Page 10 - 2018 June BMR

Tuneful Teaching

Later he did tell me that I had “tricked him” into learning voices for melodic content. Consider writing out those
the scale…and perhaps that was true! “tuneful moments” for the lower voices. Let the tubas
But what happens after that beginning band year? That’s practice the trumpet theme. Not only will it be fun for them
when students go in to concert bands of one guise or (after all those guys are probably friends) but also the tubas
another. The strategy has to evolve. There are full band will have a deeper awareness of how their accompaniment
arrangements to learn. There are concerts to prepare. So, in the band arrangement supports the melody.
not everyone gets to play the melody Here is a wonderful example of what
all of the time. But everyone should get Let’s face it. Young I’m talking about. A number of years
to play the melody some of the time. students are more ago, tuba virtuoso Patrick Sheridan
Thus it is essential that we balance our came to Austin to perform with the
repertoire so that everyone gets to share likely to practice a Austin Symphonic Band. He later
in the joy of “playing the tune.” Yes, tune than an exercise! performed with us at The Midwest
even the low reeds and tubas should get Why? They can relate Clinic in Chicago. While here he shared
their moment in the spotlight. to it. They can share it an early memory from his musical
Without doubt this challenge is more with others. In truth, career. It seems that when he brought his
relevant for music in the Grade I - II – III tuba and band music home for the first
categories where low voices traditionally familiar melodies are time and started to practice, his mother,
play a secondary, supportive role. If an integral part of the a singer, said, “This is unacceptable!”
you don’t believe that to be true then human experience. She immediately purchased a book of
compare the flute, clarinet, and alto bass vocal solo arias for her young tuba
saxophone or trumpet part to the low reed, third trombone player to practice, recognizing the importance of melody
or tuba part in the vast majority of the music you are in the musical development of her son. At least for Pat the
working on. The expectations and musical interest is rest was history.
dramatically different. This necessitates us picking music However you address it make sure that “tuneful teaching”
more carefully and wisely. is paramount and an essential component of your teaching
But, in truth even this is not enough. Can we be more priorities. If you want students to continue to love to play
creative? There has to be a more focused effort on the their instrument, practice faithfully and grow from the
“tuneful needs” of everyone. What can you do? Perhaps experience then I encourage you to feed them a diet richly
you are learning a piece that depends heavily on the upper nourished with tuneful expectations.

Cheryl Floyd celebrated her twenty-fifth year as Director of Bands at Hill Country Middle School in Austin, Texas in May 2017 and retired after 35
years as a middle school band director/music educator. Mrs. Floyd is recognized nationally for her educational and musical achievements at the middle
school level. In 1990 her Austin Murchison Middle School Band was the recipient of the coveted Sudler Cup Award presented to exemplary middle school
band programs by the John Philip Sousa Foundation. The Hill Country Middle School Band presented performances at The Midwest Clinic in 1998 and
2006, Music For All’s National Concert Band Festival in Indianapolis in 2012, as well as the Western International Band Clinic in Seattle in November
2014. Her bands have been a finalist in the TMEA Honor Band Competition on 12 occasions. Throughout her career she has maintained a keen interest
in commissioning new works for concert band and has collaborated with numerous internationally recognized composers. Mrs. Floyd enjoys an active
schedule as a guest conductor, adjudicator, clinician, and author throughout the U.S. with engagements in over 20 states. In 1998 she served as one of the
first women guest conductor of the United States Navy band in Washington, DC. She routinely serves as a conductor on the University of Texas at Austin
band camp faculty and other summer music faculties as well. In 2003, Mrs. Floyd was elected to the American Bandmasters Association. When elected
she was only the fifth female member of this 225 member organization and the first middle school band director to be invited to ABA membership. Since
1985 Cheryl has served as co-principal flute with the Austin Symphonic Band. In 2016, Mrs. Floyd was named a Yamaha Master Educator, one of only
18 in the nation. Paramount in her life is her twenty-four year trombone performance graduate of the University of Texas in Austin, and a graduate of
the Icon Collective Electronic Music program in Burbank, California.
Bandmasters Review • June 2018 8 Texas Bandmasters Association