December is one of the best times of the year — festive music, holiday concerts, and the exciting arrival of winter break. But it’s also the perfect moment to get ahead and start setting up for the spring semester.

As I’m preparing to travel to Chicago for the Midwest Clinic, I realized this is the perfect time to hand out spring contest music to my students. On top of that, I’m placing a one-page “Spring Semester Info Sheet” on each packet — a simple tool that helps students stay productive even when I’m away.

Pro tip: Feel free to borrow or adapt this idea for your own students! (Here is a link to a google doc that you can copy and edit!)

Why a Spring Info Sheet?

• Keeps students engaged — even when the teacher is absent.
  With measure numbers, terminology definitions, and listening assignments on the sheet, a substitute teacher can easily supervise, and students can work independently.
  
• Boosts accountability and organization.
  By the time we meet again in January, I expect my students to have measure numbers marked, musical terms defined, and reference recordings listened to. That way we can hit the ground running — no one is playing catch-up.
  
• Encourages self-directed practice.
  Instead of waiting for me to play a piece in class, students can access recordings immediately and familiarize themselves with style, tempo, and nuance on their own time.
  

What I Ask Students to Do
On the Info Sheet, I ask students to:

1. Mark measure numbers directly in their contest music (so they can reference and practice efficiently).
   
2. Write definitions for any unfamiliar musical terms in the score (reinforcing theory and vocabulary).
   
3. Listen to the provided reference recording(s) — ideally more than once — and note down one observation or insight (e.g. texture, dynamics, articulation, overall mood).
   
   

This simple structure ensures they engage with the music on multiple levels: technical, theoretical, and emotional.

My “Why” — Synesthesia & Art & Music 🎨🎵
A little personal note: I have synesthesia. My brain blends colors with letters, numbers, and even sounds. Because of that, I see music in color — and I think this is a huge gift when teaching.

In my “Dream Band Room,” I envision big canvases on the walls — art of all styles that reflects the spirit of the music we play. I’d collaborate with students to choose or create artwork that visually matches our music.

This is why, whenever possible, I include small images with every piece we play. Not only does it make the experience more immersive, but it also connects music to visual art, color, and emotion — helping students see (and feel) music in a multidimensional way.

Making Music More Than Just Notes — Broadening Horizons
On the info sheet I also include reference recordings from a variety of sources, not just concert-band performances.

Why? Because I want my students to become lovers of all music — not just what we play in class. Maybe one piece includes a cello solo by Yo‑Yo Ma, or a choir rendition of a melody we arrange for band. This is a chance to open doors: discuss expressive playing, orchestral textures, different instrumentation, and the broad world of musical artistry beyond concert band.

It’s a chance to inspire curiosity, broaden taste, and plant seeds for lifelong musical growth.

How You Can Use This for Your Students
If you’re a band or orchestra teacher and want to try something similar, here’s a quick roadmap:

• Create a one-page “Info Sheet” template with sections for measure-marking, terminology, listening assignments, and observations.
  
• Pair it with each student’s music packet when you distribute new repertoire.
  
• Provide one or two reference recordings (concert band, orchestral, or even non-classical if appropriate).
  
• If you’re comfortable — add a small image for each piece, or invite students to find (or create) art that they feel matches the music.
  
• Whenever you’re away (contest season, conferences, holiday trips), leave the packets with a substitute — and let students use the time productively.
  
  

You might be pleasantly surprised at how much progress they make — and how creatively they engage with the music on their own.

Final Thoughts
For me, teaching music is more than just guiding students through notes on a page. It’s about fostering an emotional connection, a love for sound, and a curiosity for art in all its forms.

This simple Info Sheet — handed out right before the semester break — is my small way of blending accountability, inspiration, and independence. When students return in January, our rehearsals will be smoother, our progress faster, and our artistic spirits already stirred.

If you try this with your students, I’d love to hear how it goes — and maybe even see some of the art your students choose to represent their music.
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​Happy teaching from our team to yours!

​By Alicia DeSoto  |  Musical Mastery

​​Teaching beginning trombone is a beautiful blend of precision, patience, and proactive planning. There are a lot of nuanced skills that need to be addressed to a beginner trombone player that can be hard to cover if being taught in a heterogeneous setting. Let’s dive into the top trombone non-negotiables that are essential to establish in the first semester! 

1. Instrument Assembly: Safety First ⛑️
Before the trombone ever comes out of the case, you must ensure two things:

1. Students can identify all the parts.
2. You’ve clearly demonstrated the process with your own case & trombone.

Assembly Instructions:

• Have students on the floor, far apart, and remove obstacles from the space with a clear line of vision to you
• Emphasize the correct orientation of the case: top side up, latches facing them, with the bell on the left side
• Open it slowly with both hands and keep a running dialogue—this is a big moment! Enthusiasm is contagious.
• First remove the slide section using both hands and then transition to firmly gripping both braces), then the bell section (left hand).
• Create a 90 degree angle when connecting the slide and bell sections and screw tight the receiving lock nut.
• Drill this repeatedly. Slide locks, angles, and safe handling must be second nature before full assembly begins.

Pro Tip:

• Within the first couple of weeks have every student “lead” the class in assembling the trombone. This has always been a rite of passage for my trombone classes and allows you to assess if every student truly understands the process before they start taking home their instruments.

Teacher mantra: “This is not about speed. This is about doing it right.”


2. Hand Position: Built-in Insurance Policy ✋ 
Good hand position prevents accidents and promotes confident playing.

• Left Hand: Use the “Rock ’n Roll” sign. Teach them to wrap fingers comfortably around the bell brace, using the pinky to check the slide lock.
• Right Hand: “Double-barrel pistol.” The slide is gently controlled between thumb and two fingers.
• Do not allow students to leave the slides unlocked or their instruments LEANING IN A CHAIR. If they must put their instruments down, put them down on the floor with three points of contact: mouthpiece, tuning slide, and bell. Do not lay them flat on the slide.

Remington’s Rule: “Hold the slide crossbar between the thumb and first two fingers, palm facing your chest.”


3. Sitting With the Trombone 🪑 

• Sit on the edge of the chair, back tall, feet flat.
• Bell goes just over the left knee, pointing slightly downward.
• When in a relaxed or ready position the slide should not be touching the ground. This puts undue pressure/weight on the slide which can lead to misalignment and a slower slide.
• No crossing legs, leaning back, or slouching—this affects everything from tone to confidence.

Pro Tip:

• Most trombone players will feel most comfortable by having their feet ever-so-slightly offset with the right foot a few inches more forward than their left. This provides a little more balance and stability to the left hand (holding the trombone) and naturally opens up the stance to allow for a bit more reach with the right arm (slide arm). 

4. Breathing Effectively: The Foundation of Sound 🌬️
 Breath is the engine of the brass section.

• Teach breathing with a “yawn” concept—open throat, relaxed shoulders.
• Use the Breathing Chant:
  “Out, 2, Breathe Breathe, Play, 2, 3, 4, Stop, 2, Breathe Breathe, Play, 2, 3, 4, Stop.” 
  Pair this with a metronome for rhythm and pacing.
• Practice “saying” the Breathing Chant AND “demonstrating” the Breathing Chant with the metronome. Be sure to transfer and reinforce the breathing chant and all of the details of breathing once they add the instrument.
• Draw air columns and shapes on the board; let students sketch their own.
• Practice directing the airstream onto the palm of the hand to reinforce direction, speed and temperature (cold).
• Breath should be even: steady in, steady out. Monitor the students who try to blow it all out at once. Pace the air throughout the exercise. Even air through the beginning, middle, and end of the note. Shoulders down, body still.

Mantra: “Breathe down to the bottom of your chair.”


5. Angle of Leadpipe: Look Like a Pro 📐

• The leadpipe should angle slightly downward in line with the natural jawline of the player.
• This position helps keep the head and neck aligned and the throat open (tone open) from obstructions.
• Use mirrors or profile checks often.

6. Slide Positions: Target Awareness 🎯 

• Rule 1: the horizontal positioning of the slide should remain consistent as the slide moves from position to position. In other words the slide should not move vertically up or down as we reach out for longer positions and then come back in for closer positions.
• Rule 2: the left arm/hand’s job is to hold the weight of the trombone, the right arm/hand’s job is to facilitate movement and not carry any additional weight than is necessary!
• Use analogies:
  • 1st = “Home”
  • 3rd = “Brace at the bell”
  • 4th = “Just past the bell”
  • 6th = “Stretch, but don’t lock the elbow”
• Use charts, wall visuals, or games to reinforce this.

Pro Tip: Initially have students practice “saying” the position as they go to it. Building slide awareness and accuracy is a skill that needs to be developed on its own.

Pro Pro Tip: When finding 2nd position, have students go to “1st” then “3rd” then move in between to “2nd”.
When finding 5th position, have students go to “4th” then “6th” then move in between to “5th”.


7. Music Stand Setup: Posture is Priority 📚 

• The top stand should be just below eye level, to the right of center in front of the player.
• The stand should not obstruct the trombone from coming up to a natural playing position. We want to avoid turning heads or tilting instruments to see the music.
• If the music stand is too low = hunching & wrong leadpipe angle; too far to the side = severe eye straining wrong; too high = no eye contact & oblivious to the world 

8. Slide Care = Instrument Respect & Fast Slide ⚡ 
A neglected slide can ruin a beginner’s entire experience.

• Slide O’ Mix is user-friendly, non-greasy, and beginner-safe.
• If using cream (like Trombotine), remind students:
  • A little goes a long way.
  • Spread until invisible.
  • Rinse outer slide occasionally.
• Always follow up with a fine mist spray

Pro Tip: conduct “Slide Checks” twice weekly! 

Instill early: “Slide Pride is Slide Power.”


🎓 Final Thoughts
If there’s one truth in teaching beginning trombone, it’s this: what you allow in the first six weeks becomes the norm for the next six years (and longer!). Establishing strong habits early—care, posture, air, and attention to detail—transforms your class from a group of unfocused nerdy trombone kids to a confident section of thoughtful nerdy trombone musicians.

So take your time, repeat often, monitor closely, and celebrate every small success. 

Happy teaching from our team to yours!

​By Chris Meredith  |  Musical Mastery

​

The start of the year is equally as exciting for teachers and students alike. Every year is a new opportunity to breathe life into the journey of becoming a musician for our students. The first semester and most importantly the first six weeks lay the foundation for everything—tone, technique, and, most importantly, culture. If we’re intentional about how we structure these first weeks, we don’t just teach students how to play notes—we teach them how to be productive band kids.
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​Here’s a step-by-step framework to help establish a positive, productive, and student-centered band culture that lasts all year long.


🎯 What Does a Successful Beginner Band Culture Look Like?
By the end of the first semester, our goal is to see:

• Students who are motivated to learn and excited to come to class
• A classroom where students experience daily progress and success
• Learners who set and achieve short- and long-term goals
• Peer-to-peer teaching and student-driven learning
• Growing independence in practice and problem-solving
• An environment that builds confidence, belonging, and community

Getting there takes planning, pacing, and purposeful repetition. Let’s break down how to make that happen.


Weeks 1–2: Foundations First
Daily Focus: Classroom Culture, Awareness, and Curiosity
Classroom expectations and routines are gently layered in through positive modeling, not lectures. Students need to feel like they belong and have a home in their new band hall, the simple act of having their name on a chair as they walk in the first day of school gives them this sense of: “you belong here”, “this is where you are supposed to be”, “we see you”.
Find ways of teaching through physical modeling and how to receive appropriate feedback in band without the instrument:

• Start with sitting position exercises (relax, ready, playing posture)
• Play musical alphabet games (forwards/backwards, around the circle), to bridge the gap between prior knowledge and what will be practical moving forward.
• Introduce breathing and air control with fun group challenges (“Who can look the calmest?” “Who can shape their airstream into a laser beam?” “Who can keep the piece of paper on the wall by using their cold air?”).
• Check individual supplies/instrument status discreetly; help kids feel ready and supported, not behind.
• Teach parts of the instrument early—plan a fun quiz by the end of Week 1 to help them own their learning. We want them to feel like experts!

💡 Culture Tip: Always attach learning to identity. “Musicians know their alphabet forward AND backward!”  


Weeks 3–4: Layering in Playing Fundamentals
Daily Focus: Control, Awareness, and Sound Creation
Slowly move from posture and air into producing sound--not music yet, just good sound.

• Introduce the mouthpiece or small parts of the instrument first. Think air → vibration → tone.
• Use “I play, you play” modeling, call-and-response, and echoing.
• Move to the first two pages of your warm-up packet once students can match pitch or tone quality.
• Don’t rush into the method book. Use your warm-up routine to develop focus, attention to detail, and pride in sound. In this stage the student's eyes should be on the teacher, and ears open to the room.

🎯 Goal: Full instrument use begins around Week 3—but only when air and posture are stable.
💡 Culture Tip: Start “passing the note” activities where students play one at a time and listen for consistency. This builds awareness of how to respect each other's time in the room, is an individual performance opportunity, and is helpful in starting the process of ear training.


Weeks 5–6: Building Repertoire & Routine
Daily Focus: Structure, Confidence, and Student-Led Growth

• Once students can navigate the first two warm-up pages comfortably, introduce the book as a supplement to reinforce the fundamentals.
• Continue lots of down-the-line playing, peer feedback, and “I’m the student—what am I doing wrong?” routines.
• Keep daily mini evaluations informal: 5 to 10 seconds of solo playing with immediate, supportive feedback.
• Focus on articulation awareness (most instruments begin with “tU,” flutes or lighter brass may use “tah”).
• Layer in theory games, rhythm rockers, staff ID as transitions or entry tasks.

🎯 Goal: By Week 6, students should be able to self-correct posture, hand position, breath control and basic tone.
💡 Culture Tip: No chair tests = no stress. Evaluation happens every day in small doses. Everyday we should be hearing our individual students demonstrate “down the line” in attainable exercises that help build their performance skills while we informally are always evaluating!


🔁 Throughout the First Semester: Keep the Momentum

• Spend the first 5–10 minutes of every class on culture-building routines: theory games, rhythm building, vocabulary, breathing.
• Celebrate small wins often—getting to the next note, finishing a new line of rhythms, improving posture.
• Reinforce that everyone has a role: “We are all teaching each other how to be musicians.”

🧠 Teach the Process, Not Just the ProductWhen we build a classroom where daily learning feels visible and achievable, students are motivated to keep coming back, even when it gets tough. They begin to associate band with identity, confidence, and community.

If we can establish the culture that we seek as teachers, then we are helping create the yellow brick road that students can follow to find their ultimate success in band.
Happy teaching from our team to yours!


By Chris Meredith  |  Musical Mastery

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