Hello, it’s your neighborhood workaholic here… to provide some updates.

First and foremost, I’VE GRADUATED WITH MY MASTERS!!!

That is supposed to feel exciting, but I am finding that I have more stressed out with what that means for the future. A lot of major life changes have been snowballing since April 2021 so let’s recap.


April 2021

In the month of April, I started by preparing for my final Masters’ recital which was a major undertaking and thankfully all went to plan 🙂

However, shortly after that performance my childhood cat’s health was rapidly declining. She had just entered the Senior cat life state, and already had some pre-existing issues from earlier in the year. So with the high of the final Masters’ recital came the low of having to say goodbye to my best friend.

Then, only several days after that began the treacherous journey I am now with housing.

May 2021

Halfway through my undergrad, my family moved into the house I have been staying in up to present. When the pandemic hit in early 2020, there tensions prompted some drastic life changes that bring us to present day.

I’ll be the only family member remaining in state – obviously I have new and old friends, colleagues, and support systems here – but it means that I have been navigating finding housing alone.

Which may not seem like a huge deal to most people – understandably so – in my case however, I have had to face what weakness I am bringing into rental applications as a recent graduate student, with minimal job experience, pending job, and I’m under 25. I think it is important to share this experience because I hear a lot of people say to me “just ask your parents” or “get a financial advisor” but this is with the assumption that I was in the privileged financial spot to begin with. Thus being the one that has to advocate for myself is a tough transition that I am currently navigating as I continue to search for a new home.

So basically…

I have been working really hard to advocate for myself. I’ve been teaching, securing summer work, applying to job positions for the new school year, practicing when the stress isn’t debilitating, and if I’m lucky remembering to have fun or engage in self-care.

I hope to hear positive news in regards to housing and getting a full-time job for next school year would also be fantastic.

For now, I am just continuing the grind. For weeks I have been hearing people say “oh once you’re an adult things never settle, there will never be a good time so just keep… blah blah blah”. I am tired. They say that moving is the most stressful thing in a person’s adult life; however, the type of person I am is excited, but the hard part is just securing a place with the unfortunate position I am in. Things will settle, the work isn’t the challenge for me it is the instability of not knowing where I will be in 2 weeks or a month’s time.

Once I have gotten that stability as I know (or at least hope) they will I will be back to regular posting.

After your first year of undergrad, there is an abundance of time to practice (not). However, there is more allocated time to practice, and efficiently using this time to practice is a skill that is most useful post-grad.

In this week’s entry I will set a baseline for general practicing habits as a college student (from both the perspective of undergraduate and graduate) and then the transition to full time teaching whether that be private lessons or public school.


Collegiate Practice Time

Undergraduate:

As an undergraduate student, there is a fairly inflexible block schedule that your practice time has to fit into. Gen Eds, Core Requirements, Lessons, Ensembles, Electives….

As far as practice time goes, it is more or less built into your schedule as “free time”.

This time gets spent on lesson material (scales, etudes, repertoire), ensemble repertoire and chamber music. There isn’t much time for exploration and playing things outside of school music aside from part-time gigs.

Graduate:

Towards the last year of undergrad, but more so during graduate studies, there is A LOT more “free time”. Classes run into the night – if you are working part or full time that may vary how much time you have allotted to practice. However, this variability leaves a few open ended questions:

  1. How much time do you need to practice? School material? Outside school?
  2. What do you practice? What are you working towards?

Grad school is where you have the freedom to hone whatever skills you prioritize.

One of the secrets of adulting 101 that most graduate students and full-time workers will tell you is that you have to schedule a social life. The same becomes true for practicing. If you don’t make time for it, it can slip through the cracks and before you know it you have missed a week a practicing.

There is not set # of practice hours. Everyone is different: work/school schedules, physical and mental health, upcoming projects, etc. However, being consistent and seeing through that you practice when you tell yourself you are going to practice. As well as having a plan for what you want to get better at each time you play – or if you are playing for fun (set time aside for that as well!) – but those times that you are practicing to journal it and reflect every week or so on the small achievements you’ve made.


Post-Grad – Working Full Time:

When you are teaching, the freedom that you had in graduate school is altered. Life changes, workload, etc. However, the key differences is now you are in the driver’s seat. Without regular lessons, you have the freedom to decide how you practice and maintain your skills.

Preparing and planning lessons – ideally you would be working on the repertoire your students are doing, so any personal projects are put on hold to review and refresh for teaching.

Finding balance between maintaining personal goals versus teach goals can vary; and it is important to model a viable career that blends both teaching and personal growth.


How do you practice? Let me know in the comments below!

Last week I gave my final Masters recital – it’s been whirlwind in preparation and after the rectial – so please accept this 25 minute video detailing the process of planning, prepping, and challenges along the way of making my recital possible in lieu of a linear blog post.

And here is my recital:

The eager high school musician, accepted into music school, may want to come into university with a new instrument that is up to the standard they feel is necessary for this transition in their life/career. Here are some considerations for these students and their family to ponder before diving in blind.


New Teacher

Most students will not have the same primary instrument teacher from high school to college. There are A LOT of changes that takes place within the first year of being a music major: embouchure changes, posture changes, sound production, reviewing basics and establishing a strong foundation for the next 4+ years…

All that being said BEWARE buying a flute before consulting this new teacher. Equipment is important, but it is not everything, if you have an instrument that is reliable and consistent then hold off on the expense until university. If you need to upgrade, consult with this new teacher and maintain good communication. Trial instruments, get feedback, and ask questions (it’s okay to not know everything there is to know about flute manufacturing and your teacher will have had an array experience in this area).

Changes and control

Similar to the last point, change is inevitable – especially if you plan to improve. Most student flutes require less work to manipulate factors like tone, focus, and color; many flutes with higher specs require work to really master control of these elements (albeit the sound is often better balanced and blended) which is another factor to consider. As a music major the technical demand will increase, and the decision to get a new instrument at the same time there is more of a demand to be musical may be a road block.


The Importance Of Trials

If you have the opportunity to trial flutes rather than just do a quick test in a store take it. You can get more opinions on instruments and better weigh your options when you have more time to spend with the instruments and learn how they work over a several days.

Just Another Flutist, Joanna, is a partner with the Flute Center of NY and has a concise video on setting up trials and how to structure them to get the most out of the experience:

There are a lot of options and things to consider when making a flute upgrade:

  • Budget
  • New or Preowned
  • Inline or offset G
  • Open or close holed
  • Brand
  • Material
    • Silver… what kind: coin, sterling?
    • Gold, karats?
    • Mixed – interior walls, plated, riser, etc.
    • Platinum
    • Combo?
  • Specs/Additional features
    • C or B foot
    • Split E
    • Foot joint roller keys
    • C# trill
    • Gizmo key
    • Thickness of wall
  • Having a repair tech in house or having a trusted one to go to after purchase

Do you have any advice for soon to be music majors? When did you upgrade and what do you think is important to know about the process?

Last year and this year are very different from previous ones, however, the world is still spinning and many people who want to Major in Music are receiving their acceptance letters into universities. What does being a music major look like? What is that first year going to entail?


Gen Eds

As per usual this will be US-centric and a huge part of American universities is fulfilling general education requirements for your university. AP classes help – somewhat – in getting you out of these classes. You can roughly expect a few literature/writing courses, math, psychology (especially if you are doing an education degree), and general science.

You want to get these out of the way if you want to immerse yourself in the school music fully and not have to travel to unfamiliar parts of campus during the semester.

You can make use of summer and winter courses to knock a few of these out if you find your schedule too full.

Too Many Classes, Barely Any Credits

Welcome to the school of music where the majority of your classes will be worth 1 credit or less. That 3 hour ensemble rehearsal you are expected to attend each week? Yup, that is only worth 0.5 credits.

While your friends in other disciplines will be complaining about how busy they are with 4-5 classes per semester you will be juggling anywhere from 10-12 (maybe more) for only 18-20 odd credits.

Your schedule will be PACKED with block classes.

Plan out times during the day to make sure you are hitting 3 meals a day. NO SNACKS DO NOT COUNT. You want to make sure you aren’t going a full 10 hours of class without a single full meal. Eat breakfast, it’s good for you! Especially before a dictation exam.

Aural Skills – Ear Training

This is where rubber meets the road. If you don’t have perfect pitch don’t sweat it, and don’t let other people get in your head about it. Last month I did a post on my tips to improve in ear training.

The several semester you take aural skills may be stressful, but you will come out the other side a much better musician. Transferring the active listening to your own instrument helps tremendously.

Often times your university will have sympathetic professors that can help you if you are struggling to maintain a passing grade – don’t be to hard on yourself if this is the subject area where you are averaging a C.

Piano Skills

If you are not one of the ‘lucky’ ones to have grown up taking piano lessons or just have a knack for the keyboard you are not alone.

Even if you feel like you should be practicing your own instrument, why do you have to learn piano anyway??? Just remember that, again, this is a transferable skill. When you’re practicing you can play your own part or a reduction of the piano’s part to make this skill useful to your own musicianship.

Essays…

You’re a music major why do you have to write?

You will find that mainly in your first year – and somewhat beyond that – you will be writing A LOT. Learning how to navigate the library, do different citation formats (MLA, Chicago, APA), persuade/argue a point, support your ideas, and peer review. These skills – although not directly related to music – come with the job. Whether you are an educator or performer – writing grants, program notes, etc. you want to be able to write intelligently.

Time to actually play music?!

If your first year you will be expected to transform your playing to set the foundation for the rest of your degree. However, you may find that you just don’t have as much time as you thought you would to practice.

Practice plans. Scheduling. Journaling.

Those are several things that are essential for first year music students if they want to manage gen eds, music classes, secondary instruments, hw, and everything else on top of their primary instrument.

Know what you need to practice that week and prioritize – what are you doing for your lesson week by week, is there a masterclass or performance you need to be prepared for.

Block out your practice time, don’t just wing it and hope that there will be time. Sometimes you have free time, but no practice rooms are open. Sometimes your schedule is so packed you’d be lucky to get in half an hour of practice time. Don’t feel pressured to practice every day, but do try to practice more days than you don’t in a week.

Journaling is something that takes time to develop. What are you practicing? Why? What are you working to improve? What do you like? What strategies are you using to fix the things you don’t like?


This year is presenting new challenges for first year students such as struggling to fit into the music school community and form those relationships they would otherwise have. What insight do you have for new music majors?

In August I did a post which covered the flutes I had played before getting to university; now I will covering ALL the piccolos I have owned and played from high school (which was when I started playing flute) through graduate school.

One important note before I get into the reflection is that it is very common in my area that university students upgrade to a professional piccolo – a piccolo made of higher quality materials (resin/wood/metal); even in my undergrad (as a Music Education major) I felt this pressure to upgrade. And then as a Master of Flute Performance student there is DEFINITELY a push to upgrade, however, I am here to share why this isn’t a must have. Don’t feel pressured to do something that isn’t financially viable or you (yourself) feel is necessary.


High School

It is important to know that I started playing flute as a sophomore in high school for marching band. The flute section comprised of 2 seniors, 2 sophomores, and 2 freshman. Because the seniors were graduating I started my piccolo training only 3 months after learning flute (this is as a 15 year old).

  • Emerson – Nickel Silver Plated

PROS:

  • Durable for outdoor playing, I used mine exclusively for marching band every year.
  • Metal LH 1st finger rest to help with the size difference from flute (like a hand crutch).
  • Reliable – I kept this instrument through my undergrad for any outdoor playing – the mechanism held up well.

CONS:

  • The shrillness that comes with metal piccolos – less suited for indoor/concert playing.

  • Jupiter Nickel Silver Plated Head; Plastic Body*

*Before the PROS/CONS I just need to disclose I went through FOUR (yes, 4!!!) of these in a month so here’s what happened: The September of the following school year – my first school year exclusively on marching piccolo – I took a trip to a SamAsh because it was “the” musical instrument distributor in my area. The night I took home my first one I was practicing and then went to remove the head joint… and off came the barrel (aka the part that attaches the body to the head). We went back the next day and got a replacement… and I tried it in store (cautious) and it happened again. I’m not here to say anything bad about SamAsh or Jupiter, but this was VERY frustrating 8 years ago (now it’s actually comedic). I don’t know why we kept on going back to this one model of piccolo, and for context this all took place in the month of September by October I had found the piccolo I still have today. On the 3rd and 4th piccolos, there were issues with the mechanism going out of alignment. Anyway so:

PROS:

  • Decent price (just speaking on my own experience I can’t say much more than that)

CONS:

  • FRAGILE – better suited for indoor/concert rather than outdoor/marching
  • Quality assurance – in my own experience from 2013

  • Gemeinhardt 4SP; Plastic Head and Body

WINNER, WINNER. This is the piccolo I still own today, of course I have played professional piccolos, but in my own experience this piccolo plays well enough that I can not justify the price gap from this to a higher quality one.

And also considering that when you upgrade to a professional instrument you also have to pay for professional REPAIRS!!!! That is the biggest reason I keep this piccolo, it saves literally hundreds of dollars to play on this piccolo (especially considering piccolos go out of alignment much easier than flutes).

PROS:

  • Durable; can manage both indoor and outdoor playing
  • The plastic helps reduce the shrillness in the tone, more suitable for playing indoors than metal student piccolos
  • Stable tuning/intonation – 8 years on the piccolo – and even after playing professional piccolos I find that I can navigate tuning on this instrument with no issues.

CONS:

  • Not available anymore – the current comparable model would be the 4P

Bonus: Piccolos I Played In College

  • Haynes – Grenadilla Wood

This was a school instrument that I shared and borrowed within my studio, mainly because there was a stigma on student piccolos versus professional.

PROS:

  • The wood made the tone significantly less shrill.

CONS:

  • Durability – for all wooden instruments, being mindful of the temperature and not cracking the wood.
  • Scale, tuning – this particular piccolo just didn’t feel right under my fingers for the few years I played it; and intonation was always a struggle between registers.

Basically designed to be a “small flute” – has RH pinky keys, extending the lower register of the piccolo.

I don’t have any PROS/CONS for this still I tried it at a convention, but it was mind-blowing and I am still mildly interested in owning one for the novelty of a piccolo actually being designed to be a “small flute”.


What piccolos have you played? Thoughts on student versus professional models? Let me know your thoughts in the comments!

There’s not just one type of student or teacher. Everyone has there own learning styles, needs, and quirks that make up a diverse learning community.

In the instrumental ‘traditional’ symphonic band and orchestra tracks, the expectation is excellence, discipline, and high-achievement – this is a grandfathered system that keeps going, but why? Because it’s comfortable or at the very least familiar? Or because it is what is right for our diverse learners?

In this article, I will be providing an argument for why it is important to seek alternative paths and perspectives that can be married with that familiar “excellence, discipline, and high-achievement”; as well as how these alternatives will help keep our art form alive for there to be another 100+ years rather than gradually lose public funding and favor.


University – Who are you?

When in university you are exposed to a whole new pool of people that – most likely – differ from you and the people from your formative teenage years. You have an immediate choice: do you integrate yourself into as many of these diverse pools as you can? Do you dip your toes into a few pools that either rebel against your former experiences? And/or end up fitting into your former experiences? Or do you completely reject these new perspectives in favor of your own personal experiences?

Identity.

This is something most people begin thinking about around the time they develop social awareness; however, one people are left on their own – without a familiar backdrop of places and people – they are forced to see who they really are.

Hence, why it is paramount to take advantage of the time you have in university to explore these alternative perspectives. Now that doesn’t mean you have to do things that go against your morals or beliefs; but LISTENING to people about why they feel the way they feel does not do any harm to you. It doesn’t suddenly mean you are rebelling against your morals or are doing anything wrong.

One term that has gained popularity with the widespread use of internet forums is “echo chamber”. For those of you unfamiliar, you can read about it here; to summarize, it is usually characterized by people seeking out others who hold the same opinion as they do to further solidify their biases – most of the time this is not malicious and can often be done subconsciously.

With all this in mind, every once in a while take a step back to reflect on the media you are consuming to see if you are exposing yourself to a wide array of ideas or are just listening to what you know you will agree with.


Grandfather Music Education

Like many things in life, there isn’t one way to become a music educator.

Most people may think that you become a music educator through a 4/5 year Bachelors program (which includes clinical experiences, teaching portfolios, and state/nation required exams). The first glaring issue with this is that this is strictly an American perspective. Likewise there is also the bias of time – expecting someone to finish their degree in a set number of years – more or less. As well as assuming that someone HAS to do their Bachelors in Education. And the list can go on….

Here I will be reflecting on Music Education in America because that is where I studied and have the most insight on:

  1. One of the biggest issues is the separation of music in school and out of school. We demand support for the arts (rightly so) yet when it comes to music making we rarely ever create new things, we simply recreate what is expected. On top of that most of the music we perform is not meaningful to the students. Popular instrument, music technology, film score, etc. classes are heavily undermined and not taken seriously by many educators. However, can it be at the fault of all these educators? Or is it really the lack of preparation and training in degree programs to get these educators to make music education more accessible.
  2. Accessibility for special needs. At the end of my Bachelors they tacked on a few special education courses – which they graduate above my year never took and that is worrisome. I graduated with my Bachelors in 2019 and special education was not given a platform to all these educators who may not actively seek ways to support and reach students who really need it.
  3. Poverty – this gets touched on yes, but no one actually knows what to do, most of us are just told to make it up as we go. Not having enough instruments for students, or not enough materials (stands, music, chairs, space) for students is devastating when the engagement is there. However when there is low enrollment or interest, how do we get these students in the door? How do we make an environment that supports them, their learning, and their financial need?
  4. Racial distribution – this was never really discussed in my undergraduate classes (even with my University being on the East coast). Racial diversity doesn’t look one way it is highly dependent on the school you teach in/the district. You CAN NOT have a band of predominantly one racial group and them a sprinkle of other groups in there and call that diverse. There are many interconnected issues within this topic such as: lack of proper healthcare (which can effect proper diagnosis of special needs) and economic inequity.

Those are just a few of the topics that stick out the most (from my perspective). Others may want to call out gender, family/home stability, LBGTQ+ harassment, and more. Those are all valid perspectives that are not covered in this grandfathered music education pyramid.

Expanding Grandfather Music Education: Resources

Here are some resources that I could find address these topics – feel free to share ones you have found:

Roderick Cox – Conductor’s Perspective discusses “A live conversation among four American conductors across generational lines- sharing their unique stories navigating the elusive profession of orchestral conducting, and perspectives on classical music as a unifying art form for the future.”

NAfME: Teaching Lessons to Children with Special Needs

Article: Inner-City Schools Find Music Programs Could Be Key To Happier, Harder-Working Students

@blackgirlmusic_ / @iamcreateorg supporting Black and Latinx female musicians.

BrassChicks

Article: Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras

Reddit: Hello r/flute! What are your thoughts on males playing flute?

Trumpet Headquarters – Black Female Brass Players

NAfME: How to Teach Commercial and Popular Music in Schools

Forum: Students with Divorced Parents

Article: The ‘shadow education system’: How wealthier students benefit from art, music, and theater over the summer while poor kids miss out

Article: Teaching Music in Inner City Schools


Is it that easy?

No it’s an ongoing battle. Especially for the groups that can not just walk away from it. If you are able to turn it off and walk away you NEED to acknowledge your privilege. We (especially those with privilege) need to complicate our lives to make any sort of impact in the way music education is taught and experienced.

Especially with this pandemic that is rolling into its tenth month: people are either going into poverty or deeper in to poverty; the gaps in educational achievement are widening; people are stressed and emotionally unwell; and there is still so much instability in the world.

As a future educator my one message to you is: that people come first. Ease your students into lessons – how was your day/week? What did you have for breakfast/lunch? Who’s that on your shirt? What have you been listening to?

Make them feel seen and that they matter because they might not be getting that support elsewhere. The music can come later.


Share any resources you like in the comments!