Professional Development

I am interviewing prominent people, some in the music industry, others not. For my first Q&A, I talked to prolifc GRAMMY®-winning composer and conductor Eric Whitacre. 
"I'm kind of hard-wired to do things at a pretty intense level," says Aaron Tindall. "In the low brass field, you just have to be relentless."  And Tindall expects the same passion from his students.
You became an instrumental educator because you love music and have a passion for sharing your talent with students. When your job inspires you, teaching may not even feel like work.
In music, tone is distinct and identifiable, and when played correctly and in harmony within an ensemble, it sets the overall mood and quality of a performance. However, mastering tone does not come easily.
In the blog post, The Drive of Top Tubist Aaron Tindall, Tindall describes how he has high expectations for his students.
As music teachers, we often focus on the aspects of program development that we can directly control — what and how we teach. 
In Case Study: Music Program Teamwork in Tennessee, we learned how the band, orchestra and choir directors at Ravenwood High School often plan and collaborate during the only time they are free­ — their common lunch period. 
Yamaha Master Educator Anthony Maiello is a University professor and professor of Music at George Mason University in Fairfax, Virginia. 
Good things come in waves. After a few years at a new high school, your marching band is going great. The booster program is very active and has been raising money. 
Trombones are a critical voice in any band or symphonic ensemble, and compared to most other wind instruments, they are actually pretty simple machines.

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