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An interview with music educator Mark Bettcher is presented. Topics of the interview include the challenges he encountered in teaching the strings and jazz band at the Carpentersville Middle School, his approach in teaching improvisation, and the process in making decisions for the repertoire for the string players.

The article discusses the optimal use of rehearsal time by music students. Topics included are the proper selection of repertoire by instructors for rhythmic demands, ranges and solo expectations to be met, the inclusion of legato cantabile programs to develop musical tone, blend, and phrasing, and the recommendation of a single study composition per concert or grading period such as Hindemith's "Symphonic Metamorphosis" or Persichetti's "Symphony."

The article offers information on organizing an honor band. The first thing to take care of is the selection of a competent and experienced clinician for the said event. It is asserted that contacting colleagues in one's area who have experienced organizing honor bands worked well. It is also suggested that one should always offer clinicians input into the repertoire to be performed. This is because the key to a successful honor band is the selection of the right repertoire for the ensemble. The host should go through each piece selected and make a list of all percussion instruments needed for the day. On the festival day, volunteers who will be tasked to work the check-in table are recommended so that organizers can be free to deal with any problems that might occur.

The article focuses on the criteria for the selection of fine music for all ensembles. It mentions that conductors of student ensembles describe band compositions as good teaching pieces. It suggests that when selecting repertoire, the directors should consider whether it is worthwhile for students to study a work that may never be performed, the historical and cultural background of school band literature, select the music with care instead of programming entertaining music, and to choose pieces with both educational and artistic qualities.

The article discusses the views of some leading music conductors in assessing the development of bands and wind ensembles in the next 50 years. Craig Kirchoff, Director of Bands at the University of Minnesota, responded that the repertoire by composers as well as the composers who expanded that repertoire in an innovative way is the unparalleled golden age of modern-day music. Ray Cramer, Director of Bands at Indiana University, said that the passion and dedication of music teachers and conductors during the second half of the century has changed the perceptions of bands. H. Robert Reynolds, Director of Bands at the University of Michigan, cited the Eastman Wind Ensemble and the Mercury recordings which changed the standards for bands resulting to significant improvements.

The article presents advice for new jazz directors. After years of judging festivals the author is convinced that many directors do not pick suitable music. He advices to avoid current pop hits that will be used for one season and choose original new music or jazz standards. Students should be introduced to the standard jazz repertoire, and this music can be used for many years. Many groups that play well still give boring performances because of poor planning. The author believes that a good concert should be a mix of styles with two swing tunes to each ballad, Latin, or rock number. He advices to divide music catalogs this way. It should start with a flashy piece and end with a big tune that students enjoy playing. Three ballads in a row will put the audience to sleep. It is wise to program eight technically or easier pieces, the ensemble can play well and in the correct style than to perform three or four difficult works. If considerable time is spent working on notes and rhythms, time to work on style is lost. Performance pieces should show off the strengths not the weaknesses of a group.

The article focuses on the uses of C Trumpets in orchestral works. Though orchestral trumpeters favored the B flat trumpet forty years ago, since then the C trumpet has almost replaced the B flat in American orchestras. C trumpet is more appropriate for classical repertoire because it projects the sound well. C trumpet give a more brilliant sound than the B flat because of its shorter length and quicker response. However, C trumpet has some notable intonation difficulties because, as trumpets get smaller, intonation problems increases.

The article presents information on teaching music in junior high bands. Most young musicians cannot grasp difficult rhythms without assistance. Teaching of difficult rhythms involves three steps: diagramming, verbalizing, and performing. Every teacher works on fundamentals before tackling concert repertoire, but too often directors focus on only those elements called for in the next composition. Music is an aural art form, yet directors repeatedly implore students to watch the director and unwittingly shift the focus away from listening. One of the most effective ways to motivate students is by catering to their desire for recognition. A purist might say that students should view music as a reward in itself. Unfortunately there are few sixth-grade purists. A junior high director can work with a band for months and pay attention to every detail from notes and rhythms to phrasings and dynamics, yet find performances flawed by poor intonation, which sometimes occurs just five minutes after tuning. This leaves directors bewildered, but the truth is that until an ensemble develops a good concept of intonation, these shortcomings will continue.

The article presents information on the selection of repertoires for music education in schools. Directors often select repertoire casually or out of habit. Deliberate, thoughtful consideration at every stage is the key to finding high quality repertoire. Some works are needed to be chosen to teach specific musical skills, styles, and concepts. Even though popular music is sometimes included as a reward or incentive for students and can be used to develop technique, it usually offers little in the way of artistic development. The selected repertoire should reflect a wide variety of styles and historical periods. Reading sessions, promotional recordings, festivals, exhibits at clinics and conferences, performances, and colleagues or music dealers can all be sources for high quality works. Preliminary research uncovers useful facts about when a piece was composed and where it falls in the chronology of that composer's works. A call or letter to a composer often produces an outpouring of ideas and insights to the work.

The article focuses on the concept of repertoire selection for an ensemble. The suitability of the music to age and technical sophistication of the ensemble is the utmost consideration in choosing a repertoire. Certain considerations must be made when reviewing a musical score including the speed, technicality, and complexity of the rhythms, the ranges of the music and the score transparency. A good way of singling out the best repertoire is sharing ideas with other directors and listening to new pieces. Although it would be a good idea to challenge an ensemble with difficult pieces, it is also essential to choose music that can be grasped easily to allow free expression of the ensemble. Directors should also keep in mind to select pieces that will showcase the strength of the ensemble.

The article discusses some of the repertoire types recommended by some college professors for college auditions. It is for suggestions, and at the same time, for contemplation whether to use or not since this article also elaborates a variety of styles and difficulty levels. Among that are discussed is through the use of flute, with favorites to choose from like the "Sarabande," "Dance of the Blessed Spirits," "Concertino," and "Hungarian Pastoral Fantasy." Oboe can also be used during the repertoire, with its favorites to choose from like "The Saint-Saëns Sonata, " "Roman Carnival," and "William Tell."

The article focuses on the factors to consider for music teachers in teaching its orchestra music students. Topics discussed include the development of orchestral reading ability, the attributes in improving students sense of rhythm and the training for student's refinement of intonation. The article also provides recommendations for teaching orchestral music to students.

The article discusses how much difference the seating arrangements of an ensemble makes in the way the music sounds to the audience as opposed to what reaches the podium. The groups that use an unconventional setup tend to have more problems with balance and blend. While there is no single ideal setup that works for every ensemble, directors have developed several good seating arrangements over the years that take into consideration ensemble size, instrumentation, and other influences. The best ensemble seating arrangement varies based upon the repertoire. This type of seating arrangement creates problems in adjudicated performances as well. Judges may hear the blend, balance, and the timbre of the ensemble differently from other places in the auditorium. The traditional orchestra setup relies on basic aural concepts that also apply to some band setups. In most orchestras the string section is across the front of the ensemble with violins stage left, the violas right center, the cellos stage right, and string basses behind the cellos. The winds are usually best centered behind the strings with the percussion in the stage left rear.

The article presents views and insights of the author as a parent and an amateur musician concerning the school music repertoire in the U.S. Colonel Tim Foley has expressed his heartfelt opinions saying that everything is currently wrong with music education. Frank Battisti, former conductor of the New England Conservatory Wind Ensemble has also reacted about the idea of the author. The author has wanted his children to have the soul-stirring life-changing experience he had in high school by being introduced to some of the world's greatest artistic creations through the school chorus.

The article presents views and insights of the author about the influence of music for students. The author implies that all music offer opportunities for growth in musical knowledge and the development of basic musicianship and technical skills, but only great music provides experiences in which students can discover and feel the expressive power of music. And only music that meets standards of excellence will develop the musical tastes of students. It should be the goal of directors to expand the musical values and taste of students by using a standard of excellence when selecting repertoire.