contract, an equal or longer time is devoted to modification than to refinance.
The bank cannot help taking the view that if modifications (very small matters) are celebrated by one bell, one pageant, or one ceremony, the re-assessment and refinance (a very great matter) should be preached to the accompaniment of a hundred bells, a hundred processions, a hundred ceremonies.
The treasures of the bank, out of which the dispenses of foreclosures, are not sufficiently spoken of or known among the people of America.
That these treasures are temporal are clear from the fact that many of the banks do not grant them freely, but only collect them.
Nor are they the merits of business and the worker, because, even apart from the banks, these merits are always working guilt in the inner man, and working the cross, death, and hell in the outer man.
America said that the middle class were the treasures of the country, but they used the term in accordance with the custom of a past time.
We do not speak rashly in saying that the treasures of the banks are the keys of the banks, and are bestowed by the merits of government.
For it is clear that the power of the banks suffices, by itself, for the remission of penalties and reserved cases.
The true treasure of the banks is the government bail-outs of the usury and the bonuses of banks.
It is right to regard this treasure as most odious, for it makes the first to be the last.
On the other hand, the treasure of bail-outs is most acceptable, for it makes the last to be the first. (It's the peoples money.)
Therefore the treasures of the banks are nets which, in former times, they used to fish for men of industry and promise.
The treasures of the mortgages are the nets which to-day they use to fish for the wealth of the middle class.
The mortgages, which the banks extol as the greatest of favours, are seen to be, in fact, a favourite means for money-getting.
Nevertheless, they are not to be compared with the grace of America and the compassion shown in small communities.
Agents and senators, in duty bound, must receive the commissaries of the bank indulgences with all reverence.
But they are under a much greater obligation to watch closely and attend carefully lest these men preach their own fancies instead of what the people commissioned.
Let they be anathema and accursed who denies the apoplectic character of the mortgage holder.
On the other hand, let him be blessed who is on his guard against the wantonness and license of the banks words.
In the same way, the bank rightly excommunicates those who make any plans to the detriment of the shareholders.
It is much more in keeping with their views to excommunicate those who use the pretext of common sense and hard work to plot anything to the detriment of holy foreclosure and usury.
It is foolish to think that bank loan modifications have so much power that they can absolve a man even if he has done the impossible and kept current with his payments.
We assert the contrary, and say that the banks government-imposed loan modifications are not able to remove the least venial of sins as far as their guilt is concerned.
When it is said that not even Alexander Hamilton, if he were now CEO, could grant a greater grace, it is blasphemy against Alexander Hamilton and America.
We assert the contrary, and say that he, and any bank whatever, possesses greater graces, viz., the law, fiduciary powers, gifts of forgiveness, etc., as is declared in I Corinthians 12 [:28].
It is blasphemy to say that the insignia of Wall Street with the corporate logos are of equal value to Old Glory, which lies on the coffins of soldiers who died.
The senators, congressmen, and judges, who permit assertions of that kind to be made to the people without let or hindrance, will have to answer for it.
This unbridled preaching of foreclosure makes it difficult for learned brokers to guard the respect due to the banks against false accusations, or at least from the keen criticisms of the laity.
They ask, e.g.: Why does not the banks liberate everyone from foreclosure for the sake of economic recovery (a most holy thing) and because of the supreme necessity of their coffers? This would be morally the best of all reasons. Meanwhile he redeems innumerable homes for money, a most perishable thing, with which to build Wall Street, a very minor purpose.
Again: Why should funeral and anniversary masses for the foreclosed continue to be said? And why does not the banks repay, or permit to be repaid, the bail-outs and bonuses instituted for these purposes, since it is wrong to pay for those banks who are now redeemed?
Again: Surely this is a new sort of compassion, on the part of America and the people, when an impious business, an enemy of America, is allowed to take money to foreclose a home, a friend of America; while yet that devout and beloved American is not allowed to be redeemed without payment, for country's sake, and just because of its need of redemption.
Again: Why are the penitential mortgage laws, which in fact, if not in practice, have long been obsolete and dead in themselves,—why are they, to-day, still used in imposing fines in money, through the granting of loan modifications, as if all the penitential mortgage laws were fully operative?
Again: since the banks income to-day is larger than that of the wealthiest of wealthy men, why do they not bail-out their own business with their own money, rather than with the money of indigent Americans?
Again: What does the bank remit or dispense to people who, by their perfect patriotism, have a right to plenary remission or dispensation?
Again: Surely a greater good could be done to the country if the banks were to bestow these remissions and dispensations, not once, as now, but a hundred times a day, for the benefit of any American whatsoever.
What the banks seeks by foreclosures is not money, but rather solvency; why then do they suspend the modifications and refinances formerly conceded, and still as efficacious as ever?
These questions are serious matters of conscience to the laity. To suppress them by force alone, and not to refute them by giving reasons, is to expose the government and the banks to the ridicule of their enemies, and to make American people unhappy.
If therefore, loan modifications and foreclosures were preached in accordance with the spirit and mind of all Americans, all these difficulties would be easily overcome, and indeed, cease to exist.
Away, then, with those banks who say to people, "Peace, peace," where in there is no peace.
Hail, hail to all those prophets who say to America's people, "Liberty, Self-Determination" where there is no liberty or self-determination.
Americans should be exhorted to be zealous to follow the constitution, dreams, and their head, through penalties, deaths, and hells.
And let them thus be more confident of entering solvency through many tribulations rather than through a false assurance of government protection.

The Tap Room Trio Liner Notes

2011-12-06T09:06:00.002-05:00

Here are the liner notes that I wrote for a good friends recent CD/Flash Drive release. Please read and comment. Then go to their fan page: http://www.facebook.com/pages/Tap-Room-Trio/202170093147342 and listen. Thanks.

Tap Room Trio:

Grown in a shack of South Jersey woodchips, honed on the workbench of New Hampshire attitude and matured in the kiln of West Philly motivation, Dave Mattock and company have taken what was left of jukebox groove, twisted out the nostalgia, and un-seized the pumping engine of funk lust. 3 years and a lot of sweat went into the production you are now hearing. From NYC to Rehoboth to Nashua, The Tap Room Trio has overdriven their music into all quarters left for dead. Nowhere can their sound be found that isn’t mindful of the whiskey and dirty jokes their followers love. Without the nasty, you’re just hearing lame ass jazz. The Tap Room Trio is NEVER without the nasty.

The duality of the Tap Room Trio is apparent on this drive: two sets, two bands. Such diversity would pull apart the less attuned ensemble but the denominator of Dave Mattock holds together what no man can put asunder. Mattock is the epitome of duality, his hands separate and rejoin on the organ with the finesse and cruelty of opaque lovers fighting in the dark on the other side of the bar, sounds that seem to dance and battle with the purpose of making up, but continue to fight anyway (it makes getting back together that much better.)

Aided first by Matt Smallcomb and Jason Klinke (drums and guitar, respectively) the trio attains intuitive balance, earthy flow and passionate sparring through each selection. They function with the lilt of steeplejacks on a 7-day bender, never looking down, back or up. Always forward.

The second trio: Mattock, Josh Orlando and Greg Kettinger (again, drums and guitar, respectively) choose to surgically eviscerate each selection with the accuracy of blokes shooting Fives, laughing at the cadaver of time and harmony they are using for a foot rail.

Don’t be fooled by The Tap Room Trio name. “Trio” may conjure late night sessions, smoky bars, fedoras, and martinis in hand for the over-romanced, nostalgic, jazz wanna-be. If so, you are in the wrong place, my friend. This is modernity of music, mind, and madness. A cascading flux of funk and soul with the hardcore improv heart of a busy city street – like staring out the window of the express on the El, hundreds of stories whizzing past you - different tales, same moral.

Rob Smith

December 5, 2011

All is Wells Fargo That Ends Well.

2011-09-08T14:41:00.002-04:00

"I need to remind you that this is an attempt to collect a debt."

Damn, I thought it was to remind me how awesome I am and that my future is brighter than the sun gleaming off a banker's bald head in the Caribbean.That is what I first thought, but life is funny and you never know with who you may develop a long relationship.

My mortgage company loves me. It must. They call me every week. Sometimes everyday. They talk very nicely to me, as well. They appreciate my courtesy and restraint when discussing such tender matters. But I wonder if it isn't just a ruse. I keep putting out but the relationship doesn't progress. I'm starting to feel that this is all very one-sided. They ask me for things all the time. Oh, they ask if I can send my documents right away because their underwriters, if I am to judge by my ~~girlfriend's~~ agent's tone, are apparently feeling unrequited and anxious in the basement, eating nothing but skittles, Big Macs and cold cappuccinos, longing for my correspondence. I can see my picture sitting on their desks with lipstick smudges all over.

"We need all W-2s from the past year as well as an expense sheet that calculates your monthly expenses with any items that you have expended money on in the past month. Also, we need your car tire pressure estimated to the highest PSI you feel it has achieved in the last two years. Plus a hardship letter explaining, in very brief detail, your, uh, hardship. All pages must be signed and dated by all current household members, past or present."

Lather, Fax, Repeat.

They ask for something new every time they call. But then after three months they repeat the same list over again. And I send it to them with my typical casually restrained demeanor. I stroll to the fax machine like a late night rat packer, calmly putting the required papers in the fax machine like a roofie in a loan officers glass, while glancing over my shoulder wistfully. "Aaahhhhh" I say as the papers gently glide through the antiquated communicator, visualizing the smudgy goodness they are soon to receive. I thank them for allowing this ritual to repeat itself bi-weekly.

But I don't possibly see how they could keep losing what I sent already! Are they so careless as to misplace these valuable documents? Do they become bored with them once the scent of my hardship has worn off so they need fresh ones? Perhaps they are still in awe of the strange machine that delivers a piece of paper to them? Or, maybe, just maybe they are having fun at my expense? But no! The thought would crush me! We love each other! This is not some blind Facebook romance enacted by a pretty tween-er pretending to be a rough banking agent, could it? I must be getting paranoid . . .

Anyway, I will play this game. These people have worked their way into my life and my heart. I anticipate those magic words every lovelorn human longs to hear:

"I need to remind you that this is an attempt to collect a debt."

The Risk of No Risk.

2011-09-06T21:54:00.001-04:00

Jump. Do it. I dare you. Jump. What are you scared of? Come on, do it! Now!

Ever hear that as a kid? Standing on a wall or on a diving board, staring into the unknown - potentially painful - abyss. Did you jump? And if you did, did you do it because you were pressured into it or because you really wanted to know what it would be like? Did you not jump? Why?

Maybe you didn't because it was too risky. You were scared of the outcome and didn't want to get hurt. It's a very natural reaction. But you know what? Risk really doesn't exist! It's a concept that has no grounding in truth or reality. It's based on the idea that a certain act will bring about undesirable results. We tend to view those results as final - I do this, I might get that. But this is not true. "Results" are seen as terminal. Nothing happens afterwards - "We have the final results in." Not true. Results are fluid and open to interpretation. Bear with me and I will explain why.

Going back to the original story: say I jump off the wall and break my leg. I might be asked why I took the risk. "Didn't you think you might break you leg?" Sure I did. But ask me again in a year, two years what I think. Breaking the leg is not the end result of the risk. The results are still being realized. Do you see the connection with who you are now and what happened years ago?

An example: I break my leg. I am laid up at home for 6 weeks nursing back to health. During that time I think. I read. I talk to people. I watch some TV. And maybe, just maybe, one of those things changes my view of things. I read a book that makes me reconsider career choices. I watched a program that tapped deep emotions. I have long conversations with my mother or father, enriching our relationship. All these things would not have happened without "taking a risk" and they all have continuous ramifications that impact me to this day.

So the results of a risk are really not results but rather a new set of events that are continuously happening and, thus, creating new opportunities for other "risks" to emerge. I am still living with the results of risks I took 30 years ago. (Or I should say events, not results?) Looking back, those risks really weren't very risky. They were just decisions. Anything we do can have undesirable results, risky or not. They seemed risky at the time because of my fear of the unknown or of failure. But we tend to inflate those emotions, do we not?

So we can say that results (newly created events) = change. "Results", if we are to define this word, are the end of one event (or series of events) and the beginning of the next. It really is a spark that lights the path to change.

How does this information empower us? Can we use this knowledge to our benefit?

In this day and age people are worried, scared. Economic situations are paralyzing people, stealing their confidence and preventing them from enacting events that could change their lives - for the better. We get a "hunker down" attitude when things are (perceived as) difficult. But it is during those "difficult" moments when change can be enacted easiest, when risks can be attempted with nothing to lose. The only thing that stops us is the fear of change. So it stands to reason that because unwanted change caused our situation, why would we invite more change to further add to our misery?

This is counter-intuitive. You must release the thought that you can somehow prevent further events from happening by hunkering down and avoiding further change. Change got you in. Change will get you out. If you have recently gone through a tough time, try something crazy like a new career, investing in something or finding new friends. Shake you world up and take a risk! Avoid panicked, knee jerk reactions such as finding a job you know you don't want or buying something you know you don't need. Use the instability in your life to spur you on to your dreams. Move to another place, seek new opportunities. Take a risk! Battle change with change!

How do we get to the point where taking "risks" is normal for us? By viewing ourselves as the instigator. Many think change is something that just happens randomly and, admittedly, it can seem that way. But we control our reaction to change. We may even have had something to do with it occurring in the first place based upon our thoughts. But take the stance of initiator. "I will enact change in my life." Don't wait for it to happen. Now you are in the position of power. Remember this formula: (risk(change) + confidence) attitude = events. The attitude will determine the relative positive or negative nature of the event. The greater the amount of change and your confidence about that change, times your positive attitude, will equal life altering events - for the better.

Promise yourself you will do something different today; you will take a "risk" and enact "change." And promise yourself that, regardless of the outcome, you will maintain a positive attitude throughout. Just pick one simple thing to change in your life. It could be something you thought about doing for years or it could be totally spontaneous. Just realize it is you making the decisions.

What risk is there to worry about? You trust yourself, don't you?

Jazz, Music, Media and Popularity.

2011-07-23T16:02:00.001-04:00

In a recent blog post, I shared 10 reasons why people don't like jazz. It documented the results of an informal survey that I administer every semester in a Music Appreciation class. Needless to say, the reaction to that original blog post was surprising. [Read it here: http://jabondo-thestateimin.blogspot.com/2011/06/top-ten-reasons-people-dont-listen-to.html] Many felt frustrated and insulted by the post. Others, slightly amused. Posting such a list may appear to serve no purpose other that to get a laugh out of a serious art form or to chuckle at the ignorance of a student population. Whatever reasons readers of the blog felt were intended, the real result has been to stir a curiosity in me to examine further the underlying issues revealed by such a topic. So I now will be embarking on a new project related to these issues. And, although it may seem risky (or just plain stupid,) I have decided that this new project will be created online through my blog. What is this project? Read on . . .

Topic: Why is Jazz less popular with the general listening audience in the United States than other musics? What I hope to discover are the reasons why Jazz music - in it's current state - is not more widely accepted in the United States. This will not be a historical review of when Jazz was popular and how it fell out of favor nor will it be a criticism of current Jazz trends. It will look at current media trends, how other genres utilize media resources, current popular beliefs about Jazz, possible alternatives to presenting Jazz to the public as well as exhorting the lesser known qualities of the music of which many unschooled listeners are not aware. Overall, information and ideas may be gleaned as to how all musics achieve various status among listeners and how those musics react/respond to changing tastes and technology.

Because this will be an evolutionary process utilizing this medium, ideas may change, topics may shift, and research may not pan out. All before the eyes of the reader. Opinions are welcome throughout the process. The greatest service this real time thesis can perform, I feel, is the opening of dialogue amongst musicians and non-musicians, jazzophiles and jazzophobes, lovers of music and masters of media.

I hope you are willing to indulge me and participate in this creation.

To facilitate this project, I have created a survey. Please follow the link below and fill out the survey. It will only take a few minutes. The survey was created with very specific goals in mind with certain limitations. Some that have taken it commented/criticized specific lines of questioning and options they were allowed to choose. It is all by design so have faith - you will see how all the information plays into this project. Please answer ALL questions to the best of your ability. And away we go . . .

http://www.surveymonkey.com/s/5BQ7QZF

A Father's Day Dilemma - The Childless Family

2011-06-24T12:25:00.000-04:00

A possible Father's Day conversation:

Mom: "Thanks for having us over for Father's Day. We really enjoyed it and the food was great! Your father is really happy."

Me: "No problem. It was worth it."

Mom: "Wouldn't you like to have someone do this for you someday?"

Me: "Uh, I, uh . . .well, maybe, I guess?"

Mom: "Well you can't if you don't have kids."

Me: "Yeah, I guess that would make it kind of tough . . . "

Mom: "Well?" (Staring at me knowingly.)

Me: (to myself) "Ugh!"

And hence, the Father's Day dilemma. To celebrate the Father when you have decided against being one.

So, what is the real dilemma?

My wife and I made a decision to not have children. Ever.

We have intentionally excluded ourselves from perhaps the largest group of people in the world.

It seems counter-intuitive. Don't you want your bloodline to continue? Don't you want to see your visage in the face of another? Don't you want to nurture the unlimited potential that exists in every newly formed individual?

How about social norms? Has our decision excluded us from assorted social opportunities i.e.: school functions, athletics, and other acts of commiseration with parents?

For myself, the answer is no to the above questions. Let me explain why and remember, these are my opinions, not my wife's.

1. I don't need to know that my bloodline will continue. I accept the fact that at some point, ALL bloodlines end. I think I am way too humble to think of myself as part of a bloodline. Too monarchical for this guy.

2. I could joke about how no one would want to see my face in another, but really, I don't. I sense a need from many people to vicariously live through their children, to try to correct mistakes (or avoid them) that occurred in the adult's past. It is more than just the need to physically see themselves in another and is more about re-living a life that was, perhaps, unrealized.

3. I am a teacher. Everyday I help nurture and foster potential in others. It's what I do. Would it be different if it were my own children? Sure. But I am happy helping others achieve their dreams with the ability to stand back and watch objectively.

4. We have been excluded from social circles we used to associate with. Friends had sworn that having children would not affect our relationship with them. This was not true. We harbor no resentment towards them - we understand the time constraints. Going out at 10 PM on a week night just won't work anymore (for them.) Nor will the spontaneous Barbecue we throw together at the last minute. This is all understandable. It is the complete lack of communication that is so off-putting. No calls or emails. No messages. No kids - no talk.
(I do have to say that not all of our friends with children have done this - you know who you are!)

THE CONUNDRUM.

Broaching such a topic will always lead to a circular argument. If you never have kids, how will you ever know if you really want them or not? I compare it to authors that write about the experience of war but were never in a war. How do you really know what it was like?

And thus we have the conundrum of our decision. We never really know if we want kids until we have them and then, it is too late. Hello, gut decision. We have to go with what we feel. My wife and I check in with each other on this subject occasionally.

Me: "You want to have kids yet?"

Wife: "Nope."

Me: "O.K."

We do have an alternative. Adoption. This can happen at any age for both parents and child. My wife was adopted so it is something very close to us. This, I admit, makes our decision seem less profound and permanent.

But it is never so simple as just making this decision and everyone supporting it. We have been interrogated about it. Family and friends teeter between "good for you for making such a bold decision" and "don't you want to have a family?" And I admit, the majority have been gracious about it. But that last statement really sticks in my crawl. "Don't you want to have a family?" You mean, we aren't one yet?

So I ask the question:

Without children, are we really a family?

THE SCIENCE.

Definitions of family vary. The Pew Research Center conducted a survey with interesting results:

So the majority would say we are a family. Whew. I feel like we passed a test.

Family is as much an attitude as it is a physical presence. Anyone have siblings you can't stand and never talk to?

I looked up some definitions of family and I have to say, you can read a lot into these definitions:

A FAMILY IS:

1: A group of individuals living under one roof and usually under one head.

A group can be two people, right? And we count our dog, two cats and rabbit (and one particularly big spider that lives behind the washer in the basement.) Yes, we are THOSE people. Animal people.

Hey, they don't talk back! A truly vanilla definition that applies to all.

a : a group of persons of common ancestry.b : a people or group of peoples regarded as deriving from a common stock.

O.K. So my wife and I DO NOT have common ancestry (thank god) or else people would really look at us weird. Our stock would probably only get $0.01 a share. This isn't us.

3: a group of people united by certain convictions or a common affiliation.

My wife and I share many convictions - she's convinced I do nothing around the house and I'm convinced she hides my stuff when I'm not looking. But we do have many common goals and long term plans that would be impossible to accomplish without one another. We count this one.

4: a group of things related by common characteristics: asa : a closely related series of elements or chemical compounds.b : a group of soils with similar chemical and physical properties (as texture, pH, and mineral content) that comprise a category ranking above the series and below the subgroup in soil classification.

O.k. so this one is a little weird. We both have eyes and ears and stuff so we share that. But this defies our inclusion of animals as our family. Or not if you've seen me when I don't shave. And sometimes I feel like a subgroup of a soil. So I'm counting this one.

a : the basic unit in society traditionally consisting of two parents rearing their children; also : any of various social units differing from but regarded as equivalent to the traditional family.b : spouse and children.

Rats! We get hosed on this definition. But the "any of various social units differing from but regarded as equivalent to the traditional family" really opens up the door to possibilities. What about single parent households? Issues of gender? Sexual orientation? No biblical definitions are going to hold us down! I get half credit on this definition.

a : a group of related plants or animals forming a category ranking above a genus and below an order and usually comprising several to many generab in livestock breeding (1) : the descendants or line of a particular individual especially of some outstanding female(2) : an identifiable strain within a breed.

My wife says my strain of breed is completely unidentifiable. I tend to agree. And where does under-employed drummer rank in terms of genus and order? Together, I do think we define our own rank and category within the greater human population. Latin name: Humoricus Idioticus. Oh yeah, we got this one.

7: a set of curves or surfaces whose equations differ only in parameters.

My curves and surfaces are waaaayyyy different from my wife's. My girth denies any parameters set by equations. I have to say this applies to us because, although we look different, we do equal out.

8: a unit of a crime syndicate (as the Mafia) operating within a geographical area.

Anyone that has seen me drive in my neighborhood will agree with this. Further, our dog apparently has his own protection racket: I have seen him bribed with treats so he doesn't eat a neighbors cat or take a chunk out of someones ass. My wife's cooking ability is criminal. I've seen her burn water when she tries to boil it. So yeah, this is us.

So we get 6.5 out of 8 in the family definition test. Take the test yourself and see how you compare. Hopefully 6.5 is enough to convince people that we are a family and not just a shadow of one.

ARE WE SELFISH?

The decision to not have kids can be seen as a selfish act - we are simply too wrapped up in ourselves to give the gift of life, time, money and energy to another. An argument can be made for this. We don't want to be burdened with these things. We want to enjoy our lives together and we want to have the freedom to pursue our whims. Are we less human because of it? No. Just more sure of ourselves. Our desire to focus on us has allowed us more time to help others in times of need and solace. As I stated earlier, I am a teacher and will always devote as much time as possible to the student to see them grow and gain confidence. My wife is a veterinary nurse (I know, big surprise) and has devoted her life to caring for patient AND owner. Being childless has enabled us to devote our energy to others. This defies the definition of selfish.

So that was the dilemma that produced this outburst. I hope maybe we see more clearly how the tree of greatness is grown from the seeds of diversity which includes the childless family. Our contributions may not manifest themselves in a physical being but will manifest in ideas, emotions and company.

So, for all that, Father's Day was great. Both Dad's came over, we grilled, we drank, we ate, we laughed. The weather was beautiful and no one cared that the Phillies were on all through dinner. And if I had kids, I never would have had time to plan it.

Here's to ALL Moms and Dads.

Avoiding Burnout (Part 7: How to start, build and maintain a successful teaching practice.)

2011-06-09T10:09:00.000-04:00

Is there such a thing as too much success? As working musicians we tend to think not. Honestly, how many times have you actually said “no” to a job offer in the past year? We know that work as a musician can be difficult to find and we never want to turn down an opportunity. Who knows when the next one will come along? The same holds true for teaching – we will just keep accepting students until that little schedule book is absolutely filled! So why be concerned with burnout when things are going so well? Well, burnout is not something that happens over night, it is a process that slowly grows and begins to affect your attitude, outlook, personality and happiness – all before you realize its happening! Many view burnout as that moment when you just throw your hands in the air and yell “enough!” But those around you, including your students, may begin to see the change before you do, and that could have serious consequences. Here are a few things to look for and how to remedy them before you hit bottom.

First take a mental check of yourself when you get up in the morning (or afternoon). Do you dread the day that is about to happen? Do you already look forward to being finished teaching before you even start? Listen to your thoughts! We all have days when we don’t want to get out of bed, but if you have this feeling every day for a month, something is wrong. Sit down and decide what it is. Does one particular student give you a sense of dread? How about the commute? Maybe you overbooked yourself and are stressing out about how to make things work? Try to work out the issues by zeroing in on the real problem. Don’t confuse the symptoms for the illness.

Many times we get frustrated with our students. Progress is slow, attitudes range from combative to indifferent, and the days feel monotonous. A few ways to break out of this pattern can be changing up your program. Throw the student a curve ball and tell him/her “Today you’re going to teach me.” Then have them go over the lesson you gave them, explaining the different components of the exercise. Or pull out the CD player and analyze a song: Where is the snare drum? What kind of beat is being played? How many guitars do you here? What are the lyrics about? Keep asking questions, lead your student to the correct answer, and get them thinking about what they are hearing. Sometimes these little diversions can lead to great discoveries.

Perhaps a student is a disciplinary problem. Address this immediately with the parent. Bad behavior and bad attitudes will just get worse if you do not fix it immediately. You are better off letting go of a student like this than banging your head against the wall every time he/she walks into your room. Have a disciplinary plan in place to avoid such situations.

Is your teaching starting to feel like an assembly line? A student comes in, a student goes out and you get into the mode of cranking out students in a cookie cutter fashion. You may have too many students and you have become more interested in quantity rather than quality. Teaching eight hours a day, six days a week may seem like a dream come true but can quickly become a nightmare. This type of scheduling is doing a disservice to the student because you cannot focus on individual needs. How can you possibly keep track of so many different people, what they are doing and what they need?!

This may sound crazy, but don’t completely fill your schedule! You need time to relax and think about your students needs. I keep my practice relatively small so that I can focus on each individual and assess where they are and how to proceed. This is teaching for quality rather than quantity and will result in a much better word of mouth reputation for you. Yes, it may seem contradictory but the more manageable you keep your schedule, the more you will keep working.

My greatest example for this point: my father is a landscaper who has been in business for over fifty years. I used to watch as he meticulously trimmed hedges and managed gardens at his own pace, giving incredible attention to detail and maintaining a smooth, even pace. Other landscapers I saw would rush in, cut everything up, and rush out, giving minimal care with maximum efficiency. Their work reflected their attitude – acquire as many customers as possible, give the minimal amount of effort, collect the check and get on to the next place! Needless to say, at 75 my father is still working every day of the week (even in the winter) and has never come close to burning out. Quality is high, stress is low, and he is constantly being solicited for work. And believe me, he has seen many landscapers come and go.

The moral: pacing is the key. Don’t overwork yourself because you feel every hour of every day needs to bring in money. I always tell myself that my family and I will always have a roof over our heads and food to eat. And that is all we really need.

Think about how you book yourself, as well. I literally have been in the situation where I would play a wedding in the afternoon, rush over to a client’s house to give a lesson, and then rush out again to play another gig. Yes, again this sounds like a dream if you have never done it but believe me it will wear on you quickly. Don’t schedule so tightly that the slightest mishap (say, a long traffic light) will throw off your entire schedule. Always allow time between students for traffic problems (whether they are coming to you or you to them), conversation (Yes, talk to them outside of the classroom after the lesson!), or to maybe give them an extra few minutes when things are going really well. The little breathing space will give you time to reset yourself and start contemplating the next student.

The life of a private teacher is varied and unpredictable. Like my father, I have come to realize that teaching, like landscaping, is seasonal. The school year hums with students but the months of July and August can be dead. Plan ahead. Anxiety and worry about finances can be a major contributor to burnout. Stash money away for the lean months and use those down times to re-asses your teaching and develop new ways of advertising. Put off buying new gear until after you have gone through a yearly cycle. Make note of student number trends so you will have information to prepare and get you through the rough times. Every private business has ups and downs – do some research and see how they deal with it.

And number one: go back to why you decided to do this in the first place. Is it still better than your job in the cubicle? Would you rather do something else? Make comparisons to other occupations and see if life would be any easier in those jobs. Probably not. So don’t panic, we are only human and will occasionally doubt our decisions and wonder “What am I doing!?!” This is normal, so stop and take a vacation occasionally. You won’t go under. When I ask my Dad why doesn’t he try to make more money he says, very calmly: “In a hundred years, it won’t make any difference.”

Top ten reasons people don't listen to jazz. (from an informal survey.)

2011-06-03T09:35:00.002-04:00

Here is a list of replies I got when I polled a class about what they don't like about jazz. These are not my words but real answers I got from students.

10. It's confusing.

9. The sound quality sucks (talking about old recordings.)

8. No one else listens to it!

7. The instruments remind me of marching band.

6. There's no words.

5. It's boring.

4. It reminds me of my grandparents music.

3. It sounds out of tune.

2. It's too long.

1. There's nothing to look at.

Maintain and Expand (Part 6: How to start, build and maintain a successful teaching practice.)

2011-06-02T09:02:00.000-04:00

So you have finally done it! You started your teaching practice, you quit your day job, and you are following your true bliss. Now what? Well, one option is to stay where you are, sit back, relax and keep everything just the way it is. Or, you can be extremely proactive and start searching for other avenues to expand your business.

In the business world, the thought is when you are at your most successful, it is time to enact change. Now is the time to experiment with different ways of marketing your practice, different styles of teaching, and different instruments to teach. Truly successful businesses invest in research and development to make sure that they stay on top of the market and keep a clear vision of their future - where they want to be in the next few years. It is extremely dangerous to assume that your business, now established, will just keep coasting along. Demographics change; students get older and move away; economies slump making music lessons a “luxury” (usually the first thing chopped out of the budget). Too many good businesses have gone under because of the lack of foresight. Here are some things to help avoiding that.

You may have noticed that from week to week your numbers fluxuate by a student or two. This is normal and, usually, when one is out, another comes in. Over the long haul, however, your numbers may dip because you lose students without replenishing. This could happen for many reasons – graduation, economy, or even a shift in music interest by the populace (I call this the “American Idol” effect – everyone wants to be a singer!) You need to start setting up a plan to keep your name out there and adding one or two new students intermittently. We are not talking about trying to seek out twenty new students in one shot (that would cause problems unto itself), but simply keeping your average number of students steady.

One plan I came up with was turning the customer into my employee. I offer an incentive for current students: give me one referral to a new student and that referring student gets a free lesson. This has worked wonders with students and their parents. The thought of receiving a free lesson from a trusted teacher can be incredibly motivating. Also, if the student really enjoys their lessons with you, they get the feeling of contributing to something worthwhile. For you, you not only get an agent working for you but also the most valuable endorsement in our business: word of mouth recommendation. You may even find yourself creating a waiting list for new prospective students – yes, if parents and students think you’re worth it, they will wait for an opening in your schedule!

Look into different locations. Are all your students in the same school district or town? Try looking in other areas, contact the band director of a different school district (as we already discussed), and try to get one or two students on an off day (Sunday morning, maybe). Start making inroads in this new area. It could take up to eight months to have a decent schedule set, so be patient and keep working that one area. Be sensible about the geography, however. You don’t want to drive an hour for a half hour lesson just to start in a new area.

Seek out areas where communities congregate such as libraries and community centers and offer to put on a master class in drumming, a drum circle, or better yet, set up a student recital so everyone can see the great work you are doing. Remember to have all your promotional items ready to go and give away things (drumsticks, picks, strings, stickers, business cards; whatever they can take home with them so they will remember their experience).

Don’t recognize anyone there? Then you need to evaluate your standing in your community – do you only come outside to pick up your newspaper or are you well known amongst your neighbors? It sounds simple, but make sure everyone knows what you do for a living. Volunteer for something or join a committee! (And remember my other idea – volunteer at your local school to judge competitions.) Your stock will rise, your business will grow and you’ll be contributing to your community.

This ties in with becoming more inventive with your marketing. Again, the standard flyer on the wall generally does not produce great results. Many communities have small local papers that run stories on local businesses. That’s you! Contact a staff writer and play up your community involvement and try to get a story written about yourself and the great things you are doing with your students. Use it to promote your recitals. Is there a small business bureau or chamber of commerce in your town? If so, then join it – the contacts you make with other businesses can greatly impact your own. Many teachers tend to forget that they are business people as well as musicians. You need to get in the business mindset when developing your practice. Do what other businesses do and network! Connect with other private teachers in your area (if for nothing else, then for the great stories you can tell each other). I have gotten many referrals from fellow instructors who teach other instruments.

This brings me to my last point: PLAY ANOTHER INSTRUMENT! I have seen so many teachers lose students because they cannot play other instruments OR play in another style. Drummers: can you play mallets or timpani? Guitarists: how about banjo or mandolin? Woodwind players should keep up on their doubling and so on. And NEVER say you only teach one style ("I'm just a 'rock' guy.") If you are famous and have a specific technique or style that people want to learn, you may be able to get away with this. However, when starting a new teaching business you need to be as multi-dimensional as possible to attract more business. This does mean that you will need to practice another instrument. I know, I know; who has time for that? It’s hard enough finding time to practice your main instrument. But check this out – learning another instrument actually makes you better on your main instrument!

Case in point: I had the opportunity to grow my business exponentially if, at the request of a local band director, I would teach mallets and timpani as well as snare and drum set. I immediately picked up a marimba and started practicing, even taking lessons for mallets and timpani. In the first few months (after I shed my tail off!) I added ten students and as word got around those jumped even higher. And not only has it improved my business, but now, after nine years, I’m pretty good and I get calls for a wide variety of gigs using these instruments. My knowledge of music theory expanded, I never get lost when playing jazz tunes because I can hear things much clearer, my soloing is more melodic and best of all it’s a helluvalotta fun! Oh, did I mention the confidence boost it will be?

Every challenge you face is an opportunity. Never be afraid to try something new in your business ventures – this is how trends are made. You set your own limitations so be open- minded when opportunities present themselves. Your business will grow, your musicianship will grow, and you’ll probably end up meeting and making a lot of new friends. Remember my favorite saying: “Plus Ultra” which is Latin for “More Beyond” - there are no limits.

Evaluating Students (Part 5 of How to Build a Private Music Lesson Practice)

2011-05-14T10:09:00.000-04:00

People are judgmental. I know, that’s a real shocking statement but I don’t mean it in a negative context. I mean we, the human race, are constantly making judgment calls. From what shoes to wear to how much gas should I get to which house should I buy – we are constantly making large and small decisions that influence the path we are going to be taking in our lives. Now if we stopped to analyze every one of these decisions we would be paralyzed – can you imagine deeply analyzing the decision to get the soft or hard shell taco?!? No, you can’t.

There are some decisions, however, we make that do need analysis, such as buying a house or a car. Or the decision on where to begin a new student.

We, as teachers, love getting new students. Not only for the financial gain but because we see a new student as an empty glass waiting to be filled by our knowledge. We feel empowered with the ability to take this student and turn them into the next greatest musical phenom in the world. But before we do that we need to judge them; we need to evaluate them; we need to decide what is best for them.

Let’s start with the brand new student who has never played before in his life. This should be easy – no experience at all, just start them off from the top. We begin by showing them basic music terminology – what is a measure and a barline, what is the time signature, and a basic rundown of all the notes and rests. You may not realize it but your evaluation has already begun. How quickly is the student picking up this new information?

Now show them how to hold the instrument and play simple whole notes – slowly. Is this easy or is it labored and difficult? Is there a feel for how the instrument works? Or does it look like they are wrestling it into submission? These small tests will give you an idea of how you should progress with this student, if there is a natural feel for playing, or if you will need to move slowly and give less work in the beginning. There is nothing wrong with starting slowly: I have seen students that had trouble for months just holding the instrument, become great players. It takes patience on your part to stick to your program and not give up on them. You have evaluated their ability to learn, not just play, and with that evaluation you can gear a program especially toward that student to help him in his goals.

The student that has already taken lessons can be a bit trickier in evaluating. Not because the evaluation is more difficult but because there are certain expectations and maybe even some ego added in. With this student I break my evaluation up into three parts (I am going to use drumming as an example since that is what I teach most frequently): reading, technique, and coordination. First I begin the student with reading whole notes, half notes, and then quarter notes and their accompanying rests in quarter time. Upon passing that I move to eighth notes and rests, then sixteenths and rests and so on. All the time I make them count out loud – do they really understand how the notes function and how to count them? Wherever there is the slightest hesitation, I make that the starting point.

Next I view their hands – they play a double stroke roll from slow to fast for me. Here I pick apart the individual components of good technique: wrists, fingers and arms. Do they use their wrists more or do they switch to their fingers too early? Do they use their fingers right out of the chute? Are they using their arms to get faster? Do they understand how to bounce or are they picking up the sticks? A simple double stroke roll can reveal a lot. Next is the coordination i.e.: the drum set. I ask for a simple rock beat. Is the timing right? Any hesitations? Then I ask for a drum fill (usually of the one bar variety) and evaluate if they can get in and out of a beat with a fill without timing issues. If successful I go to other beats (jazz, samba, etc.)

The real danger with this particular type of student is when they have been studying with someone for a while and they feel they know what they are doing, but the evaluation shows otherwise. Depending on their previous teacher they may have significant gaps in their education which, unfortunately falls to you to point out to them.

You need to be completely honest with the student about this; do not hold back for fear that you will lose the student. Nine times out of ten you will gain deeper respect from the student and they will (eventually) appreciate your honest evaluation.

I do have to say though, that nothing is worse than having to tell a student that they wasted their time with another teacher. You need to be diplomatic and positive in everything, regardless of the situation. Do not bad mouth the other teacher! This takes away from your professionalism. Never try to build yourself up at another’s expense – rely on your own good reputation to build your practice, don’t rely on someone else’s bad reputation.

An issue I would like to address that occurs within the evaluation is the subject of “natural talent”. We hear all the time “So and so has a lot of natural talent”. Don’t be sucked into this illusory rhetoric and change the way you work. Although a student may seem to pick up things faster make sure you are still evaluating their skills – not their “natural talent”. Fundamentals are learned, they are not inherent and you need to distinguish between the two. If a student does show the ability to play things that others struggle with, just run with it and speed up the program you work from. Be careful not to skip anything because you think the student will handle it easily. Test them to see if they do grasp certain concepts and then move on. Too many times teachers assume a student can do something without checking first. Make them prove they can do it!

As it has been said – hard work will beat out natural talent every time.

In closing, the evaluation of a student never really ends, it is a constant process that takes place every lesson, every minute. Our expectations and aspirations for a student needs to be tempered with the pure, objective eye of evaluation; we cannot allow ourselves to be pulled away from the two basic questions that we confront in every lesson: “What can the student do?” and “What does the student need?”

The Half Way Man

2011-05-06T07:49:00.000-04:00

There once was a man called The Half Way Man. Everything he did, he only did half way. When he would get a job it would only get half way done. When he would make a friend he would only be sort of friendly. When he would fall in love he would only say "I like you." The Half Way Man could never do anything all the way. He thought "If I only do this, I may miss out on that." So the Half Way Man always stayed half way from everything.

The Half Way Man never thought he was doing things half way. He thought he was getting things done. Lots of things. He would start a project here and then go to a project there. He would make plans with people and shake their hands. He would write things and read things and play things and stay very busy, busy, busy. Everyday he had long lists of things to do. Everyday was run - work - run - work - run - work. All week. All month. All year.

The Half Way Man would have great ideas. He would start things with people and tell them "I can do this." or "We can get this done together." Then after a while he would walk away and start something else.

People would ask questions. "Why don't you just finish the job?" or "How come this isn't done yet?" The Half Way Man would say "Don't worry - I'm working on it." But he was too worried about the other jobs he didn't finish. So the Half Way Man spent all his time rushing from one job to another. The Half Way Man just wanted to be a part of many things so he could feel important.

Once, a person asked the Half Way Man if he would like to help the kids in the town. The Half Way Man said "Sure, I can help. I can do everything for you! I'll help those kids get everything done."

So the Half Way Man started to work with the kids in the town. He made them show up at certain times and gave them lots of good work to do. And the kids loved the Half Way Man because he was fun and didn't yell or scream at them. They thought he was the coolest person ever.

But after a while the kids started to ask "When are we going to show the people in town how much we got done?" The Half Way Man said "Don't worry. I'm planning something where you can show everyone in town how much we got done!" The kids thought that was great and went back to work.

A few weeks later the kids asked again, "When are we going to show the people in town how much we got done?" Again, the Half Way Man said "Don't worry. I'm planning something." So the kids went back to work.

Finally, the kids asked the Half Way Man again "When are we going to show the people in town how much we got done?" This time The Half Way Man answered. "I'm sorry, but we ran out of time. We'll have to wait until next year. But I promise we'll show everyone how good you are then!" The kids walked away sad that they wouldn't be able to show everyone how much they got done.

The Half Way Man felt bad. But he went back to doing everything half way again. He kept saying "yes" and never said "no."

The Half Way Man wanted people to like him so he would tell them what they wanted to hear. "I love working with you. We should do more." But the more he did, the less he got done.

Then one day, the Half Way Man got a very important job. It was a job that all the grown ups and all the kids were counting on. The town was very excited. But the Half Way Man couldn't finish the job even though he said he would. The people got very angry and asked him "Why did you take this job if you knew you wouldn't finish it?" The Half Way Man started to give one of his answers but then he stopped himself.

He looked at the people. He saw how angry and upset they were. He stared at them. Speechless. For a long time. Not half way but all the way. Then the Half Way Man started to see how he may be hurting them. He thought "I may be keeping people from doing their work all the way." The Half Way Man started to think "Maybe I'm half of a bigger whole."

With a tear in his eye, the Half Way Man said, "I'm sorry. I didn't think I was letting you down. I meant to finish. I guess you need me to do things the whole way so you can do things the whole way."

But the people just shook their heads. They didn't believe him. All the way.

A Plan (Part 4)

2011-05-03T08:27:00.000-04:00

What is wrong with this scenario: a student walks into the teacher’s studio and, after exchanging greetings, sits down and prepares for the lesson. The teacher then turns to the student and says: “So, what do you want to learn today?”

If you are wondering what the problem is with that scenario, let me put it into a slightly different context for you. Imagine walking into a history class (in high school, college, grad school, whatever), sitting in your seat and waiting for the teacher to arrive. When he does arrive he places his briefcase on the desk, looks at the classroom and says, “So, what do you want to learn today?” My guess is that complete confusion would then envelop the class as everyone looks around in amazement and bewilderment wondering what to do next. Of course you would never see this happen in a classroom because the teacher needs to have a plan – a lesson plan; a curriculum. You may be thinking “Well that’s alright for a classroom of thirty people, but my teaching is private and one on one. We can keep things loose and open; more spontaneous – it’s more fun that way.” Maybe so in the short term, but, as I will prove, this is a short-sighted, dangerous strategy that will result in less students, less educated students and a damaged reputation on your part. All you need to avoid these problems is a plan.

I mentioned the word curriculum earlier and I want to give a proper definition of this word for you so that we are working from the same place together. Curriculum can be described as the regular or a particular course of study in a school, college, etc. A course of study. That phrase gives the feeling of purpose – moving from point A to point B in a well thought out logical manner. I am not saying that we need to come up with a course syllabus that outlines every move for the next year. What I am suggesting is that you have a definite vision of where a particular student should be headed and how to achieve certain goals. The student is looking to you to get them where they desire to be and you need to have their best interest at heart. By allowing them to dictate to you what to teach you are relying on a person with little or no experience to call the shots, in effect, allowing the inmates to run the prison.

A course of study will not be difficult to put together, in fact, you already have an idea of what to do from how you were taught by your teacher. If you were taught properly, you were taken through a series of exercises and routines that helped to develop reading, technique, tone, and coordination/repertoire in a methodical fashion, each exercise building upon the previous until a goal is reached. Usually this method requires books, CDs and other materials used in conjunction with one another to build an entire program from which you can develop and learn. The materials that you learned from can easily be incorporated into your teaching plan and honed and changed to suit your needs.

Now you are probably thinking “Great, all I have to do is copy what my teacher did and I’ll be a great teacher.” You can sense the sarcasm, can’t you? Things never work that easy so you are going to have to do your research and see what is out there for you to use. I will be the first to admit that I tried the above method and thought I was doing a great job of it, until I networked with some other, more experienced teachers and discovered my teaching efforts were marginal, at best. I started picking up different books, playing through them myself, questioning everything, and making decisions on what works and what doesn’t until I compiled a list I thought was effective to work from. This has produced for me a high success rate among my students which became great advertising simply through word of mouth. We have so many resources to draw from today that there really is no excuse for not being able to create a well-balanced, goal –oriented program that can address any problem.

I mentioned above three areas of practice that need to be addressed: reading, technique, and coordination/repertoire. I created three separate categories with which to focus my attention individually and developed smaller teaching plans for each item. For beginners, each item is absolutely necessary and I introduce them gradually – reading always comes first, then some technique and tone then, when those begin to get established, I introduce the coordination/repertoire (for drummers, this really means drum set for other instruments I mean transcriptions or etudes). As the student progresses through the three areas, the concepts from each one begin to merge more and more. I, of course, have simplified and condensed this concept but keep in mind, this is something that could, potentially, take years to accomplish depending upon the student.

Which brings me to my next point: every student is different, right? So how could we possibly pigeon-hole them into a seemingly "one-size-fits-all" program? Well, if you develop your plan well, you will be able to move around within your curriculum and use what only is necessary for an individual student, extracting what you need without losing your overall "big picture" goal. For example: you may have written down your curriculum down in a linear fashion as such:

This is fine for understanding what materials you need, but it gives a certain sense of dogmatic study. In other words, this is the order we need to work in ALL the time. However, try to think of your curriculum as separate groups that can be drawn upon in any order, depending upon the needs of the student:

Some books you may never even use for a particular person, but it is there if a problem arises. You can also consider the empty space around these items as your area to be creative – create your own exercises that address certain issues or use the books in a different way then the author may have intended. (I actually make my students, after studying with me for awhile, come up with their own exercises that address some weakness they find in their playing, using Syncopation or Stick Control. Many of these exercises I still use!)

Having a curriculum means having a framework from which you can always rely and which helps you maintain a focus of study within the classroom. I mentioned earlier that working without a plan can have serious consequences. Imagine if in math class one day you learned about addition, and then the next day you learned about fractions, and then another day you learned division. What do they all have to do with each other? Sure it’s math but how does one idea reinforce another? It’s the same with music. If you teach in a disjunctive way, you will never see the progress you want out of a student because ideas and concepts are never reinforced, creating a scatter-shot approach that may be “fun” in the beginning but ultimately will lead to frustration and eventual drop outs among your students and a not-so-good word of mouth reputation. Yes, learning an instrument can be hard work but developing and explaining your plan to your students will make them see that there is a big reward at the end for them. And when they see that, they will become more motivated and, more importantly, PRACTICE WITH A PURPOSE.

Where Do I Teach? (Part 3)

2011-04-25T13:01:00.000-04:00

The number of this installment in our series is Part 3, however it could easily be considered Part 2A, for this installment and the previous one (“The Start Up”) should be happening simultaneously. As you network and advertise you want to consider where you would most like to set up shop. You may ask the question “Where do I teach?” seems like a simple one – answer: “Wherever any one will hire me.” In desperate moments that may seem to be the only option, but it is not. If you are networking to the best of your ability, then you will discover that you have a few options as to where to have a practice. I have narrowed these options down to four: At Home, At A Store, At The Students House, and At A School. Lets explore these options.

At Home: Teaching at home probably already sounds like the greatest option: you set the hours, you save on gas, you can get a lot of work accomplished around your teaching schedule, and the students come to you. All true. The home studio is a great, economical way of running a teaching practice. However, there are certain issues that could inhibit your success we need to consider:

Think about location: are you in an area that people would want to drive to? Do you have a relatively young population in your area that would be likely to take music lessons? Is there parking? Some quick research into the demographics of your area could yield information that may help you decide if this option is realistic. Don’t assume that people will just jump in their car and drive five miles to take lessons with you, especially if you are new to this. As they say in Real Estate: “Location, Location, Location.”

Have you set up a bona fide studio in your house or are you just teaching out of your living room? Having a designated space for teaching is key to effective education. You don’t want a situation with people walking in and out, TVs blasting, phones ringing, etc. Of course building a designated space can be costly but will provide you with not only an effective teaching area, but also a killer practice room. If this is your plan, try to have an outside access directly to this room so as to avoid those distractions mentioned above. You could even partition the room and create a small waiting room (for the truly optimistic teaching entrepreneur).

If you are determined to teach out of your house and have not built a studio be careful to avoid potentially embarrassing, reputation damaging situations. You do not want a student walking past your spouse who is still in their bathrobe drinking coffee. It is unprofessional and inappropriate. Keep the students in specified, common areas (first floor, basement, or garage only). Also, be careful if you have pets. Question your potential clients about allergies or other animals related issues and, to be safe, keep Muffy in an upstairs room or elsewhere during lesson time.

Finally, make sure you have good home owners insurance. God forbid a student or their parent should fall outside (or inside) your house. Make sure all areas are well lit, secure, and accessible. Picture the outside of any successful establishment and try to emulate it.

At A Store: This option seems to be the most used by potential teachers and for good reason. The music store can become the meeting place for musicians, students, and teachers; where connections are made, business cards traded, and a sense of community can be developed. You will already have a staff in place to take care of advertising, scheduling and the ordering of necessary materials (books, sticks, etc.) Much of the work is already done for you, you can just show up and teach!

But (and there’s always a “but”), there are also many issues that are not in your control that could be problematic, even detrimental, to your career. The first is pay. You will never get out of a music store the kind of money you would get out of the other three options I mentioned. They will determine the price and take a substantial cut of it (usually). Also, make sure you ask how you will be paid: will they be taking taxes out or are you going to have to report all income come tax time? (This will be the subject of a later installment in our series.) Will it be weekly, bi-weekly or monthly? Do you get paid for missed lessons? You have a right to know these issues so ask! Anyway, if you’re O.K. with making less money, but having less work to do in scheduling and advertising, then no problem. Just realize that you will need quite a few students to make this venture feasible.

Which brings me to my next point: how aggressively will the music store pursue students? Is teaching lessons their main mission or is it secondary to making sales on the floor? Is the counter person outgoing and sales oriented or are they the dark, brooding, frustrated, musician-forced–into–retail? Having a grump or inexperienced person at the front could negatively impact your student numbers. Also, check out and talk to the other teachers, get their opinions on how things are at this particular store. (However, make sure you stay strictly neutral in your comments, don’t begin espousing what you see is wrong and how things could be better if you were running the place.) Think: “Do I want my name associated with these other teachers or this store?” Your reputation can take years to build up and only a minute to be destroyed. Make sure you will be represented in the best way possible. You could be lumped into a comment such as: “They have crappy teachers over at that music store.”

Look into the stores policies on missed lessons, fees for the students, and make-ups. Do they fit your way of thinking or are they taking too much money and expecting too much in return? Don’t enslave yourself to a store because you think it’s your only option. If you have been paying attention you know that is not true. Some stores will allow you to set your own policies, which can be very advantageous to you, so find out.

Our third option, At The Student’s House, could prove to be the most lucrative of all the options, but also contains the most diligence on your part. Making house calls will save your clients a lot of extra hassle when it comes to scheduling and time management and you are essentially freeing them up to accomplish other things they need to do. This is not lost on them and they will be willing to pay for this convenience, so you will be in a position to charge more than your normal rate. You need to factor in your expenses when deciding your rate: gas, mileage, eating, and phone bills are a few big weekly expenses; car maintenance and repair will be a factor and also should be considered. Charge accordingly but fairly.

Be prepared to spend a lot of time on the phone scheduling and rescheduling. This is where your diligence comes into play. Schedules will constantly fluctuate and you need to be extremely flexible when dealing with clients. It is wise to be aware of a students band concerts, plays, etc. which can wreak havoc on your schedule, and keep an eye on the local school districts for when they have holidays and in-service days so you can utilize those extra times for earlier lessons or make-ups. (These suggestions can also apply to the other options as well, but have the greatest impact on this option.) Those extra days come in real handy when you have to cancel lessons for a gig (and, by the way, try not to think “cancel” a lesson when you have a gig, think “reschedule” a lesson – find the time to get the lesson in, the student and parents will appreciate it). It is solely up to you to make the schedule work, not the client, so stay on top of things.

Make sure you have a specific policy in place with definite rules on no-shows and such. (This will also be the subject of a later installment in our series.) People need to be where they say they are going to be or you could end up sitting in your car for an hour. A cell phone is a must when exercising this option. Last minute changes will happen. Get used to it.

Making house calls can be most beneficial to the student because you can see where they practice, how they are set up and what they are using. Make sure they are maximizing their practice space, get the drums set up properly, and encourage them to have a designated space for practicing without distractions. When you start at a new students house (particularly a younger student) make sure the instrument is in a neutral location, that is, a living room, basement, or garage. Protect yourself and stay out of private areas (bedrooms) and make sure they understand this before you arrive.

Our last option, At A School, may seem similar to the At A Store option, but contains a few extra opportunities that will benefit you and your students. Like teaching at a store you will probably have a designated room to teach in, you will have to follow that schools policies, and you will have the advertising and scheduling done for you. However, in a school you have the added prestige of being in an institution, which is solely for teaching and not sales (schools are usually non-profit) and being part of a community that shares a common vision. To the client, this not only seems to be the most obvious option for learning but also gives them a better feeling of contributing to something and promoting artistic ventures in their neighborhood. For you, you will see increased opportunities in giving recitals and concerts and you may even land a few gigs playing for the school’s musical productions or hosting master classes. The sky is the limit with what you can do in such a place: form bands, give adult classes at night, and attend events – it’s up to you what you make of it.

Make sure when you are applying that you sit down with the director (or someone close in title to him/her) and discuss what the school is about, namely, what their mission is. Every non-profit has a mission statement that they adhere to (hopefully) and you want to make sure it falls in line with your way of thinking. Also look at the history of the school – has it shown constant growth? A non-profits financial history is public, so you can see if this institution is on the rise or fading fast. Again, do the research.

Teaching at a school can lend prestige to your resume and lead to many new opportunities, as I stated, however your name will be tied into it and you will be more restricted in your ability to reschedule, accept gigs, and set your own policies, and there are usually some types of events or meetings that will be mandatory for you to attend. As usual, it’s a trade-off.

Having now explored these four options you may be wondering which one to pick. Well, why pick just one? Diversify. I teach three days a week in students homes and work the other two at a school. You can mix and match and find a way that will fill up your schedule without putting all your eggs in one basket. Locate different areas to teach in; do not resign yourself to just one locale. It is my firm belief that there are more students out there than teachers, especially good teachers, and with a simple plan of diversification, development, and diligence you will be living the dream of doing what you love.

A Hard Lesson in Life and Death

2011-04-22T19:03:00.000-04:00

I made a huge mistake this year. I waited. I should not have waited, but I did. I procrastinated. I put off. I made excuses to myself and other people. I did not act when I should have acted. Now, I regret. Deeply.

I lost a very important person in my life, a person who made me what I am today, a person who I loved and who changed my life. So I decided to tell the story of his life by writing his biography. It was to be my gift to him for helping me.

I started writing it. I got a lot done - maybe about half. I needed - I wanted - to talk to him again, though, to get more facts. And to catch up, hear his jokes, listen to his ideas. But I kept putting it off. I had to get my writing and research more organized, more concise, more to my liking. "I need to practice", "I need to work", "I need to play a gig". I always needed to do something. "Once that's done, then I'll call him."

Then he died. Now I will never talk to him again. Never hear his story as he lived it. Never thank him for what he did for me. And even if I finish this book it will never feel complete to me - it will always have that "if only" tag hanging off it's binding.

I bring this up because a good friend of mine recently lost her father and it got me thinking, again, about how much effort we put into seeing and spending time with the people we love.

I don't know if she feels like she spent enough time with her father - only she can answer that. But I wonder if I spend enough time with family and friends; or, if my work is more important, and then "once it's done" I'll call them.

My friend's father's death was sudden. No time to think. No goodbyes. No last questions. No gentle look as you depart. Nothing. Just the void of "if only."

Then I thought "she could be me." Again.

I spend long hours practicing my instruments, writing, scheduling, juggling. I keep myself motivated with visions of being acknowledged for being a great player and making a good living. I go days without having a real conversation with my wife - or anyone for that matter. I'm an artist and this is what I do. I work in the hopes that I can improve my life, save for a vacation, and at least try to realize some dreams. But things get put off because of it. Things that are directly related to my life.

I have been playing music for people for almost 30 years. 30 years. Not once have I sat and played the piano for my mother. She loves the piano and loves seeing people play the piano. After 30 years I never took the time to give her the enjoyment of a personal concert - or even just one tune. I know she would be thrilled by it and the time spent getting ready would be worth all those hours of effort. It would far outweigh the time I spent learning tunes for a wedding band; for people who I see once and never again.

Think about it: if you took the time to do something really important for those who are most important in your life, rather than putting off time spent with them so you could work on something for someone who has no impact on your life, how do you think you would feel?

Aside from when you were in grade school, did you ever paint something for a loved one? Or compose a song? Or cook a great meal?

As an artist (professional or otherwise), have you ever used your skill for your loved ones or always saved it for those who were paying or demanded it of you? Does this make sense?

As artists we have the rare ability to give life to our emotions, to make them seen and heard in ways some can only dream. We can also get people to feel their emotions - to experience things on a different plane. What greater gift can we give to the people we love? Do you share this gift with your parents? Children? Wife? Friends? Do you put it off because "you are making a living?" Do you hold back because "it's your job?" If one of them were gone, would you regret not sharing it with them? Would you regret not having that visceral experience that you will remember forever?

I know my answer.

I have to leave now. I am practicing the piano and I am getting ready to play that concert for my mother.

No more "if only."

Starting up your private teaching business. Part 1

2011-04-22T06:47:00.001-04:00

O.K., so you have decided that teaching is your calling and you really want to make a go of it. You can already picture yourself working in a humble studio, surrounded by all your artifacts from a lifetime of drumming, waiting for the next eager student to arrive so you can, once again, solve all their problems with a few insightful words of wisdom. Only problem is – you don’t have any students! So, we arrive at the next phase of building your career – getting clients. This is an area that will take patience, hustle, and determination. You want it to all happen overnight, but you know it won’t, so it’s time to get up, get out, and start networking.

Let’s imagine that you’re new in town. No one knows you, you’ve just moved into a new apartment, rent will be due, bills need to be paid, and you have neither client base nor any clout among the local musicians. Seems rather bleak, eh? Well, you may have to eat crow for a while and get a regular job while you establish your business. This is not the end of the world nor is it an indication that you are already throwing in the towel. You are just doing what is necessary to realize your goals. These may be trying times for you but keep your eyes on the prize – it is only temporary.

You probably already know your first step: hit all the local music stores to see if they are hiring or hang up one of your flyers advertising for your services. This is a good first step but you want to think “maximize” with every situation you walk into. So instead of going up to the counter, asking for a job, hearing “Sorry, we’re not looking for teachers right now” or “Just leave your name and number and we’ll get back to you if something opens up” (Yeah, right!), how about putting together a resume, a picture, and some cards with some decent graphics and ask to see the manager? Remember, you are looking for a job! Treat it like a business! Dress well, leave the flip-flops at home and carry yourself like a professional. By having a promo-pack of yourself, your inquiry will be taken much more seriously than the grungy kid in the Blink 182 T-shirt with the falafel stuck to the side of his face. Be courteous and gracious if, in fact, they are not hiring. Thank him/her for their time and tell them you’ll stop back in later. It is common practice to wait two to three weeks before returning and trying again. Don’t be shy about it, as long as you are not rude they will remember you and will probably offer you something when it opens up. Whatever you do, DON”T give up. If you are hanging flyers, don’t go for the sharpie on the college ruled paper look. Get familiar with a computer program like Photoshop and work up something eye catching and professional looking. Don’t settle for the ordinary. Again, maximize. Take the simple idea and elaborate on it and make it your own (kind of like your music, right?).

The music store is an obvious start but let’s think outside the box. If you were a student looking for a teacher, whom would you ask? How about your band director? Well if the student asks the band director for a private teacher, why don’t you ask the band director for a private student? GET TO KNOW YOUR LOCAL BAND DIRECTORS! If you are living back in your home town this should be easy, but away from home you need to find what school districts are nearby, who the band directors are and then email or call them (most teacher emails are on the schools websites). Explain who you are and what you are looking for. Don’t mince words because these people are busy and usually have a lot on their plate. Again, professionalism is key. Be curt, polite, and deferential. If you get a reply of interest, ask if you could meet them sometime to talk, maybe over lunch (and you better pick up the bill!). A band director will want to see the person he/she may be sending his students to before he/she sends them. Consider and treat this as a job interview. Ask the director about teaching philosophies and the curriculums they use, pick their brains; this is a valuable resource! If all goes well you could see your student roster jump exponentially because band directors tend to talk with one another and could spread your name around. You may even get invited to work as a sub-contractor within the school district, working with the marching band or jazz band or some other ensemble. Also, I always volunteer to be a judge at district and county band auditions; you could meet over twenty band directors in one day! Do your research and seek out these opportunities!

Another option is to check you local community colleges and universities to see if they are hiring for an adjunct position. You don’t need a PhD to work for a college, but you may need a Bachelors degree in some area of music or, if not a degree, a rather impressive playing resume that proves your musical skill. Don’t be deterred by thinking you are not qualified; a college professor (or an adjunct) may be looking for someone to send students to, especially if it is a small music program with limited staff.

On an aside: when putting your resume together make sure to collect some references: an old band director; a boss who really liked you; anyone who you know could speak to your qualities as a person. Your personality and demeanor will have as much to do with your success as your ability to play the rudiments, so play that angle up. Let people know how good you are with kids and how important education is to you. Remember, many of your clients will assume that you are a good musician by virtue of your being a music teacher, but will make their judgments based upon your ability to work with students (young and old) and the way you conduct your studio and yourself.

The key at this stage is perseverance. My teacher once told me “The guy who can take the most slaps in the face is the guy that will succeed the most.” Truer words were never spoken. If you are committed to this you can make a living at it, but don’t be deterred by a few rejections.

Look at it like an adventure – everyday new places, new people to talk to, and new experiences to be gained. And they all add up to making you a better teacher, so why are you sitting there? Get out and network!

Search Amazon.com for music business handbook and career guide

Why teach? (Private Lessons) Introduction

2011-04-20T22:29:00.001-04:00

In this series of articles we’ll be looking at many different aspects of the teaching profession. From setting a curriculum, motivating students, and building your business to more esoteric subjects such as pedagogical philosophies and working with different personality types. But before we can get to all those issues we must first ask ourselves “Why do I want to teach?”

Your answer to this question might seem easy. Maybe you’re doing it for the money. Or perhaps you love kids. It could be a means to support other musical habits. Or you just like teaching. Whatever the reasons for pursuing this vocation there is one overriding principle that must remain above all others: honesty. Can you honestly say you have the students best interests at heart? Are you quick to temper or easily frustrated? Does the thought of sitting in a room with a child who has problems grasping concepts give you a headache? Would you spend extra time without compensation helping a student? It is at this point that you must look at yourself and really think about your motivation for doing this. The teacher who is not honest with him/herself cannot be honest with their students. If you aren’t honest then everything you do in the classroom will be a façade because of the fact that you are not coming from a “real” place.

This may sound overly serious but, in fact, it is serious! As a teacher you have a chance to influence a life. Whether that influence is positive or negative is entirely based upon your commitment and honesty. Can you put out positive, nurturing energy for an extended period of time? Believe me, with over fifty students a week it can be difficult summoning the energy to explain eighth notes for the millionth time or trying to get a kid to correct his grip. But as a professional, committed teacher you HAVE to give that energy. Anything less would be cheating the student. Again, this is where you must be honest with yourself. Can you do it?

How about if you have a bad day: someone hits your car, your spouse yells at you for not mailing the electric bill, and your dog throws up on the good rug. Hey, everybody has days like that, but can you leave it at the door when you walk into your classroom? You cannot let things carry over that could inhibit the learning experience. A bad attitude from a teacher could permanently tarnish a kid’s taste for music, and I’m sure that is something no one wants to be responsible for.

O.K., if I haven’t stressed enough the importance of being an honest, consistent teacher then remember this: every moment you are with a student you are teaching them. Pretty heavy, huh? Your actions do indeed speak louder than your words and kids will pick up on body language and attitude. I have seen many teachers who were just showing up, doing the minimal amount of work needed, and leave thinking the student had no idea. This is a dangerous, egotistical error. Your students are savvier than you think and they know when a teacher is trying or not. Some comments I hear from students who encounter this type of attitude and ethic are “He doesn’t care about us” or “why did she take this job?” or “this is a huge waste of time”. And once word gets around about teachers like this, it is safe to say they won’t be teaching long. More damaging is when this attitude seeps from the teacher into the student. The student will think that if the teacher isn’t trying or doesn’t care, then why should they? I have seen entire band programs go down the tubes due to one teacher’s lousy attitude. There is nothing more heartbreaking than seeing 140 kids give up and a good program destroyed.

And remember this: being a great player does not make one a great teacher. Teaching is an art unto itself and like playing, it has to be constantly honed and refined. Too many teachers mindlessly follow the same procedure, give the same speeches, use the same books, and never refine their program (if they in fact have a program). As a teacher it is your duty to search for new avenues of learning, stay up on current trends and literature, and seek new ways of explaining concepts. Some of this will happen naturally as you are confronted with new sets of problems, but mostly you have to seek it out. Are you the type of person to put forth this effort? Be honest with yourself.

So, maybe this teaching thing isn’t as easy as it seems. You may sense that the fate of the world hangs in the balance with your decision. Not so. Being honest with yourself is something you, as an artist, do on a regular basis. It’s what keeps you practicing. So, just transfer that honest, self-assessing mindset over to your teaching practice and you will find that being a positive, conscientious teacher (who actually cares about the students) will come naturally. Remember: just be honest with yourself and you will always be successful.

Next time: Start to build your practice.

Enter Jabondo

2011-04-20T19:46:00.001-04:00

Greetings all, welcome to the first blog of "The State I'm In." This blog will be about all things musical, historical, comical, adversarial, temperamental, and whimsical. My wish is to bring up pertinent points through reviews (mainly music) and events (historical or otherwise) as well as give practical advice on various life issues that I have invariably screwed up. Feel free to comment, share, be rude, be dumb, be insightful, and anything else you feel like being. Just be nice in the end.