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How do you teach a jazz band rhythm section when it isn't your instrument? On this episode of Band Room Therapy, host Ryan Ashley sits down with three experienced educators to cover piano, bass, guitar and drums. They share practical tips, favorite books and resources, and ways to help young players find the feel.Guests:• Ryan Ashley – high school band director in Arkansas, host of Band Room Therapy• Keith Heim – middle school band teacher near Nashville, Tennessee• Dr. Ty Ellender – New Orleans freelance percussionist and educator (LSU doctorate in percussion performance)• Chris Berg – jazz composer and retired college jazz program director, known for his "chicken" chartsSponsors @SightReadingFactorycom   @WengerCorp  https://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrolladCHAPTERS0:00 Intro0:47 Welcome and panel introductions2:54 The story behind the chicken charts5:43 Setting up the rhythm section conversation6:13 Piano: how much theory do they need?9:37 Piano: comping without overplaying10:45 Piano resources and voicing books11:46 Bass: teaching walking bass lines13:25 Bass: start with the root, then add scales and arpeggios17:59 Developing solid time with a metronome20:58 Guitar: from rock chords to jazz voicings25:09 Guitar chord books and apps26:36 Getting a jazz guitar tone28:27 Freddie Green style comping on a solid body guitar32:47 Drum set: why drummers hold the power33:44 Teaching swing feel to beginner drummers40:52 Feathering the kick drum44:46 Must-know grooves for beginner drummers46:07 Brushes, ballads and advice for directors who aren't rhythm players47:44 Why listening is the best teacher53:07 Drumming resources and Groove Essentials54:47 Reading drum charts, slashes and defaults58:47 Final thoughts and goodbyeResources mentioned:• Voicings for Jazz Keyboard – Frank Mantooth• Jazz Piano Voicing Skills – Dan Hurley• Bass Lines in Minutes – Chris Berg• Beginning Jazz Guitar – Jody Fisher• Mickey Baker's jazz guitar method• iReal Pro app• Groove Essentials – Tommy Igoe• Drumeo and Stanton Moore's Drum AcademyIf this episode helped you, subscribe for a new conversation every week, and share it with a director who is building their jazz band.

Florida band is way bigger, more organized, and more complicated than you think.From statewide classifications and assessment rules to the politics of marching circuits, Joe Latez and Bailey break down how Florida’s band world actually works—and why it keeps producing strong programs across an eight-hour state.Ryan Ashley sits down with Joe Latez, director of bands at Satellite High School in Melbourne, and Bailey, who teaches at Delora Middle School in Satellite Beach, for a deep look at the systems shaping music education in Florida. This isn’t just geography and logistics—it’s a look at the structures, debates, and culture that affect everything from concert band repertoire to all-state auditions.You’ll discover how Florida’s music organizations connect—from FSMA and FMEA to FBA, FOA, and FVA—plus how marching band assessment differs from the competitive circuits run by FMBC and FFCC. The conversation also gets into the real-world impact of Florida’s district system, how schools are grouped, and why classification has been one of the most debated issues in the state for decades.We break down the Florida assessment model, including concert band requirements, sight-reading expectations, repertoire selection, and the controversial shift toward classifying bands by literature instead of school size. Joe explains why that change matters for fairness and rigor, while Bailey shares what it means for smaller or recovering programs trying to rebuild after COVID. They also dig into the approved music lists, march selection, and the wild question of what actually counts as a march.You’ll also hear how Florida handles all-state, all-county, jazz, and solo and ensemble auditions, including the difference between virtual and live auditions, the rigorous scale and etude requirements, and why the state’s huge talent pool led to the creation of honor ensembles in the first place. For directors, there’s also a candid look at mentorship, the Extra Years feedback program, and the kind of support new teachers can expect when they enter the profession.If you’ve ever wondered how a giant, diverse state keeps its band culture moving, this episode gives you the inside story. Essential listening for band directors, music educators, and anyone curious about what Florida is doing right in band—and where the challenges still live.SponsorsSight Reading FactoryWenger for Music Educationhttps://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrolladTimestamps0:00 Welcome & meet the guests2:03 Who governs band in Florida3:43 Marching band circuits & color guard4:25 Districts, meetings & conferences6:57 Jazz band & performance assessments7:56 Modern band & music technology9:51 School classification & sight reading15:43 Marching band assessments18:16 Concert band requirements & the march list25:29 Honor bands & All-State28:15 All-State & jazz auditions30:39 Solo & ensemble32:01 Mentorship for new directors34:29 Retention of directors37:53 Closing thoughts on Florida band

Why We Chose Band Four band educators compare origin stories, talk about what keeps them in the profession, and swap first-year teaching chaos stories. The conversation matters because it shows how band shapes identity, classroom community, and career commitment in ways that go far beyond playing notes. Sponsors Sight Reading Factory RCP Drum Company Wenger for Music Education https://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrollad Timestamps 0:24 Intro to the episode and the question of why each guest chose band 1:24 Ms. Hazlett introduces her Milwaukee band program and fifth-grade pilot 3:03 Regional dialect check: bubbler, cart, buggy, soda, pop, and Coke 4:44 Ryan explains the prank sound effects and cricket counter running through the episode 5:31 Why the group is talking about band and what each person will cover 5:58 Renee’s origin story: youngest sibling, family band tradition, and choosing saxophone 7:25 Renee on when band became part of her identity and why music classmates mattered 9:28 Ms. Hazlett on being a music education “Nepo baby” and choosing clarinet in fifth grade 11:25 Marching band, section leader responsibilities, and the moment teaching started to feel possible 12:30 Dad as band director versus dad not being her actual teacher 14:39 Strong female band director role models and why they mattered 15:57 Paul’s band origin story, his brother’s influence, and his high school jazz sax teacher 17:59 Ryan shares his own band director tribute and why the conversation hits home 18:54 Dr. Laura Dunbar’s idea: go into music ed because of a teacher, not in spite of one 19:56 Why Ryan believes band is the most important class in school 20:51 Renee on strong female directors and why band means life lessons, not just music 23:23 Paul on band as identity, difficulty, practice, and yearly variety 24:51 Adapting to changing student skill levels, instrumentation, and repertoire 26:10 Ms. Hazlett on choosing music education because she loves teaching, not performance 27:31 Why band can serve both casual participants and high-achieving students 28:37 The transition into first-year teaching stories and how hard the shift really is 29:17 Ms. Hazlett on year three, starting a brand new program, and imposter syndrome 32:21 Paul on imposter syndrome still showing up years later 34:12 Paul’s slow start after college, recession-era job hunting, and a point-two job 35:27 The jump from part-time work to running a full band and marching program 36:26 Trying to lead without pretending to be someone else 38:00 Student teaching as a safe environment versus the realities of a first job 39:17 Renee on student teaching in elementary and high school, then entering middle school 41:19 Renee’s first jobs in Wisconsin, Minnesota, and learning to manage a full program 42:56 Eighth graders pushing back and why sixth grade feels easier to shape 45:05 Paul taking over from a previous director and dealing with senior resistance 46:14 The awkward pressure of replacing a beloved director 47:40 Paul’s student teaching in jazz versus what the job actually required 48:32 Ryan’s classroom story about confiscating a phone and a student cursing his door with dirt 50:26 Ms. Hazlett’s first-year story about a firecracker exploding in a student’s pocket 54:42 Renee’s first-year story about a student throwing a chair and the chaos that followed 58:19 Why first-year teaching moments feel huge, but become part of normal school reality 59:09 Not taking student behavior personally and remembering what kids bring into class 1:00:57 Why admin emails can spike anxiety instantly 1:01:52 Paul’s funny first-year story: a car parked on the marching practice lot 1:02:24 Attempting the “move the car as a team” lesson and accidentally nearly having students break into it 1:04:42 Final round of appreciation for band, ending with a salute and sign-off

The best band directors are not the ones who never fail—they’re the ones who fail faster, reflect honestly, and get their students back on track before the moment slips away. Ryan Ashley sits down with Zach Smith, Mrs. Breedlove, and Mr. Morgan, aka Cooking With Valve Oil, for a sharp, funny, and surprisingly practical conversation about building a culture where mistakes become momentum instead of shame.Ryan, Zach, Bre, and Morgan break down what failure really looks like in a band room, from bad repertoire choices and botched rehearsal plans to the pressure of marching season, contest prep, and first-year teaching mistakes. You’ll hear why “just do something” is often better than waiting for the perfect move, and why humility matters more than pretending you have every answer.Sponsors:RCP Drum CompanySight Reading FactoryWenger for Music Educationhttps://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrolladTimeStamps01:09 – Welcome to Bandroom Therapy03:17 – Don’t be afraid to fail faster05:56 – Why low-stakes failure matters11:25 – Taking action instead of waiting for the perfect answer17:03 – Owning mistakes in front of students22:21 – Breaking routines and trying something new34:17 – Recognizing when an idea isn’t working41:11 – Building a culture where students can fail safely48:10 – Reframing “hard,” “easy,” and “I can’t”51:54 – Encouragement, effort, and community in the band room1:01:41 – Advice for new band directors1:06:51 – Closing thoughts

Delaware band programs are smaller, scrappier, and more connected than you think—and that’s exactly why they’re changing fast. Blaine Salerni and Brian Endlein reveal how music education really works in the First State, from decentralized decision-making and one-day State Arts Day to the growing push for jazz, modern band, steel drums, and more access for students. Delaware might be tiny, but its band world is packed with real challenges and real momentum. Blaine Salerni from Smyrna Middle School and Brian Endlein from Odessa High School break down a state where there’s no UIL-style system, no statewide marching band championship, and very little top-down control—which means relationships, advocacy, and district-level leadership matter more than ever. You’ll discover: Why Delaware music education is driven more by district autonomy than statewide structure How All-State band, jazz, and the new modern band track work What makes State Arts Day such a big deal for teachers who rarely get music-specific professional development How marching band, concert band, and solo ensemble opportunities vary from county to county Why jazz remains one of the hardest, most important fights in band education Brian shares what it’s like to build a program from the ground up at a school that opened during COVID, while Blaine offers a middle school perspective on what students actually need to stay engaged. Together they unpack the realities of recruiting, scheduling, funding, and why so many programs still depend on unpaid evenings, early mornings, and booster support just to survive. This conversation also gets honest about mentorship and retention. Both guests explain why new directors need more support, more classroom observation, and more willingness from seasoned teachers to open their doors. In a small state where almost every director knows each other, that culture can be a strength—if people use it. If you’re a band director, music educator, or anyone curious about how a small state keeps its music ecosystem alive, this episode delivers a rare inside look at what’s working, what’s missing, and what’s growing in Delaware. Sponsors: ⁨@StandingOMarching⁩ ⁨@SightReadingFactorycom⁩ ⁨@rcpdrumcompany⁩ ⁨@WengerCorp⁩ https://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrollad

What happens when a group of band kids, music teachers, and lifelong performers turn a love of brass music into stadium-sized entertainment? In this conversation, the Banana Band shares the musical paths that brought them together—from school band rooms and college struggles to wedding gigs, touring, and playing for packed crowds across the country. They talk about the mentors who kept them going, the pressure of performing without a safety net, and the unpredictable moments that make every show unforgettable. From playing for food and drinks in the early days to jumping onstage with major artists, this is the story behind the music, the friendships, and the controlled chaos of the Banana Band. Follow along for more behind-the-scenes stories, performances, and life on the road. Sponsors ⁨@SightReadingFactorycom⁩ ⁨@rcpdrumcompany⁩ ⁨@WengerCorp⁩ https://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrollad Time Stamps 0:00 An impromptu Michael Jackson transition 1:07 Meet the Banana Band 2:11 Finding music and joining the band 3:58 From school band to touring musician 6:54 A sibling rivalry sparks a music career 10:24 Growing up with trumpet and joining the group 12:38 From struggling student to music teacher 17:07 The drummer’s path back to music 20:08 Did anyone consider quitting music? 25:10 The mentors and lessons that stuck 31:00 Pressure, excellence, and getting the job done 35:30 Learning songs by ear and loving the saxophone 38:24 Building a life as a working musician 40:17 Favorite Banana Band musical moments 41:54 Coach joins the conversation 43:30 The spontaneous “Bad” performance 48:58 The Free Bird balcony story 51:36 Playing live with Gavin DeGraw 54:50 Getting invited onstage by The All-American Rejects 56:09 How the Banana Band began 62:19 Auditions and joining the band 64:30 Rapid-fire favorite stadiums 67:07 Early road stories and unforgettable shows

Beginning band concerts can feel huge—for students, families, and directors. In this episode of Band Room Therapy, Ryan Ashley, Jeff Simpson, Bridget Steppen, and Nicole Vaughn share practical, encouraging ideas for planning a first concert that celebrates growth over perfection.They talk concert formats, helping anxious beginners feel safe on stage, choosing achievable music, involving families, setting expectations for concert etiquette, and the behind-the-scenes details that make the night run smoothly.Whether you’re a new band director planning your first beginner concert or a veteran looking for fresh ideas, this conversation is full of reminders to keep it simple, supportive, and student-centered.In this episode:Low-pressure first-concert formatsHelping students handle nerves, squeaks, and mistakesSetting realistic musical goalsMaking families part of the learning processTeaching concert etiquette for students and audiencesConcert attire, student speakers, setup, and logisticsFinal encouragement for directors and young musiciansSponsers:Standing O MarchingSight Reading FactoryRCP Drum CompanyWenger for Music Educationhttps://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrolladTimestamps00:00 A reminder: parents love their beginning musicians00:57 Welcome to Band Room Therapy03:44 When each program starts beginning band04:19 Class sizes, instrumentation, and teaching setups09:11 What should a first beginner concert look like?10:21 Keeping first performances short and meaningful11:32 Creating an informal, interactive concert13:45 Helping students work through stage nerves17:34 Why mistakes are part of learning18:39 Handling squeaks, squawks, and wrong notes20:12 Building a concert around student growth25:22 Getting parents involved in the concert27:42 Helping families understand what band class is29:19 Inviting parents into the band room37:11 Choosing music for the first concert38:47 Why the concert experience—not difficulty—is the challenge41:43 Adjusting repertoire to each group of beginners45:22 The bigger goals of a first performance49:11 Teaching stage decorum and performance expectations51:20 Helping families learn concert etiquette54:34 Planning attire, speaking parts, and logistics59:40 A concert-uniform story every director will understand62:29 Final advice for first-time concert directors and students

How does band education work in Connecticut? Host Ryan Ashley talks with Connecticut music educators Anthony Susi and Brian Cyr about the state’s music organizations, all-state and regional auditions, concert and marching band opportunities, jazz education, festivals, mentorship, and what makes Connecticut’s band community unique.They break down the full school-year calendar—from marching season through regional festivals and the All-State Conference—and discuss how a small state creates strong connections among directors, schools, and professional organizations.SponsorsStanding O MarchingSight Reading FactoryRCP Drum CompanyWenger for Music Educationhttps://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrolladBetterSax with Sweetwaterhttps://geni.us/bettersaxclassicsaxTimestamps00:00 Introduction to Connecticut band education00:51 Meet Anthony Susi and Brian Cyr02:03 Connecticut’s music education organizations03:46 Student-focused events and growing festival opportunities06:05 Regional ensembles and the All-State pathway07:06 How Connecticut’s size strengthens director collaboration08:13 Honor wind ensemble and student composition festival09:38 All-State Conference and professional development13:16 School size and marching band classifications16:27 A Connecticut band calendar: summer through spring20:23 Concert band festivals and adjudication opportunities23:02 Building a statewide concert festival model26:18 Marching band in Connecticut and state championships28:45 University-hosted clinics and performance opportunities33:14 Regional and All-State audition process38:23 Jazz, mariachi, modern band, and world percussion41:40 Honor jazz ensembles and local jazz festivals45:20 Solo and chamber ensemble opportunities48:44 Mentorship and support for new music teachers53:35 Why Connecticut’s band community stands out

This episode is a panel discussion about how band and orchestra programs build leadership from day one, not just through titles or auditions. Mr. Ashley is joined by Austin Campbell, Renee Lechner, and Francisco Quixtan, who each share different ways they develop student responsibility, spot healthy versus toxic leadership, and use their ensembles to teach life skills that extend far beyond music.We discuss how leadership shows up in middle school and high school students, how structured roles can help or hurt culture, and how directors can train, trust, and serve students without putting them above the group.Sponorswww.sightreadingfactory.comhttps://geni.us/bettersaxclassicsax https://wengercorp.com/triplethreats?utm_source=BTP&utm_medium=podcast&utm_campaign=2627WCTT&utm_content=midrollad www.RCPDrum.comTimestamps00:00 - Opening the conversation on student leadership in band01:14 - Austin Campbell introduces his background and leadership perspective02:43 - Renee Lechner explains why leadership starts in middle school03:21 - Francisco Quixtan shares a K through 12 perspective on leadership05:32 - Why band teaches leadership, responsibility, and life skills06:46 - How beginning band students start showing leadership on day one08:15 - “Every day is an audition” and testing students equally10:04 - Helping students develop leadership through small, natural responsibilities11:02 - Students who need leadership most may not be the obvious ones12:25 - Using positive attention and classroom tasks to reshape behavior14:02 - What toxic leadership looks like in student and teacher behavior16:04 - Why leadership means thinking about the whole group, not yourself17:25 - “Leave it better than you found it” as a leadership mindset18:21 - Second-year syndrome and students who think they know everything19:11 - Teachers modeling humility, mistakes, and apology21:29 - Austin’s leadership assignment based on The Student Leadership Challenge23:34 - Choosing leaders who serve the ensemble, not just themselves25:07 - When strong musicians are not the right leadership choice27:02 - Why first chair is not automatically the best leader29:11 - The group can either be good for a student or a student can be good for the group31:30 - Structured leadership roles, crews, and point-of-contact systems34:51 - Leaders as liaisons, not people above others36:37 - Team-based leadership and shared responsibility in orchestra and band39:21 - How Austin selects structured leaders and drum majors42:18 - Interview questions that reveal a student’s growth and maturity45:06 - Testing how students respond under pressure and frustration46:12 - Renee’s drum major audition process and peer-selection question48:31 - Favorite interview questions, including growth and self-reflection prompts53:03 - Responsibilities handed to section leaders and student leaders55:15 - Letting different students handle tasks each day to build ownership58:32 - Francisco’s recruitment chair and student-run social media role62:27 - End-of-season student feedback and using ideas to shape the program66:57 - Renee’s advice: start leadership early and often69:32 - Francisco’s three T’s: teach, train, trust71:14 - Closing thoughts and takeaways for directors

This episode of Bandroom Therapy brings together host Paul Glader and guests Rachel Allen, Charlie Nesmith, and Mr. Heim for a practical, experience-based conversation about middle school band classroom management. They focus on what a well-run room looks and sounds like, how to balance authority with approachability, and how to handle everything from routines to bathroom breaks without losing tempo.We discuss how to build repeatable routines, set expectations that fit the ensemble and the students in front of you, and stay flexible when the day goes off script. The conversation also highlights why middle school band is a privilege, not just a challenge, and why consistency, calm, and adaptability matter so much at this level.Sponsorships:Sight Reading FactoryRCP Drum CompanySweetwater https://geni.us/bettersaxclassicsaxTimestamps00:00 - Cold open and pre-show chatter00:46 - Episode topic: keeping chaos and tempo in the middle school band room01:39 - What a well-managed room looks and sounds like02:30 - Student engagement during sectional work02:59 - Building band mode through routines and procedures04:06 - Why teachers should explain routines to admins and stakeholders05:10 - No single classroom model fits every band room06:06 - Ensemble type changes the management approach08:12 - Planning for the unplanned and classroom flexibility08:57 - Consistency and fairness in accountability09:48 - Resetting the routine instead of reacting emotionally11:36 - Teacher emotions, regulation, and keeping calm13:45 - Middle school chaos and the need for calm starts14:46 - Teaching expectations and building skill over time15:16 - When students should raise their hand17:01 - Reteaching routines for missing music and interruptions18:30 - How home life affects classroom tone20:26 - Charlie’s silent entry and first-day timer routine24:13 - Mr. Heim’s timer, agenda slide, and technique time25:11 - Warm-up versus technique time25:34 - Starting together and controlling volume27:46 - Warm-up as a management tool and stopping gossip29:38 - Bathroom policy problems and school-wide constraints35:07 - Silent bathroom signals and avoiding the “potty parade”37:16 - Bathroom access, class timing, and emergency flexibility40:12 - Instrument handling during bathroom breaks and fire drills41:16 - Paul’s reminder that this is serious professional development42:20 - Emergencies, medical needs, and when exceptions matter45:00 - Rapid fire: getting the band’s attention46:46 - Teaching silence as a musical and classroom skill48:31 - Do seating charts affect behavior?50:57 - What surprises teachers most about middle school54:46 - Why they love teaching middle school band60:42 - Advice for first-year teachers and new directors63:00 - Secretaries, bookkeepers, and custodians matter64:03 - Stop trying to be perfect65:32 - Building your own teaching identity66:31 - Closing thoughts and episode wrap69:56 - Post-show chat: anniversaries, recovery, and sign-off

State of Band: Colorado Colorado band directors share how the state’s music scene is organized, from its governing bodies and region structure to concert festival, marching band, honor band, and all-state opportunities. The conversation also highlights the strong culture of mentorship, collaboration, and practical support across the state. Sponsors: Sight Reading Factory RCP Drum Company BetterSax https://geni.us/bettersaxclassicsax Timestamps 00:00 - Welcome to Colorado and introductions from Andrew King and Melissa Ellenberger 01:55 - Colorado’s music governing bodies: CBA, CHSAA, and CMEA 05:01 - How Colorado is divided into regions by geography and access 06:52 - Region meetings, representation, and communication with directors 09:26 - Colorado’s band conferences, including the Broadmoor-hosted state conference 11:47 - School classifications from 1A to 5A and what they affect 16:54 - Concert festival requirements for high school and middle school 21:20 - Colorado’s yearly calendar from marching season to spring events 23:07 - Region honor bands, ski festival, and winter conference season 25:45 - Middle school recruitment, fifth grade outreach, and instrument test drives 27:41 - Large middle school band programs, summer band camp, and class management 30:44 - What marching band looks like in Colorado, including scoring and state events 34:50 - Individual achievement pathways: honor bands and all-state opportunities 36:13 - Middle school honor band auditions and ensemble makeup 38:24 - High school honor band audition music and statewide consistency 40:21 - Video auditions and selection for all-state 42:09 - Colorado’s all-state band, jazz band, orchestra, and choir structure 45:51 - Solo and ensemble expectations and why it stays at the regional level 46:53 - Mentorship through CBA and district support for new directors 54:12 - Colorado’s culture of sharing, observing, and helping other programs 56:59 - What the guests want people to know about teaching band in Colorado 58:48 - A mindset of appreciating every festival and ensemble like art

This episode digs into what band culture actually means, how it shows up in rehearsal and daily routines, and why it matters for student buy in, trust, and community. Mr. Morgan, Miss Gates, and Mr. Haim compare middle school and high school experiences, share the traditions that shaped their programs, and talk honestly about discipline, parent communication, and the balance between teacher leadership and student ownership. Sponsors: Standing O Marching www.standingomarching.com ⁨SightReadingFactory BetterSax - SweetWater RCP Drum Company Timestamps: 00:00 - Opening mix-up and welcome to the culture conversation 01:03 - What band culture means to each director 03:06 - The band is bigger than any one person 04:01 - Students helping define the culture each year 05:02 - Signs of a healthy band room 08:35 - Red flags that culture is drifting 13:44 - Different expectations for middle school and high school 17:54 - How culture gets established in the first weeks 20:03 - Building community with student buddies and section leaders 24:57 - Culture is visible to the whole school 25:44 - Traditions, sayings, and class identities 29:41 - Alma mater, Friday night branding, and student leadership 32:03 - Passing the baton with senior notes and varsity jackets 35:16 - When students say band is about becoming good humans 36:38 - Jazz lunch as a recurring tradition 38:22 - Director driven or student driven 42:41 - Shifting the balance of ownership over the year 45:05 - Moving past the iron fist model 49:49 - Honest, fair, and calm discipline 52:37 - Trust, vulnerability, and being human with students 56:41 - Handling behavior that hurts the culture 60:57 - Parents, communication, and shared support 66:45 - Positive calls home and celebrating small wins 68:39 - A parent partnership that improved student practice 71:07 - Weekly newsletters and consistent family communication 72:08 - Highlighting non band achievements too 75:06 - Advice for first year directors 78:12 - Adapting if the program already has a culture 79:07 - Make students feel they belong and make good music 80:55 - Final thoughts on authenticity, growth, and evolving culture

This episode of Band Room Therapy Podcast is all about color guard and why it matters to the full marching band experience. Mr. Ashley is joined by Dalton Stout, Mrs. Lavonne Pearson, and Jeremy Williams for a practical conversation on recruiting, inclusion, fundamentals, leadership, and building a healthy guard culture.We discuss how to value color guard as artists and educators, not just as an add-on to the band. The conversation also digs into what band directors should know if they want their guard to succeed, especially when resources are limited.SponsersSight Reading Factory www.sightreadingfactory.comRCP Drum Company www.RCPDrum.comBetter Sax https://geni.us/bettersaxclassicsax00:00 - Welcome to The Art of the Guard02:00 - Guest introductions and color guard backgrounds03:50 - What to look for in color guard tryouts07:10 - Why willingness and presence matter more than experience08:38 - Recruiting middle school students through high school leaders09:58 - How color guard builds leadership naturally13:21 - Why visual design is central to marching band storytelling15:20 - Color guard as storytellers across the whole show17:28 - How guard helps casual audiences connect with the music19:52 - How directors can make guard feel valued in rehearsals22:37 - Respecting the work guard actually does on the field24:53 - Why transitions and reset time must account for equipment26:29 - Using set numbers and clear language to reduce stress28:07 - Helping newcomers survive the first season31:59 - Don’t compare yourself to upperclassmen34:11 - Common challenges band directors may not see36:36 - Finding experienced help through schools, videos, and alumni38:24 - Communicating changes in closer, tempo, or stand tunes42:25 - Why color guard learns slower than most band sections44:47 - Preventing toxic culture and cliques in the guard47:36 - The block system as a simple antidote to drama52:47 - How to use a color guard instructor effectively when time is limited56:39 - What to do when guard is with the band instead of separated58:52 - Advice to your younger self: keep it simple62:22 - Final thoughts on community, expertise, and asking for help64:02 - Uniform, makeup, and shoe choices that support confidence66:51 - Reach out for help and ask guard questions anytime67:39 - Closing thoughts and episode wrap-up

California’s band world is anything but one-size-fits-all. Host Mr. Ashley sits down with Southern California director Jimmy “Jimm3rz” and Northern California director Jacqueline to unpack how music education, festivals, all-state auditions, marching band, and local leadership work across the state.They compare the organizations that shape opportunities for students, the differences between Southern California field shows and Northern California parade culture, and how concert festivals, jazz, solo and ensemble events, and regional honor groups fit into the picture. The conversation also gets practical about mentorship, teacher retention, arts funding, credential transfers, and advice for directors considering a move to California.Sponsors: Sight Reading Factory www.Sightreadingfactory.comBetter Sax https://geni.us/bettersaxclassicsaxRCP Drum Company www.RCPDrum.com 00:31 – Meet the California band directors01:02 – The organizations that govern California music events03:17 – How California All-State auditions and ensembles work05:20 – Where statewide conferences are held06:55 – Regional events, festivals, and local honors bands08:30 – Opportunities for rural and smaller programs10:05 – Director conferences across the state11:06 – Marching band and concert classifications12:40 – Why Southern California’s marching scene is so distinct15:26 – Northern California parade competition vs. Southern California field shows17:00 – Judging, guard scoring, and marching-band awards18:07 – Show-style bands, HBCU marching, and physical demands19:10 – Is there a statewide marching-band champion?20:42 – Indoor guard and drumline opportunities24:28 – Concert festivals, ratings, and required repertoire29:55 – Choosing festival music and avoiding novelty programming32:03 – All-State audition material and honor-band pathways33:40 – Northern California, the Bay Area, and regional identity35:14 – All-State jazz, choir, orchestra, mariachi, and modern band37:21 – Jazz festivals and solo-and-ensemble opportunities40:02 – The California band-director community and mentorship43:18 – Teacher retention, funding, and arts education45:25 – Advice for new and out-of-state California directors47:33 – Final thoughts on supporting music education

This episode is a practical conversation about how band directors choose repertoire that fits their students, their instrumentation, and their audience. Rick Schwartz is joined by Cooking With Valve Oil, aka Mr. Morgan, and Megan Vinther to break down how they balance educational value, enjoyment, and realistic rehearsal time when programming concert music. In this episode, Rick Schwartz introduces the topic of repertoire selection as the ongoing challenge of finding music that is challenging, playable, and enjoyable for students. Megan Vinther shares that her first question is always what her students need skill-wise and where she wants them to grow by the end of the year. Mr. Morgan explains that having both middle school and high school bands gives him a long-view approach, letting him think about what the students have already done and where they are headed next. Instrumentation comes up as a major factor, especially in schools with unusual or incomplete sections, and all three agree that arrangers and directors often have to rewrite or adapt parts. Megan describes using score study and sight-reading to see whether a piece is actually balanced, especially when one section has more exposed or difficult material than the others. Mr. Morgan and Rick both describe adding or rewriting parts for missing instruments, including horns, oboe, bassoon, percussion, and even piano. The episode closes with a discussion of how important it is to keep buying new music, while also digging into older repertoire and library gems that may still be great teaching pieces. Sponsors: Sightreadingfactory.com https://geni.us/bettersaxclassicsax Thebandblueprint.net Timestamps 00:00 - Opening gag and why choosing repertoire is so hard 04:51 - Sight-reading as a way to test difficulty and student interest 06:18 - Knowing your audience and what parents will respond to 09:04 - Does instrumentation influence repertoire choices 11:14 - Strong sections versus missing color instruments 13:15 - Rewriting parts for strong players and unusual personnel 16:11 - When and how often they rewrite or modify parts 18:28 - Rewriting concert band and orchestra music for combined concerts 21:21 - Rebuilding percussion parts when a section is too large or unbalanced 23:44 - Writing extra parts in orchestra and mixed ensemble settings 26:51 - Why Mr. Morgan opposes forced themes 29:44 - Holiday concerts, Krampus, and avoiding a dark seasonal vibe 32:38 - Using repertoire to reinforce tone, air, and fundamentals 34:21 - Event-based themes versus overly conceptual concert themes 36:39 - Limited Hanukkah repertoire and rotation of strong existing pieces 40:29 - Why a piece can be fun without being filler 43:50 - A program note project that lets students write about the music they love 46:20 - Why a whole concert cannot be all grade 4 and 5 music 50:28 - Warning signs that a piece is too easy 53:36 - Programming easier in the fall and building difficulty through the year 56:21 - Easy music can still teach tone, phrase, and intonation 58:12 - Planning concerts around what the ensemble needs to succeed 61:34 - Common mistakes: overprogramming and selfish programming 64:34 - Underprogramming and not trusting the ensemble enough 67:22 - Using concert preparation knowledge from marching season 68:51 - A student-requested Omar Thomas piece that grew into a strong performance 70:46 - Searching for new music by listening passively and building a purchase list 73:01 - New composers writing directly for current music education practice 76:03 - Do not buy everything just because it is on a list 78:18 - Final recommendations: what to program now 78:32 - Mr. Morgan’s picks: Sunbloom and The Summoning 79:31 - Megan’s picks: Country Club Stomp and Shine On Me 80:46 - Rick’s personal recommendation: Havana Knights and its sequel 81:39 - Closing thoughts on choosing music that students will enjoy #band #banddirector #bandroomtherapy #musiceducation