A Call to Revisit Your Primary Instrument

by David Green CBDA Director of Communications

Regardless of how long you have worked in music education, you have probably heard (or said yourself) something to the effect of, “Yea, I used to be good at (insert instrument here) but now I just have band director chops.” In the unlikely event you are unfamiliar with “band director chops,” it is the situation where, because of the extremely taxing demands band directors have placed on themselves by their jobs, the director no longer has the time or will to practice their primary instrument anymore. It is not hard to understand the reasons why this occurs. Whether it is after school rehearsals, booster meetings, score study, trip planning, pep bands, or a myriad of other issues, the responsibilities placed on a band director are often all consuming. To complicate things further, a band director in today’s day and age is most often not “just” a band director but might have additional teaching requirements such as choir, orchestra, music appreciation, or a host of other ensembles. Package up all of these duties and combine them with any/all familial obligations that a director has at home, and it is easy to see why a director’s primary instrument falls at the wayside.

Despite these challenges, I would encourage band directors of all ages and experience levels to be intentional about not abandoning their instrument altogether. While it might seem like a distant memory (depending on what point you are at in your career), the reality is that the majority of band directors got into the field because they fell in love with playing an instrument. Most everyone in this field has a story about the first time they tried their instrument, how they picked their instrument, or the moment where they truly fell in love with their instrument. Then consider all the work band directors did to get their degrees while in college!

Between the lessons, juries, recitals, and ensemble performances, it is sad that so many directors neglect the instrument that jump started their career in the first place.

Despite these challenges, I think that it is prudent (and possible!) that band directors find the time to intentionally play their instrument for a variety of reasons that will benefit both them and their ensembles. Consider the reasons below:

Your Students Will Appreciate It

If we (rightly) expect our students to practice and to grow on their instruments, it seems only fair that we would do the same thing on our own. The act of experiencing the difficulties and breakthroughs that come with practicing are a great reminder to ourselves of what our students are going through. This also provides us an opportunity to share those experiences with our students as a way of encouragement. Students appreciate it when they feel that their teachers are “on the journey” with them.

You Will Remember Things That Will Help Your Ensemble

Playing an instrument well requires executing a seemingly ending amount of small details well in order to create a great sound, yet it is easy to forget some of these when you have not visited your instrument in a while. Revisiting your instrument can very much make an impact on how you teach your students because you will relearn and re-remember things that can directly impact your teaching.

Your Personal Musicianship Matters

We owe it to ourselves to be the best version of ourselves for our students in regards to building relationships, maintaining a welcoming environment, and a host of other responsibilities. Included in that list should be personal musicianship. We know that the best teachers are the ones who are take the approach of being a lifelong learner; I would contend that continued growth on a primary musical instrument is as much a part of that as anything.

Maintain/Rediscover Your Love Of Music

Being a band director is a challenging profession that can take a lot out of someone personally. Multiple articles and conference sessions have addressed the fact that band directors (and music teachers all together) face a high level of burnout. In the midst of all the administrative job responsibilities a music director has, carving out time to rekindle your love for playing your instrument can help you maintain perspective of why you entered this career path to begin with.

Even though there are multiple benefits for keeping up with your instrument, the reality remains that it is still difficult to find time, energy, and motivation to practice. Consider the following strategies in regards to your practice schedule:

• Schedule A Specific Time/Place To Practice: Just as someone who works out sets aside time to either run or go to the gym, be intentional with scheduling when you are going to practice.

• Focus On A Specific Goal To Practice For : Is there a small ensemble you can join or create? A large ensemble that you can join or try out for? Do you have repertoire you learn or relearn for a performance? Just as our students have to practice for specific performances, having a goal to maintain or prepare for can help us find a cause for our practice.

• Utilize Electronic Resources To Help: Whether it is accompaniment tracks that can be downloaded or an online platform like SmartMusic, utilizing electronic resources can make practicing more enjoyable (especially if you don’t have access to a large ensemble to play with).

• Be Kind To Yourself: You are going to go through periods where you simply can’t pick up the instrument as much as you want. That’s okay! Remember, something is always better than nothing, so if you fall out of habit, jump back in. Do what is reasonable for your schedule and your mental well being. Remember, this should be fulfilling, not just another obligation.

Final Thoughts

We all have heard the expression, “Just because someone can play well doesn’t mean they can teach well.” While that’s true, it’s important to remember that playing an instrument is much more than the music one produces. Countless articles have been written over the years about all of the great non-musical benefits playing an instrument has on our students; how much better than will we be for them as their teachers if we do the same? At the end of the day, all we can ask of our students is to give their best effort and try to provide an environment that fosters their love of music. As we continue as an industry to do the best we can for our students, consider practicing your instrument as a strategy for accomplishing that task.

Seventeen years, ago as a college freshman, I was asked to volunteer for an event that was referred to as “CBDA” with the All-State honor bands. As a Junior High Chaperone, little did I know how this organization would change my life. From Chaperone, to Head Chaperone, to Junior High Host, All-State Host, CASMEC Coordinator and finally President, the journey has been long, and in no way easy. From dealing with locked hotel rooms when kids sleep through phone calls and alarms, to moving 100+ JHS kids at 3:00am from a hotel in disarray, nothing surprises me anymore.

I have been extremely honored and privileged to serve this organization as President over the last three years, through a tough transition, pandemic, and the growing pains of a large conference. I know that some of the new directions were not popular, but we always acted in the best interst of our All-State Students and Directors in California.

Watching the Social Impact Consortium continue to grow, and seeing the music from the past being played in performances throughout the world has been inspiring. Kevin Day’s Requiem for the Unarmed is already getting its debut in Carnegie Hall just over a year after the premiere. Knowing CBDA is getting tough conversations initiated in our band rooms is humbling. If our consortium makes space for these conversations and the performance of socially relevant music to change just one life, all of the work will have been worth it. I cannot wait to see how this portfolio will expand in the coming years.

February’s phenomenal performance of the High School Golden State Band was awe-inspiring. The opportunities given to students who may have otherwise not been able to perform made this performance even more powerful. In spite of the struggles of finding a