In this episode of Music on Purpose, Steve Pride joins me to talk about what it takes to have longevity in a major orchestra such as the Cincinnati Symphony Orchestra. Steve has been 2nd trumpet in the CSO for 39 years, since 1980. Listen to him discuss his thought process for success in this industry.

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The deadline is always looming. As soon as one is reached another is waiting. One concert then another, one recital then another.

Would you educate any differently if there were no deadlines?

By “The Deadline” I mean concerts, contests, recitals. Performances are beneficial to the overall educational curriculum when used for a purpose, but why is there a specific formula for these performances? In the band program we start with a Christmas concert, usually as soon as marching band season is finished. We use after school rehearsals in some situations because the marching season extends into November. We then prepare a winter concert, district festival, spring concert, pep band and sometimes another special event at the end of the year. It seems there is not much thought to this model, but the way it’s been done for many years. “The parents expect it, the community expects it,” some would say. There is certainly benefit to the young musician getting multiple performance opportunities, but because we go from one deadline to the next so quickly, do the students miss out on gaining TRUE understanding in all areas of music?

I am a firm believer that at least 90% of students that sit in class and seem disinterested are actually lost. They missed out on information along the way, and over time it compounds. Each little deficiency is like a snowball rolling down a hill and eventually turns into low confidence and self esteem which finally turns into dislike.

If “The Deadline” didn’t exist would your education look different?

When the deadline is approaching education becomes about the deadline. Usually extra rehearsals are scheduled. There seems to never be enough time to get the piece sounding as good we would like. It becomes more about us and less about the students. Student deficiency is pushed to the back and the deadline becomes the most important thing. Each deadline creates more small deficiencies because there are so many things educators cannot get to. Why so many deadlines? 

Lets STOP for a second, before we schedule more concerts, look at the students in front of us and ask “What do these students need?” “What do my students have trouble with and what do they not understand?” Design each year differently depending on exactly what the student needs in order to be the highest level musician possible. Is it 4-6 weeks of just rhythm? Is it inviting professionals in to work with every instrument and not rehearsing the entire band for 2 months? Is it performing for each other in class and listening to professional ensembles? Is it providing varying opportunities for your students so the large ensemble becomes less of the norm? Is it less deadlines?

I am sure it is different for each program or studio. If you experience students that are disinterested, ask them what they are having difficulty with. Ask them what they may have missed along the way. What can you do to foster the enjoyment they experienced as young musicians once again? It may be zero concerts for a year and then slowly adding them back each year. Provide the student performance opportunities, but at times when they are 100% ready for them. It can look different every year.

Would your teaching look different without the deadline?

Chamber music has been like the kid table at holiday get togethers. It gets pushed to the side, only gets set up at certain times of the year and is not quite as important.

It is time for a New Approach to Chamber Music

The model in the band program has always been to put together random small groups of kids that can read quickly and give them a few weeks to prepare something for solo and ensemble festival in the winter/spring. A piece that has been hiding in the files since the 1950’s is given to  the ensemble to prepare for a quick 30 second rating. If there is a chamber concert in the spring, the larger chamber groups will once again continue to be conducted. A piece or two is rehearsed for a few months for the one chamber concert. The large ensemble continues to be the MAIN focus.

The New Approach to Chamber Music moves the kids to the grown up table. Its inclusion in the curriculum of music education is vital. Its consistent inclusion builds the skills necessary for a healthy musician. It begins in September and runs until May. This New Approach removes the conductor no matter the size of the chamber group. The rating festival and concert become secondary to the “real world” lessons learned. Fresh repertoire picked with love and thought and a new piece for every rehearsal. A folder full of music available for any performance at the drop of a hat. Placing the responsibility all on the student to be in charge of their own success or failure. Bringing passionate professionals with chamber music experience in to foster the growth and passion.

The New Approach to Chamber Music heightens all the senses. Young musicians learn to enjoy performing with each other and form relationships through the beauty of music. The varying experience each day brings a freshness and vitality to daily curriculum. The students feel important and involved. They feel cared about and nurtured. They learn responsibility and accountability. Chamber ensembles and the large ensemble play equal roles. The large ensemble musicianship and creativity come to life because of chamber ensemble inclusion. Young musicians hold a deeper love and understanding of music. The band grows.

Let’s move the kids to the grown-up table. Try the New Approach to Chamber Music