In this Issue:
• 2025 Conductors: California’s own Dr. Robert Taylor to conduct the 2025 All-State Wind Symphony
• Super Saturday
• Audition Tips
• Social Impact Consortium
Dare to express yourself
At Chico State, you’ll be provided with opportunities to excel through disciplined study and practice in high-quality facilities, classes, performance ensembles, and productions.
DEGREES & PROGRAMS
Bachelor of Arts
Music
Option in Music Education
Option in Music Industry
Option in Recording Arts
Option in Applied Music
Theatre Arts
Bachelor of Fine Arts
Musical Theatre
Minors
Music
Theatre
Dance
WHY CHOOSE CHICO STATE?
• Passionate and dedicated instructors
• Supportive and welcoming peers
• Access to state-of-the-art facilities
• Numerous performing opportunities
• Dedication to hands-on learning
• Student organizations that promote leadership skills
Director of Bands—Angelina Gomez, DMA
Dan Bryan President
Jeff Detlefsen Past President
Ashley Crow CBDA Logistics Co-Coordinator
Eric Roberts Super Saturday Coordinator
Susan Willmering Vice President
Trish Adams Executive Administrator
Katie Carbajal CBDA Logistics Coordinator
CALIFORNIA BAND DIRECTORS ASSOCIATION BOARD OF DIRECTORS
Jeanne Christensen President Elect
Patrick Dandrea Secretary
Jazareth Valencia NCBA Rep
David Green Director of Communications
Dr. Jeff de Seriere Treasurer
Amy Villanova CBDA Ensemble Host
Dr. Kaitlin Bove DEIA Rep
Dan Sedgwick NCBCDA Rep
Cathy Olinger SCSBOA Rep
CBDA is a nonprofit association consisting of band directors from all levels of music education. CBDA provides the AllState Jr. and High School honor groups for students and a state convention each February for directors. Join or renew CBDA membership here.
The CBDA Bulletin is the official publication of the California Band Directors Association, Inc. Published three times a year: Spring, Fall, and Winter.
Subscription price is included in the CBDA annual dues. The opinions expressed in the magazine are those of the author(s) and do not necessarily represent an official position of the Association. CBDA does not necessarily endorse any product or service advertised in this magazine. Access emails at cbda.org
PRESIDENT’S MESSAGE
Greetings!
As we finish our camps, check the numbers in our ensembles (no, we can’t have that many percussionists!), and get ready for those first public performances, I hope that the beginning of your school year has been off to a great start. And while CBDA and CASMEC feel like they are far off in the distance, auditions and our state conference will be here before you know it!
But beyond our all state bands, CBDA is committed to supporting you and your students in new ways throughout the school year, and some of the highlights of what our organization has to offer will be outlined in this issue:
1. SUPER SATURDAY! By the time you read this, we will be less than a week away from our second event, with the overwhelmingly positive response that we received in 2023, we’ve expanded our offerings this year, establishing our fifth site in Oakland (Laney College), and adding string classes at every site statewide! At just $25 per student, this day will be packed with great instrumental instruction, discussions on best practices on audition excerpts, and tips and tricks on recording. We encourage directors to come observe these lessons (for free), so tell your students to claim their spots today!
PROP 28: As we move into year two of this groundbreaking law, CBDA and our partner organizations will be continuing to have discussions regarding the execution of the law and how funding has been used across this state. In this issue, we provide another perspective: an interview with a superintendent who has been successfully navigating the law and increasing the arts services to their district.
3. And of course, all things CASMEC! After a great kick off “party” in Sacramento in 2023, we’ll highlight what’s in store for 2024 - clinicians, sessions, performing ensembles, and who you might get to see when you’re in Sacramento this January. The response to our move north has been overwhelmingly positive, and the CASMEC/CBDA crew is working to make sure that this year is an even better experience than last year. Conference and hotel registration will begin soon, so make sure to get registered before hotels fill up.
And when you’re done reading this issue, I encourage you to go check out our updated website! Our new team has spent the summer giving our site a new look, and not only will you find audition information (deadline coming soon!), but you’ll also be able to sign up for CBDA (you are a member, right?), and of course, find our links to Super Saturday.
Dan Bryan
I look forward to seeing you at Super Saturday, CASMEC, and all of the events that are happening this fall. Best wishes to you as embark on another year in this great profession, and may all of your performers show up on time for call!
President, California Band Directors Association
Super Saturday September 7, 2024
Super Saturday returns on September 7, 2024, with an action-packed lineup of events designed to enhance the musical skills of potential all-state auditioners as they prepare for upcoming auditions. Six simultaneous events will be held across the state, providing a unique opportunity to collaborate with professional musicians and focus on CBDA and CODA excerpts. This event is open to both middle and high school students, encompassing all band and orchestral instruments. Whether you’re a seasoned performer or a first-time auditioner, Super Saturday promises to be an invaluable experience.
The cost for students to attend this immersive clinic session is just $25, making it an accessible and affordable way to gain insights from expert musicians and educators.
Students can sign up at www.cbda.org and www.coda. org. Make sure to mark your calendars and elevate your musical journey by participating in Super Saturday 2024!
We would like to extend our heartfelt thanks to our regional partners for their support: the Southern California School Band & Orchestra Association (SCSBOA), the California Music Educators Association (CMEA) North Coast Section, the Northern California Band Association (NCBA), and the Northern California Band & Choral Directors Association (NCBCDA). Their contributions help make Super Saturday a reality and a resounding success for students
across the state.
The positive energy and passion displayed by these students and educators alike are a testament to the success of this statewide initiative, which unfolded across four different campuses. As we look ahead, we eagerly anticipate the continuation of this remarkable tradition. CBDA remains committed to nurturing musical talent across the state of California, and this event exemplifies our unwavering dedication to that mission.
NEW for 2024: We’re thrilled to introduce a new offering in Oakland, specifically designed as an “Intro to Auditions” clinic. This initiative is a collaborative effort between CBDA, CODA, and teachers from the Oakland Unified School District. The goal is to demystify the audition process and provide students with the tools and confidence needed to succeed. All students are welcome to join this exciting new clinic!
Dr. Robert Taylor
Northwestern University
2025 ALL-STATE BAND CONDUCTORS
High School Wind Symphony
Dr. Shanti Simon
Dr. Emily Moss
University of New Mexico
Rachel Maxwell
Traughber Junior High School
The University of Oklahoma
High School Concert Band
JANUARY 15-19, 2025
SACRAMENTO, CA
High School Symphonic Band
High School Golden State Band
Dr. Jon Noworyt
University of Indianapolis
Jr. High School Symphonic Band
Dr. Cliff Croomes
University of Texas at Austin
Jr. High School Concert Band
All-State Auditions
California currently offers the opportunity to audition and participate in 16 All-State ensembles.
Collaboratively, CBDA, CODA, and CAJ offer a junior high (Grades 7-8) All-State Honor String Orchestra, two junior high (Grades 7-8) All-State Honor Bands, a junior high (Grades 7-8) All-State Jazz Band, four high school (Grades 9-12) All-State Honor Bands, a high school (Grades 9-12) All-State Jazz Band, a high school (grades 9-12) All-State Honor String Orchestra, and a high school (Grades 9-12) All-State Honor Full Orchestra. CAJ also offers a high school (Grades 9-12) All-State Jazz Choir. CCDA offers four All-State Choirs. All of these ensembles will rehearse and perform at the California All-State Music Education Conference in January 2025.
https://cbda.org/auditioning/
Tips for a Sucessful
by Susan Wilmering CBDA Vice President
This article is an ‘updated’ version of my fall of 2020 article. Especially after the last four years, I feel we all could use a refresher and these tips I had provided back then still stand strong with a few tweaks. One band director friend told me he printed out the original article for his students and handed it out to each of them so that they could benefit from these tips. I thought that was a great idea especially since sometimes the students are left to prepare and record themselves on their own. I hope this gives everyone a little insight and a few good ideas.
Here are some tips coming from the lens of a Judge and Music Teacher:
Start Yesterday!!
The saying “failure to prepare is preparing to fail” holds true. The solo lists have been out since April, so what are you waiting for? Anyone who procrastinates and tries to learn the All-State rep in the last few weeks risks running out of time at truly detailing their music.
Checking In
As teachers, we can help by checking in on students auditioning, even during class. From the start of the fall semester, I randomly listen to different students play parts of their solos or scales and give them quick feedback in class in front of their peers. Of course, I always keep it positive. That way students can all learn from each other, build their confidence in short spurts, and I can check that they are progressing successfully. This also sets a precedent to the rest of the ensemble that we value seeing students strive for the All-State Honor Groups.
Listen
Listen to each recording track once uploaded to the CBDA Digital Audition System. This is an EASY task which allows for one to listen to each track, even on top of each other to save time. This would eliminate many auditions from being disqualified due to simple accidents such as: missing a track, uploading the same scale twice, playing the wrong scale (ex. natural minor instead of melodic), and playing the wrong excerpt in the music. If the audition is incomplete for any of these reasons, it is then marked
Sucessful Audition
“disqualified” and taken out of the judging cycle no matter how great the player is.
Microphones
When it comes to microphones, you don’t have to break the bank. Yes, having a decent mic or two to record students is great. But if that is not an option, that should not stop anyone from auditioning for All-State. Smartphones these days have decent mics which do a great job when recording most instruments. I would recommend using a smartphone over a computer mic, unless you have an external mic to plug into it. Also, there are some superb affordable mics that can plug into the phone such as the Shure MOTIV MV88.
The instruments which I think require the most attention when it comes to microphones are usually the tubas and timpani. Clarity on these low instruments is usually an issue. I use a ribbon microphone for both. It has made a world of difference in the clarity of my students’ recordings.
Be mindful of mic placement and distance from the performer. Each instrument has its own needs. Experiment with this to find what sounds most authentic.
Recording
Recording takes patience. Plan that it may take more than once. Students who have never recorded often are too nervous the first time to truly perform at their best. Also, young brass players usually do not last long. Think about breaking it up and maybe record scales on one day and the solo on another.
Percussion has a lot of different instruments to record. I suggest focusing on recording one instrument a week leading up to the deadline. I have found recording percussion in one sitting for JH and even HS is not ideal. No one said recording for All-State has to be done in one session. But, I suggest notating mic placement and levels to make sure recording on multiple days sounds as if it were done in one session.
Recording Space
Try and find a quiet space that has some resonance to it. If recording from home, try a variety of locations. An open
living room might work better than a small bedroom, which might be too dry.
Judging Categories
It isn’t just about correct notes and rhythms… Each scale and excerpt is broken down and judged by four categories: Tone & Intonation, Accuracy, Articulation, and Musicality. Listen to each scale and excerpt with separate ears and address each of these areas. Note that Tone & Intonation is worth more than the other categories. So, showing a level of mastery in technique and tone, having quality equipment and reeds, understanding the intonation issues of the instrument and how to control it (such as third valve slides and alternate fingerings), are important.
Professional Feedback
We are in an era of Zoom lessons and online learning. This is a great opportunity for students to utilize these online resources, such as SmartMusic and MusicFirst, or to reach out to professional musicians across the nation for help. Many professional musicians have all adapted to using Zoom and would definitely love to give masterclasses, lessons or just feedback on a recording.
Scales
• Should be fluent. Need I say, practice with a metronome (slow at first) to help with this. Tempos should be competitive but should not exceed the ability to have clarity and to demonstrate musicality. It is better to be accurate, smooth and musical, than fast.
• Record all scales in a similar tempo. Playing one extremely fast and the next 20 beats slower doesn’t have a flow to it and looks as if there is a technical problem to a listener or judge. Pick a tempo all scales can be played at and stick to it.
• Play the correct articulations that are asked for, no exceptions!
• Watch that slurs are performed without rushing through the notes around them…. This is often an issue for wind players.
• The last note should be held out with a great/ strong tone for two full counts. Brass players, do not release with your tongue, and flutes, keep your chin up when releasing the note. Add vibrato if it is appropriate for that instrument and if the performer has control over their vibrato. When a student doesn’t have a strong tone at the end, it is usually because they have run out of air. With all scale recordings, I make my students take in a 2-4 count breath instead of a 1 count breath. You want to sound strong from beginning to end.
• No accents or staccatos… there are none written. Don’t anchor on to the beats with added accents or staccatos. It should sound smooth overall and flowing.
• Before starting the scale, place the fingers down on the first note before the breath is taken. This can eliminate a lot of problems for young musicians and their struggle to get a clean attack…. (ex: saxophonists on the chromatic scale, pressing the keys down before the breath will eliminate the sound of the pads smacking on the attack)
• Only record the range asked for. Unfortunately, “extra credit” is not part of the scoring, so playing extra octaves only opens the audition up to having points taken off from one of the four judging categories.
Solos
• Check the Errata list on the CBDA website for updates before recording. We do not take off points if someone does not follow the Errata, but why would one want to perform a piece with wrong notes and such?
• Make sure the performer has taken time to define each word written in the solo. If it says “con sord” and the performer does not use a mute, that doesn’t sit well. Take time to thoroughly define and learn everything about the piece. Part of the fun of learning a piece isn’t just about playing the notes and rhythms, it’s about truly delving into it and knowing it inside and out.
• Play the correct notes and rhythms. This is All-State. It should be assumed that this is the bare minimum to the solos. BUT, if a high note cracks, that is not a deal breaker.
• Listen to professional recordings of the piece to help develop musical concepts and ideas. If it is a transcription, listen to the original version to make sense of the phrasing. If there is text, learn it. This will help with the ideas of articulation and musicality.
• STYLE: Play the All-State solos using the appropriate practices for that style of music. If ornamentation is usually placed on a note, then by all means, add it. (ex. Trills, mordents, etc.) Most Judges used for All-State will know each of these solos because they have in the past performed them and will know the appropriate practices.
• TEMPO: The solo tempos should be as close as possible to what is asked. BUT, if there is a tempo
which the performer sounds more clear and musical on, then use your best musical judgment. Clarity and details over rushed sloppiness will get a higher score.
• DYNAMICS: Observe them!!
• PHRASING: Teachers, if a student does not have a private teacher, write this in for them on their music. Write in breath marks for them too.
Percussion
• All parts must be submitted to be considered.
• Chromatic Scales- Consider where you are hitting the keys. Stay away from the nodes (where the string goes through the keys). Also, the Judge should not be able to tell if you are right-handed or left-handed. Play evenly between hands.
• Snare Roll and Timpani Roll- Don’t worry so much about the length and time of the roll but rather attaining a smoothness and strong dynamic range.
• HS Cym & Tambourine Excerpts- Spend some time learning the technique and tone of these orchestral instruments. There are plenty of Youtube videos on how to play concert crash cymbals and tambourines; watch them.
• Marimba Solo- If dynamics and/or phrasing is lacking, don’t be afraid to add some. This is especially true for the JH marimba solos.
• Snare- Record with a metronome in your ear. As long as the Judges can’t hear it, there is nothing wrong with it.
• Timpani- Listen to yourself. Do your hands SOUND even?? Often the lower drums are not played strong enough to balance evenly to the upper drums that project easier. It isn’t about playing even, it is about sounding even.
Is It Inspiring?
This is the number one thing I ask myself when recording my students. Top chairs at All-State have the “It Factor” and are breathtaking to listen to. If my students’ recordings are not inspiring, we talk about it and come up with ideas to make the music come alive. I have learned that even a twelve-year-old can be inspiring on a solo piece. If they can record an inspirational excerpt, there is a good chance that it will be to the level of All-State.
Final Thought
Earning a spot in one of the California All-State Honor Groups is a prestigious honor and a great experience for our students. This is something which students can have pride in and is a great reward for their strong musical work ethic. It also helps to show their peers that there IS a tangible reward for all those hours of practicing scales and excerpts. I wish you and your students the best of luck with the All-State audition process and hope my tips are helpful.
We Make a Difference
We make a difference. What we teach makes a difference in the lives of the students we stand in front of on a daily basis. Music is the connector between us as professionals, our students, our audiences, and our communities. As we begin this school year, let’s remind ourselves that we need to embrace our love of music and let it show in our classrooms. Students want to know we have a passion for what we teach. Music is emotion. You will see that music breaks through all the fears students may have. Our classrooms are meant to be enjoyable, a safe place of learning, and a place of refuge. Teaching is important. We must shape the lives of those who are in front of us. My hope is that when students finish the school year with me, that they have grown musically and personally. Making connections with our students is crucial for a successful school year. The first way I make connections with my students is to learn their names. Our names are who we are. It’s our identity. Things I am working on besides designing a marching band show and planning each ensembles concert literature, is learning the first and last names of all my students in each class. One thing I did before we had band camp was I reviewed my roster to be able to call my returning students by name as they arrived. I can be away for a few weeks during summer and completely draw a blank on a four-year senior’s name. (No age jokes please!) For everyone, I make nametags for their ensemble classes. Names and instrument association are helpful. I print out a nametag for all of the students to place on their music stand each day. They keep it in their music folder and are in charge of using the nametag daily. Once I am able to address all students confidently when they are not at their chair and stand, they are able to put them away. Nametags can also be helpful when you have a guest clinician in or a substitute covering for you.
My offering is this…start where you are. Allow students to start where they are. We are not in a sprint. We are in a long marathon during any year. If you are new to teaching, welcome to the profession! It is one of the most rewarding careers you can have. If you are a veteran educator, then I encourage you to reach out to those in your area. Make a connection especially to our new teachers in this profession, but also reach out to those who may feel isolated. All of us need to feel supported and understood. Finally, to the retired educators, we still need you. We need you to continue to share your knowledge, your experiences, and lend us your support. I encourage you to share your stories with others. I encourage you to reach out to any educators in your area or across the state. We all benefit from what you have done before us. Thank you!
So, there’s 16 more weeks until Winter Break. I hope to see many of you at Super Saturday, or in December at the Midwest Clinic, and certainly I hope to greet as many of you as possible at CASMEC this coming January. Until then, I wish you and your students well as you navigate this new school year together. Feel free to reach out if you need someone to connect with. It’s why we are all here, to share the human experience we call music.
Jeanne Christensen
CBDA President-Elect
Summer Concert
Youth Symphony Orchestra | Band | Choir
Summer Music Festival by LAYP at Walt Disney Concert Hall
SUMMER SEASON
AUDITION
Summer Season Youth Orchestra
Summer Season Youth Band
Summer SATB Chamber Singers
(5 th-12 th school grade) For more information, visit www.layouthphilharmonic.com
Dr. Thomas Verrier
(Band Director at Vanderbuilt University)
Teaching Music in Rural Northern California
Hi, my name is Dan Sedgwick and I teach in the North Coast of California, in Crescent City the home and heart of the Redwood Forest. I have been teaching at Del Norte High School for the past 16 years. In my tenure in Del Norte County Schools, I have taught: choirs, jazz bands, steel band, percussion ensemble, marching/concert band, and band instrument repair. While we live in a beautiful area of the state, teaching in an isolated area presents its challenges. With a very small population, and only 9 stop lights in the county, Del Norte County music and the arts is thriving!
DNUSD (Del Norte Unified School District) boasts 7 full time music teachers for 3000 students. In addition, we have a full time choral accompanist (IA) that works with the high school and 3 middle schools. With the support of Prop 28 we are adding two full time music IAs for the Del Norte High School and the main middle school, Crescent Elk to the mix. With 7 teachers and 3 full time aids, we are more than ready for a great school year in music!
The latest addition to our district is setting up a full repair shop at Del Norte High School. I now have my CTE credential in instrument repair and teach students how to fix instruments. With the closest comprehensive repair shop being over 4 hours away, this shop has transformed how we can teach music. We have two goals with the new addition of the instrument repair shop. 1. Teach the students a pathway in music that is not education or performance based, and 2. Fix and maintain all of the instruments in DNUSD. Every summer, myself and a colleague, Sara Rogers, hire 6-8 students to do preventive maintenance on all of the 2000 active instruments in the district. It is truly amazing to have all the instruments working for our students every year. DNUSD is very supportive in music and has supported this project for the past 4 years.
North Coast CMEA (Humboldt, Trinity and Del Norte counties) is gearing up for Super Saturday on September 7th so that our students will have the best access to the all state bands. We are holding the event at Eureka High school and we are getting local professionals to clinic our students. We are excited to have them participate in the all state bands and now that the golden state band exists, our students will have a greater chance of making one of the ensembles. California is a huge state and all students deserve this opportunity.
It is a true pleasure to be working for DNUSD. We have a very supportive administration team. Alison Eckart, Principal at DNHS, Jeff Harris - Superintendent, and Thomas Kissenger - Assistant Superintendent, and the DNUSD Board of Trustees. In addition, I would like to thank Nick Rail and the Partnership for the Performing Arts for the contribution of instruments and repair tools for the shop. I cannot thank them enough for the staffing, the repair shop and funding, and the overall time and love for what we do with our students. Without their support, none of this would be possible.
Dan Sedgwick
Northern California Band and Choir Directors
Association Representative
Cathy Olinger
President, Southern California Band and Orchestra Directors Association
SCSBOA Update
Many of you have already greeted your new students during summer band camps, or at the door for the first official day of the new school year. The new school year is upon us, and it is indeed, the ‘Most Wonderful Time of the Year’, with endless possibilities making a difference in music education across California. SCSBOA wishes you all a wonderful year of making great music.
SCSBOA has 87 years of a rich tradition of music education for 1,000+ Elementary, Middle, and High School Band and Orchestra members representing the counties of Imperial, Kern, San Luis Obispo, Los Angeles, Orange, Riverside, San Bernardino, San Diego, Santa Barbara, and Ventura County.
As President of the Southern California School Band and Orchestra Association (SCSBOA) I am extremely proud and honored to work with the dedicated and like-minded elected Vice Presidents serving on the SCSBOA Board of Directors. SCSBOA is connecting to the membership and has made major changes with the implementation of Competition Suite for Field Tournament scores/commentary, Festival commentary, hiring of out of state DCI level adjudicators, and on-going training and mentoring of judges and first year teachers.
SCSBOA kicked off the new year with the annual professional ‘Fall Downbeat’ for band and orchestra directors at the Elementary, Middle, and High School levels. Field & parade adjudication training days, field tournament & festival host in-service, Prop 28 review/planning, as well as other special events taking place. In the fall of 2024, SCSBOA will provide field adjudication to 50 shows with 174 competitors and numerous parades, and beginning in March of 2025, host 60 Band & Orchestra, 5 Regionals, and 4 Solo & Ensemble Festivals.
Mark your calendar for the 2025 SCSBOA Annual Professional Development Conference and Honor Group Concerts on February 7-9, 2025, at the Hyatt Regency Conference Center, Garden Grove. The conference will offer over 50 conference sessions, 11 Elementary, Middle, and High School Band, Orchestra, and Jazz rehearsals and performances, featured concert performances, chat sessions, social hours, and keynote speaker by Daniel Morrison of Happy, Not Satisfied
On behalf of the SCSBOA Board of Directors we hope you might enjoy the winter weather in Southern California and attend the conference. You will not be disappointed!
And now, let’s get back to basics and the foundation of music education at the Elementary School level. Here are a few first few day ideas for your students from Janet Smith, SCSBOA VP of Elementary Education prior to the start of playing the instruments.
At the beginning of the year, you may find that not all your beginners are prepared with instruments. It can be
incredibly beneficial to begin music classes before students start playing instruments. This creates an opportunity for team-building exercises, time to implement classroom management strategies, and the introduction of music literacy. You’ll probably pick upmore students during the first few weeks! Here are a few activities I’ve done in the past before we play:
• Wallpaper Air: provide half sheets of paper to students and have them create a stream of air steady enough so they can pin the paper to the wall for several seconds
• Rhythm Balloons: I use balloons to teach the rhythmic value of longer notes, such as whole and half. (The reason being that they can stay in the air for multiple counts!) I place students in instrument groups and pass out balloons. They toss the balloon to a specified rhythmic value with a metronome on quarter notes. (They count out loud in the time signature of your choice.) This can get a little wild, so it is also an excellent time to reinforce classroom management strategies such as a quiet signal. (Handclap, audible cue, light flicker, etc.)
• Have students bring their school Chromebooks or devices to music so they can join your Google Classroom/other platform immediately. Take them
on a tour of the resources you share with them, or if you use resources such as Smart Music, Essential Elements Interactive, etc. Make use of free websites such as musictheory.net or Chrome Music Lab for lessons.
• Lots and lots of counting and clapping rhythms! You can add a fun body percussion element to keep things interesting. Once the instruments are in the students’ hands, I find they are far too preoccupied to focus on counting, so I like to emphasize it early. Demonstrate how to open their instrument cases before they get them. If you know, youknow!!!’
Please don’t hesitate to reach out to Janet for more elementary tips of the trade. Janet Smith (elementary@ scsboa.org).
In conclusion, SCSBOA is listening to our membership to make relevant changes to support best practices and to support music education at all levels. Remember, that your year is full of endless possibilities. Make it great! Don’t hesitate to reach out to SCSBOA.
Cathy Olinger, SCSBOA President president@scsboa.org
Cc: Amy Mack, Office Manager scsboa@gmail.com
Music Education in California: The Evolving Landscape and the Role of Academic Coaches
by David Green,
CBDA Director of Communications
Over the past four years, music education in California has experienced significant transformations. Despite the challenges posed by the COVID-19 pandemic, music programs have made a strong comeback. This revival is evident in adjudication festivals, concerts, and halftime shows, where California’s music educators showcase their resilience and talent.
However, the landscape has shifted. While performances have returned, new challenges have arisen, particularly concerning mental health and teacher burnout. As more educators retire, the shortage of qualified replacements is becoming increasingly pressing. Although California Proposition 28 provides some support, its success hinges on robust systems that protect and empower teachers. As the field continues to evolve, school districts must explore innovative strategies to bolster and support their music and arts staff, focusing on enriching curricula and providing essential resources to educators.
Many view district support as primarily financial or, in some fortunate districts, administrative assistance from a
music or Visual and Performing Arts (VAPA) administrator. While this role is undoubtedly critical, districts should also consider incorporating an “Academic Coach” or “Teacher on Special Assignment” (TOSA) into their VAPA teams. Though their duties often overlap with those of administrators, these roles serve distinct and complementary functions.
I currently serve as an Academic Coach for the Bakersfield City School District, working under the guidance of my friend and mentor, VAPA Coordinator Michael Stone. Alongside Mr. Stone and two clerical staff, I am one of two Academic Coaches supporting a VAPA team of approximately 50 music, dance, and art teachers across grades K-8. I emphasize the word “serve” because we recognize that teachers are the frontline of classroom instruction, and our role is to support them in various ways. Here are some of the key ways we support our team:
1. Coordinating Curriculum Through Teacher Collaboration
While many districts have detailed curriculum guides for numerous subjects, arts and music programs often lack clear direction. Academic Coaches play a pivotal role in gathering data and feedback from teachers to refine and adjust arts curricula within the district. Coaches also work at the district level to implement specific instructional tools and materials, enabling teachers to focus on delivering the best possible instruction to their students.
2. Certificated, Not Administrative
Academic Coaches are certificated staff members on the same collectively negotiated contract as teachers. Their feedback is non-evaluative, and they are contractually prohibited from discussing specific items with administration that are observed or discussed with teachers. This structure fosters a level of trust that allows teachers to grow in an environment free from fear of evaluation, creating a culture of honesty and vulnerability essential for improvement.
3. Support Beyond CTC-Mandated Induction Programs
While every school district has an induction program assigning new teachers a mentor as they work toward a clear credential, Academic Coaches can offer support beyond what induction mentors typically provide. Unlike mentors, who are often constrained by their teaching duties, coaches have the flexibility to schedule visits, provide instructional modeling, and offer tailored support. This enables them to assist struggling new teachers more effectively and to provide advanced coaching for those who are thriving.
4. Coaching and Support Beyond Induction
In many districts, mentorship ends once a teacher completes their induction and earns a clear credential, leaving them to navigate the complexities of teaching alone. While Professional Learning Communities (PLCs) offer some support, they rarely provide the direct feedback
needed for significant improvement. Academic Coaches, however, can offer various types of feedback—whether it’s clinical observations for advanced teachers or identifying and addressing deficiencies in classroom management. Coaches can also provide targeted instruction to small groups of students, helping teachers maximize their ensemble’s potential.
5. Coordination of District Events
Academic Coaches also play a crucial role in organizing district events such as festivals and honor concerts. While sometimes jokingly referred to as the “Party Planning Committee,” these events are vital to a thriving music program. Coaches ensure that these experiences are wellorganized, meaningful, and beneficial for both students and teachers.
6. Addressing Unexpected Challenges
In the unpredictable world of teaching, unexpected challenges arise—whether it’s a premature birth, an extended absence, or a sudden injury to an accompanist. While administrators may not have the capacity to address these issues in real time, Academic Coaches can step in to provide immediate support, ensuring that students’ educational experiences remain uninterrupted.
7. A Call to Consider the Position
As I begin my fourth year as an Academic Coach in the Bakersfield City School District, I am continually inspired by the district’s commitment to arts education and its students. While this is a role I never envisioned during my undergraduate studies, I have come to appreciate its value in providing leadership and support to those on the front lines of music education. I encourage music educators across all disciplines to advocate for such positions within their districts. While it may seem like a “luxury,” the support and care provided by Academic Coaches are crucial to serving our music students effectively, no matter the subject being taught. By empowering educators, Academic Coaches play a pivotal role in fostering a culture of excellence in music education.
Social Impac ConsortiuM t
CBDA is proud to announce our new social impact consortium composition by Giovanni Santos, a distinguished composer with a rich history of premieres worldwide. Santos has premiered works at prestigious venues like the John F. Kennedy Center for the Performing Arts in Washington D.C. and with renowned ensembles such as the United States Naval Academy Band Brass Ensemble. His compositions have been performed by leading academic institutions and professional ensembles across the globe.
About the Piece:
Mientras más honda las herida, es mi canto más hermoso. The deeper the wound, the sweeter my song.
- Jose Martí
This work is dedicated to the composer, Giovanni Santos’ mother, Carrie Santos Peña. His mother passed away on February 15, 2024 from a short but intense battle with cancer. Giovanni is honored to celebrate her through this composition. He writes:w
“My mom was an immigrant from the Dominican Republic, moving to Puerto Rico for educational reasons. Her shining light shines bright in all of us, and we are so thankful for her guidance and unconditional love. Our memories are too many to share, but this work aims to celebrate her beautiful life.
La Última Llamada (The Last Call), uses a very specific musical idea throughout the work. As young kids, my mom would call my brothers and I with a very specific whistled interval. Although the interval varied, we always knew she was calling us back to the house in Puerto Rico or the Dominican Republic. The interval is first introduced by my mother herself in a recorded clip, her last time to do this before her passing. Once in a while, if she was only calling me, she would sing, “Gio-va-Gio-va-nniiiiiiii-tooooo!” (mm. 14-15). The motif is later expressed harmonically on the piano and glockenspiel and with the off-stage flute and clarinet. The off-stage flute represents my mother’s voice. The off-stage clarinet represents me (or my brothers).
I’m proud that this work also celebrates immigrants; their challenges, stories, and contributions. CBDA has developed a wonderful curriculum for students to explore and understand their own families and their stories. There’s a t-shirt that I wear proudly every week on campus here at La Sierra University (CA). On the t-shirt, the following is printed: “Because of my mom, I AM.”
- Giovanni Santos, composer
Instrumentation: Wind Band
Grade: 3
Length: 5 min.
Buy-In: $150 due 1/19/25
Delivery: 1/20/25 as digital PDFs
LA ÚLTIMA LLAMADA GIOVANNI SANTOS
an invitation to explore stories of family migration
registration open through CASMEC
Help You Help Me! Maximizing Individual Decision Making In Group Rehearsals
by Amy Villanova
CBDA Ensemble Host
Caregivers of small children will be familiar with the idea of helping a toddler complete a task and being faced with these two options; help the child complete the task on their own (which may take longer than watching paint dry and require a few side quests, snacks and/or motivational speeches along the way) or quickly doing it for them so you can move on with life. The wise among us will say that teaching the child will speed up future situations because they will be more able to accomplish more tasks themselves, freeing you up to focus on the next item on the agenda. The harried among us will say “Neat, now get in the car, we’re late”. It is pretty safe to say our rehearsal room is a mixture of both scenarios on any given day. Concert dates wait for no one.
Teaching students to take more control of their rehearsal environment is not an instant action, or a one day lesson plan. This class culture can be created over a series of small intentional activities that might take longer initially, but will speed up the learning process in the future, and help your students take more ownership of their own learning and their ensemble sound. When you make all the musical decisions from the podium, you are not allowing the students to come to these conclusions themselves, or to collaborate with each other to define their sound. They are then simply parroting back what you told them to do, instead of learning the hows and the whys of music making as a group.
Lead the Witness, Counselor
Ask VERY guiding questions, especially if the students are less experienced. Either/Or questions are a great first attempt, they have a 50/50 chance of a correct answer! If the group is dragging, instead of telling them that and trying again, you could ask them if they were rushing or dragging, or you could ask them to respond by playing or counting out loud to different styles of conducting (slower, faster, demonstrate different articulations or dynamics) and then asking them to respond to the passage with the same conducting options, and then showing them again the one you want for that passage, and then have them articulate what you wanted.
Wrong Answers Only
This is a fun way to help students articulate what they DO want to hear or to have happen in a phrase or section of a piece. They may not be able to pinpoint what sounds exactly right, but they will feel very comfortable helping demonstrate ways that are incorrect. After reigning them back in, you can have a discussion about why a choice was not appropriate for the style and what might be better. You might need to suggest a few “wrong answers” to model the types of options they could make. A class consensus of the correct idea can help with ownership, pride and buy-in because THEY decided what the sound should be.
Teach Thoughtful Listening-
Model the compliment sandwich approach and ask students to listen to other sections and point out something they thought was good about the performance. Get into the practice of highlighting the positive and speaking to each other in a respectful manner and creating a positive classroom environment. Then, ask students to listen to other sections in rehearsal and ask them a very specific question (leading questions to start, then open them up to more broad ideas) about a specific technique or passage. What would be better (keeping comments in the positive)-should the double reeds play louder or softer? What other instrument plays the percussion line and how can they better match up? This keeps students engaged, and commenting outside their group gives a little distance incase section members are competitive or have complicated relationships. Done well, this really helps strengthen the bonds students feel with each other in your ensemble as they cheer for others’ successes.
Let There Be Chaos
This works better with students that you have known for a bit, and have stronger self regulation skills. Assign them groups (sectionals, mixed ensembles, half the ensemble, quartets etc) and send them to work alone. Give them a specific timed task and observe what steps they choose to take to get there. When they return to the large group, have them articulate the strategies they used, or if they can’t, discuss what you observed and ask which worked best, or talk about where they got stumped. Watch them start to create thoughtful rehearsals under your guidance and support and occasional redirection. In the large ensemble, when you encounter a challenging passage or a specific need, you can go back to these small ensemble rehearsal examples and ask which techniques students think would help refine that particular passage- what would they do if they were you? The final test of this could be creating a chamber ensemble feel in your rehearsal, step off the podium and let the students play without you, relying on their section leadership to help shape the music.
Students who are comfortable in their ensembles, and who are listening to their sections and their groups with greater fidelity will create much more cohesive performances, and also more meaningful connections to their other players. It takes the ensemble from a “you vs. them” approach, to “we’re all in this together”. You can recall previous rehearsals where students defined their sound and apply it to new works, or troubleshoot current challenges by recalling past corrections. The more they can problem solve on their own, the more musical depth you can reach from the podium, because it frees you up to move to the next item on the agenda.
With thanks to Dr. Karen Koner- SDSU, Abbie Gerdes SDSU/Ramona HS, and Dr. Jeff Malecki-USD
Understanding Prop 28
CBDA President, Dan Bryan, sits down for an interview with Shannon Sanford.
Shannon Sanford Bio
Shannon Sanford is an accomplished educator with 34 years of experience. She began her career in 1991 at the Gratton School District in Denair, where she initially taught a K-1-2 combination class in a one-school district. Over the next several years, Shannon’s teaching responsibilities expanded to include grades 6-7-8 in the afternoon, focusing on science and PE, while continuing to teach K-1-2 in the mornings. She also taught grades 1-2 during this time. In 2006, Shannon transitioned into administration, serving as superintendent/principal of the Gratton School District, a role she held until 2019. After nearly 29 years of dedicated service at Gratton, she joined the Stanislaus Union School District on February 1st, 2019, where she has continued to serve as superintendent. Shannon’s longstanding commitment to education and leadership has made her a respected figure in her field.
Dan Bryan: What was your understanding of Prop 28 at the time of its passing?
Shannon Sanford: It was very vague, but exciting, and I knew that it needed to be funneled into Arts which is a very broad category. Immediately, my mind went to music, which was established before my employment. I did know that it was only a partial music program for each student. It made sense that we would look at this money and this opportunity and put it toward expanding to a full music program that would provide equity across all of our sites of service. This is notwithstanding all of the research that goes along with
music and how it supports the science of reading and kids learning how to read so that was a no-brainer for me.
DB: Were there any directives given?
SS: Very few. It was pretty vague, but again, I went with, “Okay, it’s a very broad category, and we already have good things going.” The programs just needed to be expanded, as they weren’t fully implemented-- we were implementing with the resources that we had at the time. So it wasn’t that much of a leap for me, at least for me and my thinking.
DB: Was there any discussion with other superintendents of similar size districts?
SS: Yes. It was more of a “wait and see” approach, which really is the “go to” for administrators. Once we know that the money is there, we’ll use our resources, or be able to pay for resources to do the different things that we want to do. That’s an extremely logical and safe approach by leadership. So that’s really what the talk mostly was -- we’ll see if it passes. There was some talk about what you would do, as well.
DB: Do you recall what was discussed about what other districts might do with the funds?
SS: I do recall talk about hiring a district-wide coordinator to tackle the next steps if the money did come through. Then it would turn to this person to plan, get stakeholder input, and then execute that plan.
DB: Clearly, the rules were vague, but did the state offer any kind of guidance?
SS: Not at that point. They offered a little, but not a lot that I recall, which I love because it meant we could do a lot! I knew it was coming, but we worked backwards a bit. We thought, “Okay, the sky’s the limit.” We took what we wanted to do, and then made it fit the guidelines that the state had provided at the time. But another conversation that took place was about a list of resources if this were to go through. What were the resources that we have in our county that you could contract out for? This was before we knew that it wasn’t just an allocation to the district, but that each site had an allocation. If you wanted to pool that money for a district-wide project, you had to have those conversations with your sites before you could move forward.
DB: What did you see as potential challenges of the new law?
SS: The pooling of the money. I think we were able to do that really seamlessly because the district, over the last couple of years, has been in the process of building continuity from site to site so that whether you’re a student at Eisenhut, Stanislaus, or Chrysler, all students are receiving equitable service. The principals were already of that thinking, so it made it easier to overcome that obstacle.
DB: What else?
SS: Moving quickly. As soon as it did pass we didn’t want to waste any time. The law passed in November, and we knew it would be enacted the following year (2023-24). We wanted to gear up to not lose out on any services that the kids could have, so it became kind of a timing thing for planning. For us, we were able to overcome that obstacle because of the tight relationship that the district office has with the music team. Additionally, we already had a base of what the community wanted to see from the fine arts program through music. It was logical to expand that out so students were receiving not just a trimester of music, but instruction throughout the year (Ed note: this was in addition to expanded pull out band and orchestra programs in grades 5 and 6). These factors made the obstacles a lot easier to overcome. Basically, they became just speed bumps.
DB: Anything else that comes to mind?
SS: A willingness for somebody in the music department to put in the work - to put it all together. I don’t have a music background other than, you know, singing in the car, so it takes a village, and we have that.
Finally, not knowing the correct amount. The state put out a forecast of what the allocation could be and that was very helpful. We knew how much we had to work with so we could run different scenarios and plans.The amount of money wound up being adjusted as we went along, but we were able to adjust easily.
DB: Did you have a vision for the funds before the
music department proposal?
SS: It was always music. It was about finishing what had been put into place because it never made sense that kids had the opportunity for only one trimester. The other thing that we know is that expanding out the music program did not take up all of the allocation. We look at dance and art and anything else that principals can come up with that fall under the arts umbrella, and we’d like to give an allocation to each site so that they can contract out for it.
Of course, it’s not enough to hire somebody full time to do those things at each site, but it is possible to get the best of both worlds and meet the needs of several kinds of learners. It all goes back to increasing engagement of students; maybe some students aren’t hooked into an instrument or to singing, but maybe they are into dance, or learning about different mediums of art. We want to try to expand out as much as possible so that we can get to what the passions and interests of each of our students may be. Which, in turn, makes them want to come to school and do those things and participate just like sports or any other activities.
DB: What were the possible hurdles or barriers to carrying out the music department’s plan?
SS: Scheduling. Scheduling, scheduling, scheduling. Collaboration among all of the principals. Everybody wants the afternoon time because core instruction occurs in the morning. Quite frankly, there is a “tug and pull” of the expectations of increasing academic success, but also pausing instruction for a music program or a band program that we’ve also deemed as important. I think that we still experience a bit of an inner struggle on some of our campuses. I think a possible solution to this struggle is the evolution of the integration piece - the understanding that kids have to be in the seats first before we can advance with culture and academics. The question becomes, what draws them to those seats? The excitement of wanting to participate in something. The passion.
Another thing that came up on the side that wasn’t necessarily an obstacle, but did have to be solved: the union contract. With the increased amount of time in the classroom the union wanted to make sure that the classroom music lesson (30 minutes) was considered a prep time for classroom teachers, and if the music teacher was not there to teach music that there was financial compensation for losing their prep. We figured out an amount and a process for making sure that happened.
DB: What convinced site administration to pool their individual pots of money for district-wide goals?
SS: Because of the base that we already had with a partial program, it made complete sense to finish the program. So there were absolutely no concerns that I heard
of, especially when we said we anticipate having money beyond that to allocate toward other mediums. We already had the continuity that we had been working on in so many subjects, so in my eyes, it was more, “This is what we do - we work together.” I think they also saw that it was not enough money for each site to do it themselves, nor would they have had time to have executed all of it on their own.
DB: With your discussions with other superintendents, did you find that other districts were trying to do it that way?
SS: We didn’t really get into that deep of a conversation. It was a lot of, “Well, what are you doing?”, and sharing different things. But it was more just waiting and pondering what it would look like. We already had stakeholder input and an established program. For other districts, they would need to get stakeholder input, which takes time, and that slows a lot of things down. But you should get it.
DB: You have mentioned before with which SUSD was able to move on Prop 28. As a smaller school district, we can be a little more “fleet on our feet”, as you might say. Do you feel as though larger school districts struggled with speed because they are larger?
SS: YES. The smaller ones that could move quickly struggled because they didn’t have enough money in the allocation. For example, If I was still at a smaller school district it could inspire an articulation with other superintendents of similar size districts to form like a J.P.A. (joint powers agreement) and pool to hire one person to serve two districts.
DB: How were you able to move forward with the funding before the money was actually released?
SS: Our thought was that because it was voter approved that it was a sure thing and we had also seen the allocations. As a side note - there are a lot of things that are done before we get our allocations - it’s how California operates.. But let’s say we started school and still didn’t have the allocation, or for some odd reason everything fell apart and there was no allocation. We still have a commitment to these people that we hired, so what we would have done is gone to our reserve, ridden out the year, honored our commitment to these people that we hired, but then we would not have renewed them for the following year. You have to have a healthy reserve to do that. Some superintendents who read that are going to say, “well, that’s reckless”.
Let me have you correct something - it would not have been the reserve (funds). It would have been one-time money we received. We had a string of one-time Covid money. There were various pots with different names. That’s
where we would have gone. We would have gone into ESSR 1, 2, 3. We would have used some of that. The whole idea was to enhance learning and focus on learning recovery - it would have worked for that. Instead of reserve, it would be better to say we would have used one-time money.
DB: If you wanted to maintain that commitment, would you have gone into the reserve?
SS: It would have had to change to reserve but we would not have done that. We would have stopped after the first year if it wasn’t funded. ESSR had an expiration date (ESSR expires September 30, 2024). I don’t know that I would have recommended to the board to continue on without it being funded directly.
DB: You dipped neither into ESSR or reserve and we were not funded until March. How did this actually get paid to start the year?
SS: If I remember correctly, it came out of the General Fund, and then it was just backfilled whenever we received the allocation. You do have that cushion of the reserve, but all of that is earmarked for Special Ed encroachment, tech refresh, etc. But we don’t use that every year, necessarily. We do with SPED, but the other things we don’t.
DB: Would it be accurate to say that we began funding both the program and our staffing directly out of the general fund starting on the 23?
SS: I think that would be correct (this was confirmed with the business office). But, it may be more of a challenge for bigger districts because of their size and scale. For SUSD, we were only talking about two and a half teachers, and because of that, you can make a pretty good contingency plan. I think once in my career I’ve seen money not show up. Most often, it’s “Okay, we’re promised this amount (from the state), but it’s going to be a little bit less.” We still came in well under our allotment with our new hires.
DB: It sounded like you were operating on experience, but also a gut feeling?
SS: I think it was more that, “if this doesn’t pan out, we have a contingency plan. We’ll be fine. It’ll be sad, but we’ll be fine.” Usually though, when the voters say this is going to happen, then it’s going to happen. I think one of the major challenges moving forward is that it’s my understanding that this allocation is based on a formula, so it can be different each year. If the funding really starts going down, there’s still a contingency plan. We would fund it fully for the year, and then we would have that year to switch gears about what we’re doing for the following year.
DB: At some point soon, we’re going to hit a fiscal cliff statewide. You feel as though the set up that we have currently is sustainable?
SS: I think it could be sustainable to go down to 1.5 or 2 (teachers?) because we’ve got a lot of flexibility. We wouldn’t just look at music - it would also be all of the things that we’ve added with our one-time money. We’ve tried to not add people with one-time money because that’s not necessarily what should be done. However, we’re a business of people serving people. The majority of our budget goes to people. So, we did add some, which would be in the form of campus supervisors, an additional intervention teacher at each site, and additional intervention paraprofessionals.Those are the main personnel that we did add with one-time money. Those people will be affected, as well, and they will be affected when the one-time money expires around 2028. We would have to look at where we are with the general fund and see where we are. We know that Prop 28 takes care of everything that is Fine Arts, so that’s not really in this picture. But if the formula were to change and the one-time money ran out, we would have to ask our stakeholders, “Where do we place our emphasis as a community? What do we want to see?”
Before it even gets to that point, the “Plan B” for us would be through attrition. For example, we lose a campus security person, and we see that we’re not going to be able to sustain another one for two years out - we wouldn’t hire a replacement. We would have a campus security person that would go to two different sites as opposed to working at one. This is where we have a lot of leeway. What it came down to is that we wanted - quality people - and we wanted to get them now. I did have that conversation with the School Board. I think that the base that was built with the Board was so valuable because there’s trust and it helps the district move even faster to be competitive and to get those services to kids immediately.
DB: How else do you see the Prop 28 funds being spent outside of the music department?
SS: With the allocation to each site to explore other avenues. The ultimate idea would be that there is arts integration into the classroom every day. We would be teaching teachers how to integrate art - that’s the biggest bang for our buck. When we talk about core instructionthe activities, social studies, learning, all of those key facts and concepts - you can teach them through art. We could make learning even more fun. For example, a principal could consider consulting or contracting somebody to come and teach the staff some easy and time-effective ways to integrate arts into instruction. However, I do see that sometimes you may have a staff who would say, “we want somebody to come and do it (teach),” but there’s not enough money to do that.
DB: Where would you recommend people go if they have questions or need help as an administrator?
SS: The one thing that the state has, and this is where I go, is this site: https://www.cde.ca.gov/eo/in/ prop28artsandmusicedfundingfaq.asp. These are the facts through CDE, and they add to this regularly. When we first started out, there were very few things on here. As we went along, they started providing more clarity. This is all the guidance for this fund and you can get on their list, listserv. I get it twice - directly from CDE and then also I get it from our SCOE Director of Arts (Amy Bultena). She serves as a bridge, and has also sent out community resources that I have sent to our principals. What I would recommend to a superintendent is to get on this list and start learning more about it and then also contact your County Office of Ed or Arts Lead.
DB: What is the accountability aspect for your viewpoint? How do you report to the Department of Education?
SS: They put together how we were reporting, and what they usually do is they’ll take their parameters and you just make sure that you provide evidence that you’re meeting them. We give a synopsis of how we are using the funds and show our calculations.
DB: This is the accountability piece, which is separate from an audit.
SS: Right.
DB: Are school districts audited every year as a common practice?
SS: Yes, there’s a whole auditing book, and each year it changes with law. They will pull random documents and then check that we follow this large block of rules. They are about number matching, spending, and receipts. Did we develop our plan?
DB: Last question: Is there anything you would like to add beyond what we’ve discussed here?
SS: No, I’m just thrilled that we were able to do what we did. Kids are getting music and arts and we didn’t have to wait to do it. But I think that that’s due to a lot of the base that we had built previously - the articulation, trust and the climate. I’m just the facilitator of bringing everybody together.
EVEN TEACHERS NEED TEACHERS
The Yamaha Educator Suite (YES) gives you access to a wealth of professional development opportunities and resources. YES brings you into a network of like-minded colleagues, experts and professionals who want to share their real-world experiences. You’ll also receive valuable tips on advocacy assistance, program health support and much more. Let us help you raise the bar. Go to Yamaha.io/educatorsCAMEA2