Tips for an Efficient Orchestra Rehearsal

In the midst of preparing students for a performance or competition, how many of us have thought, "There just isn't enough time" or "Oh my gosh, time just got away from me" during a rehearsal?  In previous teaching years, these thoughts would constantly run through my mind, especially at this time of year, and would tend to freak me out.  Feeling like you're constantly playing "catch up" from lesson to lesson is exhausting, not to mention stressful.

However, over time, I've "collected" tips and tricks for an efficient orchestra rehearsal from colleagues, other fine arts teachers, core subject teachers, and from various professional development sessions to run an extremely efficient orchestra rehearsal in order to maximize that little time we do share with students!  Though I'm always looking for new and improved ideas, these have been some game changers for me!

Tip #1: Establish a Classroom Routine

How a class begins sets the tone for the lesson, so why not begin an efficient rehearsal with an efficient routine? 

• From Day 1, walk through exactly what your classroom routine looks like with your students, and then practice that routine every day that follows.  
• Students will need time to practice their routine, but consistency in expectation and execution of the routine only helps! 
• Nobody knows your needs, or the needs of your students, as much as you do, so knowing and communicating to your class precisely what is needed from the moment they're in your class contribute to that classroom efficiency!  
• A few things to consider while establishing a routine:  

• How do students enter your room?  
• Do they wait for you or do they simply come in? 
• Where do they sit? 
• How do they sit?
• Where do their cases go?
• Where do their belongings go?
• What task(s) are they responsible for before class starts (EX: rosining, tuning, uncasing instruments, etc.)? 
• How long do they have to get themselves ready for your class? 
• Are they allowed to get out of their chairs during this time?  If so, where can they go? 
• What consequences will there be if students have not followed procedures or time limits?

Tip #2: Efficient Tuning

As string teachers, we know that tuning is crucial for the rest of class, but how is it that tuning just seems to take up so much time?!  

• For students who don't know how to tune themselves... 

• Make it a race!  
• Pose the question to the class: How fast can we tune accurately?  
• Let the students know that you're going to need their help in having their instruments ready for you to tune, but the faster you go as a class, some sort of reward will happen!  (One of my favorite "easy" rewards is that we get to pack up a minute earlier than we normally do.) 
• Turn on a timer and GO!  
• EXTRA:  If you have multiple classes being "timed" on tuning, make it a friendly competition for who is ready the fastest!  

• For students who are just learning how to tune themselves... 

• Know that this will naturally take up a little bit more class time, but don't let it take the whole class! 
• Try setting a timer for tuning time (or each string that they are to tune).  Of course they'll need a little bit of time to practice this skill, but setting parameters keeps students focused and on task!  
• Walk around and monitor/help for efficiency and accuracy!  

• For students who are very comfortable tuning themselves... 

• Set a time limit for tuning! 
• Request that tuning time does NOT equal individual practice time!  (If students can hear what they're tuning to, it'll be much more accurate!)

• For ALL students... 

• Outline tuning expectations 
• To expand on Tip #1, outline your expectations of what should be happening during tuning time.  
• Are they supposed to begin a bell ringer?  
• Should they use that time to rosin bows and clean instruments?  
• Should they practice silently?  
• Should they make any noise at all? 

Tip #3:  Go In With a Detailed Plan! 

Having a lesson plan, or an outline of goals, is crucial for rehearsal efficiency and effectiveness!  

When lesson planning, consider the following: 

• What are the top priority items to complete today?  This week?  This month?
• How will my daily lessons build to achieve long and short term goals?
• What specific music elements are needed for mastery?  How will these be addressed and practiced?
• Is it necessary to start at the beginning of a piece, or would it be more efficient to start elsewhere?
• How much time should be spent on different portions of the lesson?
• How can I word things to be concise, direct, and precise?
• What questions should I ask (and at what point in the lesson) for maximum effectiveness? 

Though you could always make your own lesson plan templates, there are many lesson plan templates already available to download and use if you don't already have one you're excited about!        

Check out some of my favorites to get started: 

• Angela Harman's Lesson Plan Template
• The Florida Orchestra Association (FOA) Templates

EXTRA:  Once you are organized in what you're working on that day/week, try letting your students know why you are working the spots you're working, or what to focus on during the lesson.  You might be surprised how involving them in the music making (and perfecting) process might help to achieve your goals, too!  

Tip #4:  Stop Playing After Cut-Off

Let's do some math: 

Say you cut-off the orchestra 20 times in one rehearsal, but students continue to play for 15 seconds after that cut-off because they just didn't want to stop playing.    

• In one rehearsal, you've wasted 300 seconds.  That's 5 minutes.
• In one average school week, you've wasted 1,500 seconds.  That's 25 minutes. 
• In one month, you've wasted approx. 6,000 seconds.  That's about 100 minutes. 
• Over the course of the 9-month school year, that's about 15 hours wasted! 

In addition to that wasted time, factor in student absences, teacher absences, weather days, field trips, shortened schedule days, etc.  

That's A LOT of time... 

Now, I'm not saying that every rehearsal can or will be perfect (I will forever be working on this, too), but FEAR NOT!  We can approach this realistically for improved (and efficient) rehearsal time!  

• Communicate with your students!  

• Many times, students don't realize what a time waste playing after the cut-off can be!  If your students are of the age that they can rationalize this concept, do the math with them!  After all, if they cut off with you, they'll ultimately get more play time anyway! 

• Make this a part of your rehearsal expectations!

• How should students know how to properly rehearse if we don't teach them how?  
• What does it look and feel like to follow this instruction? 
• What will happen if you do not follow this instruction?
• What happens if you do follow this instruction?

• Be consistent and be positive! 

• Of course, consistency is key, but positive reinforcement can also be a great tool to getting them where you need them to be.  
• Let students know when they've met that expectation (sometimes, a simple "thank you for cutting off with me- that was great!" can do the trick).

Tip #5: Keep It Moving  

Remember, your time in the classroom is limited, and attention spans are short!  Keeping the flow of a rehearsal moving and limiting wait time (within reason) maintains student engagement, thus student participation.  If students understand that there is business that needs to get done, many times they'll rise to the occasion, and actually help with the efficiency of the rehearsal overall! 

What tips and tricks do you use to have an efficient orchestra rehearsal?

And, for all teachers who are in the final stretch of their school year, GOOD LUCK!  We can do it!

Turning Goals Into Results For Your Orchestra

For many of us, the New Year is synonymous with resolutions and new beginnings.  The start to this school year for me was, in short, rough; it was difficult to balance all of the different elements, keep my program from remaining stagnant, and continuing to think and teach creatively.  However, completely on accident, I rediscovered the article by Jim Collins that I'd come across and read several months ago that unexpectedly reignited my motivation, creativity, and through process for goal setting.

Several months ago, I picked up a book entitled Turning Goals Into Results, The Power of Catalytic Mechanisms (found here) at an airport bookstore on my way back from a conference.  I'm not exactly sure why I was drawn to Jim Collins' article at all (as it is completely different than my usual topics for "light reading"), but within my 2-ish hours en route, I read the article, annotated it fully, and was left pondering some of the major points discussed within.

Of course, this article was in no way directed at education specifically, much less music education, but I thought that the business and managerial points made were interesting and important points for developing and running a successful program and encouraging students.

Collins defines catalytic mechanisms to be "...a simple yet extremely powerful managerial tool that helps organizations turn goals into results."  He expands on the thought by saying that "catalytic mechanisms are the crucial link between objectives and performance" to turn goals into results. 

In addition, Collins also explains that successful catalytic mechanisms have 5 distinct characteristics: 

1. Produces desired results in unpredictable ways.

2. Distributes power for the benefit of the overall system, often to the great discomfort of those who traditionally hold power

3. Has "teeth"

4. Ejects viruses

5. Produces an ongoing effect

How Collins' Ideas Can Apply To Orchestra 

In my own orchestral interpretation, I interpreted a catalytic mechanism as processes or systems set in place to get desired results for one's program.  These can (and arguably should) be crafted with the consideration of both short and long term goals in order best develop a program over spans of time.  

A few examples of the avenues I began to brainstorm are listed below, but so many more things can be added or taken away to this list based one one's program needs! 

• Short-Term (This year): 
• System for daily technique practice 
• System for daily/weekly theory incorporation into lessons 
• Method for incorporating more writing/creating activities 
• How to get students to perform solo/small chamber groups in front of audiences that wouldn't typically hear or see them perform. 
• Schedule to best maximize grading and administrative work
• Schedule & system to increase parent/administration/community communication

• Long-Term (Future years):
• Another level or class option built into your daily schedule
• Creating officer positions for your orchestra program 
• Expansion of program to include sub-groups, such as a specialized chamber group, harp ensemble, or world music/non-Western ensembles 
• Incorporating supplemental instruction to multiple orchestra levels 
• Classroom organization to maximize instruction space and storage

Now, in his article, Collins goes into great depth to outline and explain "a few general principles that support the process of building catalytic mechanisms effectively."  Below, I've outlined his main points in terms of an orchestra or orchestral program. 

As the new school semester begins, I look forward to using Collins' ideas and points to assist me in creating new, effective, and productive systems for my orchestra program!  

How would you apply Collins' points to your own program?  Do you have any goals for your program that you have, or would like to, develop a catalytic mechanism for?  

Happy New Year, Savvy String-ers!  May the rest of your year be fruitful! 

Positives Per Day

Teaching music is a rollercoaster.  Its days of ups and downs, twists and turns, dips and peaks.  One moment you're on this wild ride and bracing yourself for what is to come and the next, the excitement takes over and you just know it's going to be amazing.  Yet, it's somehow so easy to get caught up on negatives or rough spots, but this year I'm trying something new: Positives Per Day. 

   

The Guidelines:

• Everyday, before leaving work, reflect on the day and write down at least one positive thing that happened that day.  

• The positive doesn't have to be something profound or prolific, but at least one positive must be written down each day (even it it has nothing to do with music)! 

The Tools: 

• Blank calendar or journal.  (I opted to use a blank calendar much like this one that I made just because it was so light weight and portable.) 

• Your favorite pens.  (I have been color coding my months using pens like these just because they're just so fun.) 

• Your positivity and creativity. 

Reflections:

I started this project initially to keep myself positive and motivated throughout the year, however as time goes by, I'm finding that this project is affecting more than just me- it's affecting my students!  Being positive and reflective throughout my day allows (and encourages) me become a much more empathetic, caring, and enthusiastic teacher, thus creating a positive atmosphere and culture within my classroom.  Also, by recognizing positives about my students with my students, there has seemed to be a shift in ownership and excitement from the students. 

I am so genuinely glad that I've continued to jot down my Positives Per Day as it's really become a small, but really happy, part of my every day, despite the growing craziness of my schedule.  Not only do I leave work on a positive note (pun intended), but I'm finding that it's getting easier and easier to recognize (and share) the positives of my day with those around me as they happen!  

Here's to a positive year, Savvy String-ers!

Beginning of the Year Orchestra Parent Meetings

For the last few years, I've held an Orchestra Parent Meeting the first week of school to communicate with parents, both new and old, the expectations and ways the orchestra would work for the year.  I have found that it has been a fun and informative way for parents, guardians, and myself to kick of our school year!

Before summer vacation, the elective teachers, coaches, and principal at my school get together for a calendar meeting in which we decide when all of the events for the next year will be scheduled.  Amongst the many other events scheduled, I always to do my best to reserve an evening in the cafeteria within the first two weeks of school for our Orchestra Parent Meeting.  Though it can call for a hectic start to the year, I enjoy holding our parent meeting as early in the year as I can in order to to avoid as many scheduling conflicts as possible and to begin executing expectations and procedures as quickly as I can.

The date for the Orchestra Parent Meeting is sent out to all parents and students via their orchestra back-to-school letter, a newsletter available during our Open House, and at our Instrument Choice Events.  It is also quickly published on our orchestra website calendar, too.

To respect parent time, I hold two parents meetings back to back.  The meetings are organized as follows:

• 5:00 - 5:30 pm  -  Beginner, Intermediate, and Harp       (Non-Competitive Groups)
• 5:30 - 6:00 pm  -  Advanced & Varsity                            (Competitive Groups)  

By separating the parents into smaller groups based on their child's orchestra, I found that I was able to utilize the time with the parents more effectively and cover more specific information that would apply directly to their child that year.  I made sure that both slideshows created (one for each meeting) focused on both the general orchestra expectations and procedures and on the specifics of their child's group.

In addition, I invited parents to make any of the orchestra payments after their meetings (if they were able to do so at the time).  I discovered that many parents actually preferred that they could get it all taken care of all at once!    

Within 15 slides or less, the the topics covered included:

• Orchestra handbook overview
• Expectations
• Orchestra-Specific Needs (i.e. short fingernails) 
• Materials needed 
• Eligibility
• Concert Attendance & Expectations
• Uniforms
• Payments & Payment Due Dates
• Orchestra T-Shirts
• Instrument Rental Fees
• Homework (with QR Code)
• How that works in my class
• Grading policies
• Late work policies
• Tutoring/ Office Hours
• At-Home Practice
• Expectations
• Why practice is important
• How parents can be involved
• Private Lessons
• What they are
• Benefits of lessons
• Where to find private teachers
• Orchestra Class Website (with QR Code)
• How to sign up for Remind
• Important Calendar Dates
• Spring Trip Introduction
• How to Get Involved and Support the Orchestra
• My Contact Information

Since hosting Beginning of the Year Orchestra Parent Meetings, I have found that the line of communication between parents and myself have opened up significantly and I have been able to help parents understand how my orchestra classes work much more effectively and efficiently.  Also, in having a chance to talk in-person to parents, I not only have the chance to put a parent name to a face, but I have the priceless opportunity to learn more about each of my students!  Who wouldn't love that?!

How do you communicate procedures and expectations to parents at the start of the school year?

Update Your Podium!

Materials: 
     -Old wooden podium
     -Pliers
     -Sandpaper
     -Paint
     -Paintbrush
     -Indoor/Outdoor Rug
     -Staple gun
     -Scissors
     -Exacto Knife
     -Self-Stick Round Felt Furniture Pads (optional)

Step 1: Prep
Using pliers, I carefully removed all of the left over metal frame remnants and took time to sand the uneven and splintered surfaces down to a clean, smooth surface.

Step 2: Paint
After flipping the podium upside down (the underbelly of the podium was facing up), paint the bottom of the podium.  The paint I used was a Valspar color sample in March Breeze from Home Depot, left over from when we repainted our house.  The bare wood of the podium absorbed quite a bit of paint, but two coats of paint transformed the base to the opaque look I was aiming for.

Step 3: Cover It 
Using an indoor/outdoor rug I found at Home Depot (a lot like this rug here), I made measured out a section of the rug and cut it to a manageable size.  Then, I spread out the rug under the podium, using the weight of the furniture to hold the rug as I pulled it taught and aligned the rug's ribbed texture to be parallel to the edges of the podium;  I wanted to be sure there were no wrinkles and that everything looked symmetrical.  Once all was aligned to my liking, I used my staple gun to attach the carpet to the painted podium.  (While stapling, I aimed the staples as close to the top edge as I could, so it would look nice and neat when turned right-side-up.)  I worked with opposite sides of the podium and continued to pull the rug as tight as I could before stapling, again- to avoid any wrinkles.  For the corners, I followed this tutorial as closely as I could to keep things looking crisp and clean.  Last, but not least, I added a few Self-Stick Round Felt Furniture Pads (much like these) to keep the base from scratching my newly-waxed classroom floor!

Step 4: Trim It
Using an exacto knife, I trimmed the rug so it would wrap exactly around the lip of the podium.  Be sure to take your time and cut carefully so the edges are nice and clean.

Step 5: ENJOY IT!
Once you've painted, covered, and trimmed your project, flip it over and enjoy!

Organize Your Cello Cases

To me, back to school means a fresh start, a new outlook, and a clean start- literally!  

As I was reorganizing and cleaning up my classroom from the summer, I found that my room was overflowing with soft cello cases and I was out of surface space to store them!  In years past, I've tried everything from stacking to lining them up against a wall, but there was always an issue of clutter.  Plus, after a week around kids, they just kind of became a mess to look at.

So, this year, I tried something new: HANGING THEM UP!  

Now, I've heard of other teachers hanging up their cases using coat racks mounted on walls, but I simply didn't have any wall space in my classroom for that.  (It's a seriously clever idea, though!)  So, I had to get a little creative with a way to get the cases off the floor and to get them to where I could move them to the storage space kindly given to me in the girl's locker room. 

Challenge accepted.   

I ended up finding and using an old metal garment rack with wheels and I purchased a pack of adjustable pant/skirt hangers from Amazon.  (The kind I purchased can be found here.  They're not the most durable hangers I've ever used, but I was looking for a good deal on a pack of hangers.)      

I also found that the best way for the hangers to hold the weight of the cases (especially when I rolled the cases back to the storage area where they live during the year) was to attach the hangers to the bottom of the case, where the endpin is, and attach one clip to either side of the case.  This seemed to be the only way for the clips to be able to hold the weight of the case in transit from my room to the storage area.  

And, just like that, my cello cases were organized and could be rolled away to storage until I needed them again!