Music & Arts | Sound Teaching | August 2018

August 2018

SOUNDTEACHING NEWSLETTER FOR LESSON TEACHERS @ MUSIC & ARTS

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Preparing Students for Positive Performance Experiences

Welcome to “Rental Season”!

Boost Your Student Count with the Click of a Button

Young & Old: Keeping Lessons Relevant

Preparing Students for Positive Performance Experiences

BY H A N N A H W I L S O N , V I O L I N I N S T R U C T O R I N K E N T, WA

myriad of human relationship barriers.

through, I add performance practice to

It is because of this that I strongly desire

their daily routine. After they are done

that all of my developing students

practicing, they are to go find a parent,

learn the art of sharing their music

sibling or friend, and play their piece

in community, otherwise known as

or pieces through for them. I also start

performance practice.

performance practice in lessons up to two months before recitals, to give

In preparing my students to perform,

them practice with accompaniment.

I like to go a step beyond mere

We go through the whole performance

performance practice and focus on

as if it was the real deal, often with the

positive performance practice. I have

parent or guardian playing the part

heard of students who developed what

of the audience and giving a rousing

I am a “mean teacher”. I don’t give my

could be described as PTSD from high-

round of applause as they give their

students the option of not performing

pressure performance experiences, such

bow. The sheer repetition of this has

in my recitals. However, I try to make up

as formal recitals which they bombed

tended to give my students a great deal

for that by making sure that I never send

out terribly in and never recovered from.

of confidence, even with walking up on

a student on stage unprepared. I began

While a few students seem to thrive

stage and knowing exactly what to do

studying the violin when I was eight, but

naturally on the stage or might already

before and after playing.

it wasn’t until the ripe age of fourteen

have performance experience through

that I had my first recital performance

another art medium, the majority of

Another performance technique that

opportunity. Needless to say, my lack

my students start out fairly terrified at

I begin stressing to my students early

of performance experience showed

the thought of going up on stage all by

on is that of a positive performance

through, and significantly hindered my

themselves and playing an awkward

mentality. We have conversations about

more advanced playing ability. I have

instrument that they may or may not feel

the difference between practicing

since worked through the crippling

comfortable with yet. I desperately try to

by yourself and sharing your music

stage jitters and rigid-performer

avoid causing any performance trauma

with others. While critical listening

syndrome, and in the process formed a

for my students by setting them up for

is very beneficial for practicing, it

strong resolution: My own students will

a positive performance experience on

has almost no benefits when it comes

never be strangers to the stage!

stage.

to performance. We discuss how performing is a form of communication;

Music is a beautiful thing, and it is

The first and most important aspect of

when performing for others you don’t

true that many people have a desire to

positive performance practice is, quite

want to merely put on a show, you want

play primarily for their own enjoyment.

simply, practice. Personal practice is

to say something to them through your

Personally however, I believe that one of

well and good, but we all know that the

music. This mentality takes the focus

the most wonderful things about music

game changes once you’re out in front

off of having a “perfect performance”

is its connective quality- the fact it can

of even a few passive spectators, much

and focuses instead on a good

be shared and enjoyed in community

less an attentive audience. As soon as

performance being one in which the

and has the potential of breaking past a

my students are able to play a piece

music is communicated powerfully and

2 | S O U N D T E A C H I N G | August 2018

effectively. During performance practice

A final thing that I try to do for my

like a subtle difference, I have been so

in lessons, I stress to students the

students is provide a warm, friendly,

pleased to observe not only students

importance of “playing past” mistakes

community-based performance

enjoying themselves, but parents and

made in performances; “keep playing

environment for them. I grew up playing

families having a blast as well.

and forget about it!”

in very formal recitals. These weren’t horrible, but they weren’t very fun either.

It’s impossible to put into words the

While de-emphasizing mistakes, I’ll

In doing my best to help my students

pride and joy that I have felt as a teacher

also focus on the positive ways that they

have fun when they perform, I try to

when on many occasions a student

communicated. Did they have good

host recitals that feel like celebrations.

who has been incredibly nervous

dynamics? Did they move well? What

Instead of a feeling of “we’re all here to

about a performance takes the stage

did I enjoy about how they presented

see these students prove that they can

and performs above and beyond my

themselves or their music? I certainly

play”, I try to foster an atmosphere of

expectations. While I give most of

don’t let mistakes slide normally, but

“We’re all here to acknowledge the hard

the credit to my brave and talented

performance practice is all about letting

work and dedication of these musicians

students, I can only assume that some of

go of fear of failure and realizing that

and their families, and we’re excited

my efforts to ensure their performance

you can make a few mistakes and still

for the chance to hear them share their

success are paying off as well!

have a great performance.

music as well!”. While this may seem

H A N N A H W I L S O N has been a violinist for 17 years and has taught for close to 10 of those years. She studied with professor Song Xie of Belhaven University, and graduated with a bachelor’s in music with an emphasis in violin performance in December of 2018. Throughout her career Hannah has soloed in many recitals, religious concerts, nursing homes, school concerts, gigs, and as concertmaster of a community student orchestra. Hannah also has extensive orchestral performance experience as a former member of the Mississippi Symphony Orchestra and Symphony of the Lakes, as well as participation with the Masterworks Symphony Orchestra, Belhaven Orchestra, First Baptist Jackson Orchestra, and others. Hannah is a passionate teacher, and has developed private studios in Indiana, Mississippi, and most recently in Kent, Washington, where she resides as of this year.

Know What To Do: Reporting Child Abuse Over the last few years, the Lesson Studio at Music & Arts has grown in so many ways. This includes added students, teachers, and retail locations. With this added volume, we’ve experienced more instances where teachers have reached out with questions and concerns regarding child abuse that they suspect could be taking place outside of our stores. It is our firm belief that one of the reasons students love to take music lessons at M&A, is because they feel valued by their teacher.

Within this learning environment, students build trust with their teacher and often confide in them. Many of you have reached out with concerns for your student’s safety and need direction on how to provide resources to protect the student.

To address these concerns and to create an even safer place for students, we’ve implemented a new Child Abuse Reporting Policy. We encourage you to report suspected incidents of child abuse. You can do this by emailing hbest@musicarts.com or calling 301-620-4040; Ext. 1202. We will report the incident to the appropriate local government agency. To receive a copy of the Child Abuse Reporting Policy, please email hbest@musicarts.com.

August 2018 | S O U N D T E A C H I N G | 3

Reaching Students Where They Are Musically

BY MARTY NAU, WOODWIND INSTRUCTOR IN OXON HILL, MD

After 25 years of teaching, I can get to

know that they didn’t skip anything! I

you can take them anywhere. My goal by

the heart of the matter. When a student

think it sets them up to be good teachers

meeting students where they are is then

comes to me for the first time, it only

in the future too.

taking them to heights that they maybe

takes a matter of minutes to really know

never thought that they could reach. I

where they are and to tell them to go

I believe in scales and we do scales

believe that there should be clear goals

buy the appropriate lesson book(s) at

in every lesson. When the student’s

for the student. Both short and long

the music store. Perhaps many of you

audition comes up at school and

range. Short range of course is week to

are the same way. I have always taken

everyone else is last minute, practicing

week. You give them an assignment,

students of all ages. Absolute beginners

scales because they never play them

they practice it and present it to you the

to advanced students at any age. The

normally, I want my students to feel

next week. Long range can be honors

ones that are the most senior can be

calm, knowing that it’s just another day

band or district and state bands or

the most challenging and there lies

for them. After one year of study, my

something as simple as auditioning with

the double bind. Where they are and

students generally know all of their

their own school band to see how high

where do they want to be? Children have

major scales.

up in the section they can place.

just starting and don’t really know yet.

I enjoy a challenge. It makes me a better

Nobody really wants students to give

Although, you can talk to them and find

teacher. When a student has a weird

up on them or quit but I have found that

out their dreams.

embouchure, or strange finger position,

meeting them where they are, settings

or no concept how to tongue, it’s my job

goals short and long range and keeping

Once the ball is rolling and they have

to figure it out. Each one is different.

them accountable keeps the serious

their books and we are a couple of

It’s not where you are, but where you

students with you and allows the not so

lesson in, we start to hit a groove. I

are going. One of the things I like to do

serious ones to re-evaluate themselves

personally, am not one to skip all around

is to go back through the book when

and pursue other interests until they are

the book kind of guy, circling number

the student is finished. Kind of a “final”

ready. A balancing act to be sure but we

assignments here and there. I start at the

exam. That shows them where they were

should help the student where ever their

front of the book and work to the back.

and where they are now.

starting point is and push them over the

less of a say, simply because they are

One thing I have found is that the sense

finish line.

of accomplishment is acute when the

Meeting students where they I think is

student can look back at that book and

key. If you indeed meet them there then

M A R T Y N A U is a 38 veteran of the music scene in Washington, D.C. Starting on the clarinet in sixth grade he added the saxophone in ninth grade to play in the jazz band. Upon graduation from high school Marty entered the Navy Music Program.

His first duty station was Orlando, Fl., and in 1980 transferred to the U.S. Navy Band in Washington, D.C. In 1984 he won a position with the U.S. Navy Commodores jazz ensemble. In 1997 Marty retired from the Navy and continued his performing and teaching in the D.C. area. He was a member of the Capitol Quartet, a saxophone quartet, and traveled the country with them performing with orchestras for their pops concerts. He performs regularly with the Baltimore Symphony and has performed with the National Symphony and Philadelphia Orchestra. He has also traveled abroad to Japan and Europe with the Duke Ellington Orchestra. He has studied with Phil Woods and Eddie Daniels. Currently Marty maintains an active teaching schedule and performs throughout the DC area and nationally.

4 | S O U N D T E A C H I N G | August 2018

Welcome to “Rental Season”!

BY ROBIN JUSSILA, M& A TRAINING MANAGER

memorizing the names of teachers

To achieve this, we focus on ensuring

at every school program, and the

everyone has an unforgettable

verifying any required instrument

experience renting their first instrument.

brands, books and supplies for each

This means gaining the parents’ trust,

of those programs.

feeding the child’s excitement, and making the rental process smooth and

•

Every customer is greeted at the

easy. Each rental customer leaves the

door, and directed to a specific

store with exactly what they need to be

associate who will take care of their

successful as a new student musician,

needs.

including an invitation to return to

Welcome to Back to School season at Music & Arts, affectionately referred to

the store for any services or supplies •

There are memorized scripts and

they need to continue their musical

as “Rental Season!” If you have never

procedures to take a customer

development.

been with us through “Rental Season,”

through the rental process to ensure

you are in for some fun! This is one of

everyone receives a consistently

As teachers, you may wonder how

the busiest times of the year for Music

high level of customer service.

“Rental Season” impacts you. Each

& Arts, and many stores actually have more customers now than during the holidays!

As you may know, Music & Arts stores

new family has at least one potential •

Both the staff and product

music student. Everyone who rents

are organized differently to

an instrument at M&A learns about

accommodate this influx of rental

the lesson program and how great the

customers.

teachers are. Due to our relentless focus

focus primarily on four things: sales,

on the lesson program, thousands of

lessons, rentals, and repairs. These are

This preparation is all done well in

students register for lessons during

the pillars of our business and they’re

advance so by the time rental customers

this period. But there are some things

what M&A does better than anyone else.

start coming in, stores are already

you can do to help with this push,

In fact, M&A is the largest Band and

running smoothly in “Rental Season”

too. If you have an open spot in your

Orchestra instrument dealer, the largest

mode.

schedule, please come out onto the

lesson provider, the largest instrument

sales floor, and introduce yourself to

repair provider, and rents more

What makes “Rental Season” special is

some of these customers. If you play the

instruments than anyone else in the

that most of the people coming in the

instrument the family is renting, feel

country. Stores focus their efforts most

door are new to Music & Arts. In fact,

free to show them a few things and talk

of the year driving sales and lessons.

many of the families who come in to

about how important lessons are (and

However, for a few weeks at the end of

rent an instrument are brand new to

how important they were to you when

the summer, almost all attention goes to

music, and have never been in a music

you first started). It’s much easier to

rentals.

store before! So, despite the influx of

sell lessons when the families can meet

customers, it is critical that each and

you in person, and a warm and friendly

“Rental Season” is a unique time of year

every one is treated as an opportunity to

encounter leaves a lasting impression.

and M&A takes it very seriously:

not only create a new musician, but also

Even if they don’t sign up for lessons,

•

to create a new customer for life.

they’ll know who to recommend to their

Employees train for hours to learn how to answer the phone,

neighbors and friends.

August 2018 | S O U N D T E A C H I N G | 5

What can you expect?

Please check with the store manager

Some things to keep in mind during this Be patient. The store staff is tested

Understand that rental season

to determine the best time to call

doesn’t last forever. For many

during this period.

stores, this busy time of the year can

busy season for stores: •

•

last anywhere from couple of weeks •

Recognize that this is a huge

to over a month depending on the

to the limit with the influx of

recruitment opportunity for

number of school systems and when

business and customers trying to

lessons. The stores are trained to

they begin school. It will calm down

get their items quickly.

talk about music lessons with all

soon!

new customers. If you are new to the •

Connect with the sales team during

store or have spots to fill, this is a

If you’ve been through “Rental Season”

off peak hours. If you are not in the

good time to step out of the studio

with M&A before, welcome back! If this

store and have questions about your

and meet some new customers.

is your first time, I hope you’re excited

students, your schedule, absences,

and ready to work with us to make it Noise. It is unavoidable during

successful. Remember, you can always

calling in the morning or later in the

this time of year, as the stores are

talk to the store manager if you have any

evening. The peak hours for back to

crowded with parents and very

questions. Best wishes to you and your

school shoppers are in the afternoon

excited students that are renting

students!

or early evening and weekends.

their very first instrument.

etc. you might have better luck

•

In the Arts w/Laura: 10 Characteristics of an Innovative Classroom P U B L I S H E D B Y E D W E E K LY , B Y M A T T H E W LY N C H O N J U LY 1 6 , 2 0 1 8

1. Reflection- Innovative classrooms

of breaths & phrasing, enharmonic

engage in constant reflection and

integrity, etc.)

inquisition. They think about what is working as a class and independently

2. Constant learning- An innovative

and what is not. Reflection can be

classroom never stops to catch its

uncomfortable, but for a class to be

breath. Every event is seen as a

constantly evolving and innovating,

teachable moment, and students

this process must occur. Furthermore,

will benefit from an ever-changing

an innovative classroom will always be

environment.

asking itself, “what if?” Students won’t be satisfied with the status quo and will

3. Creativity- A creative classroom not

If your goal is to engage and educate

push themselves to be always learning

only comes up with unique solutions to

students to the greatest extent possible,

more. Invite and encourage students to

everyday problems, but it also develops

you need to consider the benefits of an

ask questions. Ex. Encourage students

the responses necessary to deal with

innovative classroom. An innovative

to critique their own work within a

future challenges. A creative classroom

classroom will possess several key traits,

structure you’ve predetermined: How

fosters innovation by encouraging

including:

were your notes & rhythms, placement

students to think outside of the box. Ex.

6 | S O U N D T E A C H I N G | August 2018

If a student is struggling with learning

6. Problem-finding- Innovative

always evolving, and are different from

to sub-divide, how can you make the

classrooms don’t wait for problems

day to day. Ex. The more I observe

concept more tangible? I like everyday

to appear to them--they actively

teachers, the more diverse I see you all

words that fit a rhythm: Quarter

seek out problems in the classroom,

are! Experiment with different teaching

note + two eighths= Strawberry. Four

in their learning, and in the world.

materials or literature. It keeps the

sixteenths= Watermelon.

Innovation starts with a question--not

content fresh for you too.

with an answer. New technologies and 4. Connection- An educator must

understandings can only be developed

9. Goal setting- Innovative learners

always know his or her students, as

when we begin to ask questions

will set goals for themselves, and crush

well as the trends that are emerging in

about “why” or “how.” Ex. If I believe

them. These goals may be large or

the profession. He or she will seek out

performances are a great way to keep

small, or ideally contain some aspects

new techniques and technologies and

students motivated, how can I get more

of both types, but should guide learners

encourage students to do the same.

students to participate?

towards innovation. Ex. I will teach

Sound Teaching is our effort to connect

every lesson parent how to support good

you all together, but can you use the

7. Collaboration- A collaborative

practice habits. I have a goal that all

teachers in your local store to see what

classroom encourages innovation by

my students will participate in at least 2

practices are working for them?

pushing students to work with others

performances a year.

who may be different from them, either 5. Principles and routines- You

in their beliefs, behavior, or background.

10. Opportunities for Revision- Not

should exist and function on strong

Collaboration in the classroom

only are innovative learners risk-

principles and routines. Incorporate

encourages discussion, which is the

takers, but they also recognize that

strong values to guide the class. The

father of all innovation. Ex. If you’re

nothing is ever perfect. As a result,

teacher in an innovative classroom will

a classical player, how can you use

an innovative classroom is resilient

encourage consistency and diligence by

teaching practices of a combo player to

and pushes students and teachers to

establishing hard-and-fast guidelines

better master classical skills?

always be changing, adapting, and

for how the day is run. Ex. Students

improving. Innovative learners will look

should have their instrument out and

8. Variation- Don’t rely on one teaching

to themselves and others to better every

assembled when the lesson begins.

or learning technique to get a point

aspect of their performance. Ex. Enlist

Maximize that 30 minutes!

across. An innovative classroom

the help of your DM, Store Manager and

includes teaching strategies that are

fellow teachers for open feedback.

August 2018 | S O U N D T E A C H I N G | 7

Boost Your Student Count with the Click of a Button B Y T E D A LT , M & A S U P P O R T C E N T E R I N T E R N

roughly 2,700 views per store per month.

example, a jazz saxophone player

If that is added up to a yearly total, this

who has been playing for 20 years

equals a very large amount of potential

should list their tags individually

students for every location. Now you can

like so: saxophone, alto, tenor, jazz,

ask yourself, “If my store is being viewed

woodwind, etc. The more tags, the

by potential customers and students,

better; however, there is one caveat.

why am I not getting any new students?”

Tags are not sentences; they are one

The answer to this question contains a

to two descriptive words. Think of

multifaceted answer that I will explain

these as the shopping list version of a

in the following bullet points:

résumé. The benefit of using effective tags is when people search for a “jazz

Profile appearing online: While it

saxophone teacher,” (using the previous

If you are reading this, you are a great

may seem obvious, check your store’s

example) they will find said teacher over

teacher. From the experience you have

website to see if you can view your

someone who has one tag saying “music

with whatever your instrument is to

profile. Sometimes during the profile

educator.” Utilizing this option on the

your ability to educate and create a

setup, one step might be missed, and

M&A website will greatly help students

lasting impact on students, you are the

that can cause your profile to not show

initially find your account.

perfect combination of what it takes

up on our website. MusicArts.com only

to be a great educator. Working for

needs two things in a profile, a picture

Teacher Biography: An online teacher

M&A allows our teachers the unique

and a biography. If either of these things

biography and a biography one would

situation where the studios and

are missing, your profile will not appear

find in program notes of a concert are

sometimes even students are provided

on the website.

quite similar. While the online bio may

without the teachers having to create

not need to be as long as a concert

any self-marketing campaigns, hand

This first bullet is actually one of the

program’s bio, it can still cover the usual

out business cards, or spread their

most common issues on our website.

bio topics. Structuring an attention-

lessons through word-of-mouth. This

If you do anything else today, go to the

grabbing bio should contain at least two

being said, teachers can always do the

website and make sure you can see your

aspects.

aforementioned tasks to bolster their

profile. The remaining points will cover

visibility to potential students; however,

specific ways to setup and enhance your

One, the bio should expand upon the

there is one aspect of self-promotion

profile.

tags; this is your chance to explain who

that often gets overlooked, the use of MusicArts.com.

you really are to your students. Turn the Tags: “What is a tag?” One of the

aforementioned “shopping list” into a

common issues with having the tag

descriptive essay.

Referring to our previous Sound

section on our website is people have

Teaching article by Laura Zolfo,

different ideas of what exactly the word

Two, the bio should be catered to the

MusicArts.com has over 500,000 views a

“tag” means. The word “tag” is used

prospective audience. A teacher who

month. If that is divided evenly amongst

in this situation as a way for teachers

learned from many world-renown

all of our stores, that comes out to

to define their teaching services. For

pedagogues is amazing; however, listing

8 | S O U N D T E A C H I N G | August 2018

said people may not be relevant to your

has been discussed in the previous

your chances of adding students. The

prospective students. Remember, people

paragraphs. Many times teachers will

process of going through account

in the world of music are very different

think a picture of their instrument, and

personalization may seem tedious or

than the average student looking to

only their instrument, will suffice as a

possibly daunting, but the small amount

take lessons. An easy way to ensure you

profile picture; this is not an effective

of work is more than worth the potential

are not name-dropping lesser known

profile. Teachers should post either

return. Throughout the personalization

musicians, even if they are the best at

a headshot or an intriguing picture

process, I recommend asking yourself

what they do, is to simply ask a non-

showing the teacher and his or her

one question, “If I was someone who

musical friend or family member if he

respective instrument. However, just like

knew nothing about music, would I

or she knows the musician. If not, it is

the bio, make sure to cater this picture

understand this profile and want to learn

better to leave that name out of the bio.

to your audience. Fulfilling a picture

from this teacher?” If you are conscious

with these characteristics will greatly

of this question throughout the process,

Teacher Picture: Last but certainly not

increase your chances of attracting new

you will be able to reach all people who

least, your profile picture will be one

students online.

view your account, and possibly gain

of the first points of contact a student

students by just a few clicks of a button.

when on MusicArts.com. This picture

At the end of the day, MusicArts.

should visually express everything that

com can be used as a tool to increase

T E D A LT is a rising senior at Virginia Tech, majoring in Music Education with a minor in Business Leadership. He is currently interning at the Music & Arts corporate office working specifically in the Sales Department. He has had the opportunity to work with many different branches of the department including the Real Estate, Lessons, and Sales Support. In his free time, he plays saxophone and piano and has had many performance opportunities. This past spring, he had the chance to perform the nation anthem for the NASCAR STP 500 and continues to perform at smaller venues around southwest Virginia and North Carolina. His future plans include earning a Master’s degree in Strategic Management while joining the workforce.

Young & Old: Keeping Lessons Relevant

BY U K I A H O D O M , G U I TA R I N S T R U C T O R I N ?

Teacher: “So, what kind of music do you

been on both sides of this equation. I

like?”

still remember my first private lessons

Student: “I don’t know.”

as a child and, later, returning as an

Teacher: “Then, why do you want to play

adult – ten years later. My drum lessons

guitar?”

started in 2nd grade. Back then, it was

Student: “Uh (pauses, thinking, as

practice pad only. Later, a snare drum.

teacher waits in anticipation) . . . I don’t

By 6th grade I played in the school

know.”

orchestra. I had never heard of jazz.

Does this sound familiar? Well, that

My pal, Bob Cozzi, begged me to teach

student was me! One on one, the

him drums, so he could play like Ringo

teacher/student chemistry defines the

Starr. I turned him down. The Beatles,

mentoring dynamic. Most of us have

I said, were (and let this be our secret) August 2018 | S O U N D T E A C H I N G | 9

“irrelevant”. I listened to Schubert. And

within an instrument. Age is what’s

adults. Overwhelmed by the demands

Allan Sherman.

irrelevant. It’s the chimera of self-

of family and friends? Set it in your

imposed limitation with which we do

planner as a daily routine (sound

Fast forward to 1970’s San Francisco. I

battle. “I tried to learn guitar, but I

familiar?). Set a time. Excuse yourself

was a self-taught guitarist stuck on 3

couldn’t.” What!? To quote a line from

to practice when you have visitors and

chords with a lot of bad habits. When

“The Princess Bride” – “inconceivable!”.

they’ll think you’re cool. Have a space

interviewed, my first guitar teacher

As instructors we turn it around.

to yourself. No audience until you feel

looked exasperated by my answers. But

ready. When the time comes, friends will

those first questions opened a prize:

With younger students I begin by

be impressed by the simplest piece and

the gift of possibilities. From there, I

setting guidelines and simple goals,

you’ll feel like a star.

corrected my flawed technique and

with rewards along the way. The Music

began learning: Music. The wonders of

& Arts setting offers the advantage of

These days, I’m the instructor. A student

theory, notation, fretboard logic. I threw

playing a recital and networking with

says, “Yeah, I like rap and techno. I really

all my earnings as a hospital dishwasher

others. Our lessons are in a safe and

hate country. And especially classical.”

into lessons in guitar, bass and, yes,

comfortable space. Include parents

Sweet. I teach them, “Ring of Fire” and

drums – only this time with a full kit and

in discussing a practice schedule. A

“Malaguena”. Take away the labels and

a passion for funk and jazz.

daily routine at a set time makes it

it becomes accessible. Music is music.

manageable.

An older student despises “all this new

Take away the instrument – and what

stuff”? I teach them a Beatles tune.

do you have? Possibilities. Helping

“I’m too old to learn. I should have

We inspire and challenge our students

a student realize that, at any age,

started when I was young.”? Ha! “Now

to discover what they can do. Manifest

is not dependent on digital media,

you can organize your time,” I say. “You

the possible. We begin the journey

pop culture or stomp boxes. As 21st

have the attention span that we lacked

together and delight in what we learn

century teachers, we are empowering.

as kids.” Other than pointing this

from each other. The payback comes

We program the positive message that

out, my approach is the same. Release

when you least expect it, so enjoy the

rewards with a sense of self-worth and

limitations. Explore possibilities. Time

ride.

a map for discovering the latent soul

management skills are the same with

U K I A H O D O M studied at Blue Bear School of Music in San Francisco in the ‘70’s. This was one of the first schools of rock ‘n roll, founded by professional Bay Area musicians who wanted to offer an alternative to conservatory learning. Along with standard theory and other basics, students learned music business and how to play in a group. There, Ukiah honed his performance skills before moving to the Big Island of Hawaii, where he taught music with Head Start and other in-school outreach programs. He also played variously drums, guitar and mandolin in jazz, rock and bluegrass groups. He moved with his wife , Lesle, to Arizona and formed, Art of Music, a classical guitar duo. They have released two independently produced CD’s and have taught private lessons for 25 years. Their Americana trio, the Sand Pigeons, is releasing its debut CD. Most recently, they are music co-directors for a production of the Johnny Cash-themed musical, “Ring of Fire”.

BACK-TO-SCHOOL: Earn 5% Commissions Get ready for the rush of back-to-school students! As students take up a new instrument, they will need your expertise to help guide them through starter instruments. Throughout August and September, we will have plenty of deals that you can use to help sell and earn a 5% sales commission for yourself!

Remember, sales commission is only available on instrument sales for active students. For more details and resources for back-to-school, visit www.MusicArts.com/BackToSchool or talk to a store sales associate.

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