The Secret to Good Ensemble Behavior in ONE (relatively ...€¦ · The Secret to Good Ensemble Behavior in ONE (relatively) EASY* STEP! Jay Welenc Band and Studio Orchestra Director

The Secret to Good Ensemble Behavior in

ONE (relatively) EASY* STEP!

Jay Welenc

Band and Studio Orchestra Director

Career Education Instructor

Toledo School for the Arts- Toledo, Ohio

YOU too can learn to answer questions before they are asked and solve problems

before they happen...students and parents will know what you will say before you say

it.

2019 Ohio Music Education Association Professional Conference

Session presentation: Thursday, January 31

Room CC 6

(*Easier than years of stressful interactions and lack of support that undermine your efforts to

help kids succeed, that wreck your health, and make you want to quit teaching.)

How things got to be the way they are:

My proactive approach (the ONE EASY STEP) is based on actual

student incidents, parent communications, and meetings with

administrators. They allowed me to see the positive effects I could

achieve when I address things before they happen.

The inspiration.... (has this ever happened to you?)

Students did not always exercise good judgment regarding their negative impact on

curricular goals:

Skipped the concert

Lost their music more than once

Abused instruments and equipment

Were tardy to class and rehearsal

Bullied or mocked classmates

Engaged in horseplay and other physical distractions (throwing objects, spraying

scented products, silent gestures, etc.) during rehearsal

Publicly announced their intentions to undermine the instructional process (to

skip the concert, to miss rehearsal, to avoid practicing, to intentionally perform

badly, etc.)

Publicly demeaned the quality of the musical performance, the choice of

repertoire, or the faculty.

Some parents disregarded curricular goals and encouraged their students to do

likewise:

Instructed their student to miss performances or rehearsals to go to other

activities, or to avoid perceived inconvenience for the parent

Attempted to excuse absences by taking the blame themselves

Attempted to excuse absences by dismissing the impact of the absence

Enlisted administration to side with them to excuse bad student behavior or

absences

Publicly demeaned the quality of the music, the performance, the choice of

repertoire, or the faculty

Administrators often sided with dismissive parents, revealing that they had similar

opinions regarding the importance of the program.

Instructed my students to miss performances or rehearsals for other activities

Argued against my decisions in front of parents

Attempted to create policies or understandings that negated my authority as

instructor

The remedy...

I came to realize that I had to proactively instruct not only my students, but parents,

and administration as well, regarding the curriculum, the impact of their choices, and

standards found within the music industry as a whole.

After a few school-year cycles, negative student behavior could be anticipated.

Therefore, I could answer questions and address issues before they occurred:

This is what I expect you to do and to learn

This is how you will be assessed, in detail, on a daily basis

If you do “X”, I will do “Y”

Parents were often unaware of the curricular goals and expected student outcomes

when traditional avenues of communication failed: students did not deliver information,

or available information was disregarded by busy and/or disinterested parents. I

needed them to know the answers to questions and address common issues before

they occurred.

This is what I expect your student to do and to learn

This is how your student will be assessed, in detail, on a daily basis

If your student does “X”, I will do “Y”

Administrators had a perception of the music program based on negative personal

perceptions and experiences and injected these biases into their administration of the

program. It was imperative that I address their questions and solve problems before

they occurred.

This is what I will teach based on sound curricular planning and the standards in

the music industry

This is how students will be assessed, in detail, on a daily basis, using the same

assessment strategies as the academic and career education instructors

Student expectations and consequences are spelled out and aligned with the

school /district policies.

Here we go...getting started- (examples to follow)

1) Make of list of current behaviors and attitudes that detract from individual student

achievement and the goals of the ensemble / program as a whole:

a. Behaviors that are disruptive

b. Behaviors that negatively impact musical performance

c. Behaviors and communications parents employ that negate or diminish your

efforts at student achievement; include statements parents make to keep their

student from consequences

d. Behaviors, attitudes, and communications administrators, coaches, and other

faculty may exhibit that minimize or negate your efforts at student achievement.

2) For each of the above, list the positive goal to address the behaviors and connect

them to the parallel, real-world equivalents they will encounter outside of the school

environment. For each goal, prepare a consequence or remedy for failure to meet the

goal.

3) Take your solutions to your administration:

a. Gain approval for your approach to each of the above so administration is aware

of your strategy and agrees that it aligns with published curricular goals.

b. Confirm that administration will back you when students, parents, or

coaches/faculty object to your solutions.

c. Work out calendar conflicts for athletic and academic events that are part of your

curriculum; administration must approve a way to prioritize student participation

when genuine conflicts arise (i.e.- swim meet vs. a required large group music

adjudication.)

4) Refine and condense your language to keep the information readable without

changing the impact or meaning of the text.

5) Create a document (syllabus, handbook, or equivalent) that is accessible to students

and parents 24/7 that has all of the agreed-upon text.

6) Create a method for parents to acknowledge their awareness of your

syllabus/handbook document at the inception of the year or the start of a student’s

enrollment in your course. (Think parent signature or online equivalent.)

Be aware that this process will not eliminate all behaviors that detract from your program

(adolescence is a process, and parents will take time to become familiar with your methods),

but you will have in place a way to consistently reward genuine achievement and hold

students accountable for behavior that interferes with their individual goals and the program

goals.

OK- If you’re thinking...”My kids will quit if I crack down on their behavior”.

Remember-

In spite of their protests to the contrary, kids crave structure; they want to know

someone is in charge, and that you will be consistent in your application of rewards

and consequences. If they perceive you are not in charge, they will try to fill the

vacuum in their own disruptive and uninformed way.

Kids are motivated by genuine achievement. If they sound good, behave

professionally, and are complimented by the public for their efforts, they will respond

to your structure in a positive way.

It is important that students and the parents know WHY you insist on certain standards

and behaviors; link your standards and behaviors to actual, real-life standards and

behaviors. Be careful not to present standards as punishment for past transgressions.

That said...a few kids may succeed in leaving your program- but the long-term outcomes will

be the takeaway for the public and your boss.

What I did to address the needs:

The following is my actual syllabus for two of my ensemble courses. In realizing the need to

inform students, parents, and administrators of my curricular goals and methods of

assessment, I blended a syllabus and a handbook into a more instructive tool.

Red markings are notes for this session and not seen in the original document.

TOLEDO SCHOOL FOR THE ARTS

2018-19 COURSE SYLLABUS FOR:

Studio Winds/ Studio Orchestra & String Orchestra/ Studio Orchestra

Jay Welenc & XXXXXXXXXX, Directors

We welcome you and look forward to the opportunity to help you advance your musical

skills; this year you will take another step on the long road to becoming an accomplished

musician.

WHAT IS A SYLLABUS? Explaining WHY:

To help you build and maintain the high standard of musical excellence in our instrumental

program, we have assembled this guide to the rules, procedures, and assignments used to

ensure smooth functioning of the musical organizations and to evaluate student

performance.

WHY DO I NEED TO KNOW THIS? Explaining WHY:

Professional and commercial opportunities for musicians demand a high degree of skill and

a clear understanding of the procedures and expectations; this class will, in many ways,

prepare you to take part in the world of the working musician.

Students and parents should become familiar with this information and consult the directors

if questions or concerns arise:

Preferred- Faculty Email: [email protected] [email protected]

Voicemail- Band & Orchestra Office Phone: (419) 246-8732 x 444

COURSE OVERVIEW

Studio Winds

This ensemble class develops playing proficiency and includes several performance

opportunities for high school-level wind players. Band students will learn professional skills

needed as woodwind and brass performers in concert band, studio/symphony orchestra,

jazz/pop combo, small ensembles and as soloists. Students are encouraged to continue

performing as college or professional-level players. Public performance is a major

requirement of the course.

String Orchestra

This ensemble class develops playing proficiency and includes several performance

opportunities for high school-level string players. String Orchestra students will learn

professional skills needed as string performers in string orchestra, studio/symphony

orchestra, jazz/pop combo, small ensembles and as soloists. Students are encouraged to

continue performing as college or professional-level players. Public performance is a major

requirement of the course.

The Studio Winds and String Orchestra also perform combined as the Studio Orchestra.

COURSE OBJECTIVES

Performance Opportunities

Instrumental Music Courses are designed to give students opportunities to advance their

individual musical performance skills in an ensemble setting.

The variety of musical contexts includes:

CONCERT BAND (STUDIO WINDS)

STRING ORCHESTRA

FULL ORCHESTRA (STUDIO ORCHESTRA)

WIND/STRING CHAMBER ENSEMBLES

SOLO PERFORMANCE

JAZZ ENSEMBLE (JAZZ COMBO) OR POP COMBO (by separate audition and consent of

instructors)

COURSE OBJECTIVES (CONT.)

Professional Musical Skill Development Student expectations; this also the checklist

for formative and summative assessments:

Individual students must prepare their own parts and develop their musical skills through

rehearsals and individual practice, working to blend with the ensemble as a whole. The

specific skills to be developed include:

TONE

Tone quality

Breath support

Breath/bow control

Blend /Balance

INTONATION

Individual

Section/ensemble

INTERPRETATION

Tempo

Dynamics

Phrasing

Style

Expression

TECHNIQUE

Note accuracy Rhythmic accuracy

Articulation/bowing

Facility/precision

Posture/position

COURSE OBJECTIVES (CONT.)

MUSICAL CONCEPTS

Cognitive (thinking) skills related to music notation, reading, and interpretation

Competency in musical performance techniques

Aural (listening) and visual discrimination skills

Musical problem-solving skills

A sense of the aesthetic (i.e., what is considered artistic)

Improvisational and compositional skills

Good physical skills, including musical posture and breathing, relevant to the performance and manipulation of instruments

PROFESSIONAL EMPLOYMENT SKILLS Expectations include these skills which

address student behavior and are linked to real-world employment skills:

Time on task- apply regular practice and repetition to achieve course goals

Professional interaction - successfully interact with others in the class and with faculty and staff

Punctuality - Students are expected arrive early or on time for all classes and events

Attendance - Students are expected to be in attendance

Personal Responsibility - Students must consistently use all instruments, equipment, and property in the proper manner, and have appropriate materials/equipment at all times

Technology skills related to use of online and software resources

METHOD More details about student expectations. The redundancy is intentional,

and specifics are my way to address actual incidents that have occurred in the past:

Rehearsal/performance Formative assessments:

Students will be instructed in tonal, tuning, interpretive, and technical fundamentals through

demonstration, musical exercises, and ensemble literature. Music in a variety of styles and

contexts from diverse musical, cultural and historical sources will be studied and performed,

providing students with the opportunity to apply the skills and concepts. Students will be

instructed in professional employment skills and will be required to demonstrate these at all

times.

METHOD (CONT)

Formative assessments:

Students must follow all written / verbal / posted / visual directions the first time, and avoid all

disruptive/distracting behavior. Specific rules or instructions may apply to certain situations

and will be announced or posted when applicable. Students are expected to cooperate fully

with all faculty, staff, chaperones, bus drivers, police, event officials, and any other adult

exercising proper authority.

This text addresses the moments when parents or students are emotionally upset:

Students must remain positive and willing to work with students and staff, even during

difficult or challenging times in the learning process. Students should keep in mind that all

class activities and procedures are designed to benefit the students, even if that benefit is

not obvious to them.

This specifies that students are required to look for messages and information in the

electronic portals, rather than claim they “weren’t told” or “didn’t know”:

Electronic communications regarding assignments

Students are instructed to check Schoology and school email daily for updates regarding

class, assignments and tests; students may be instructed to check more frequently if

circumstances warrant, and some information may be posted outside of normal school

hours. It is especially important to check for updates when absent from school or on days

when school is canceled or delayed unexpectedly.

Students will submit some specific assignments electronically to Schoology or to the

dropbox of websites used for assignments; students who are not familiar with the

procedures for electronic submission of assignments should consult their instructor well in

advance of the deadline. Students should submit assignments via email ONLY when

instructed to do so; not all files can be transmitted via email.

This grading information is available to parents as well, and meant to alert students

and parents in a timely manner:

Current course grades will be posted in Powerschool and are generally updated once per

week; students should check grades weekly. Band and Orchestra faculty will not use

Schoology for calculating grades; only Powerschool will reflect accurate course grades.

Again...contact faculty for questions:

Students who have questions about assignments or grades while away from class should

contact the instructor via email; this will provide the quickest response. Please note that

instructors may not be immediately available after school hours or on weekends/holidays.

Students and parents who have difficulty accessing these sites should contact the Helpdesk

or the school office.

Portfolio In addition to concerts and other performances, some assignments are big

curricular targets; I elaborate here to give the “heads up” to parents and students

long before any due dates.

All students in grades 9-12 AND all students in Studio Orchestra (all students in 4th p) are

required to submit a portfolio each semester for a project grade. Students use this to track

their artistic progress through school and prepare for professional career requirements.

Detailed instructions are provided separately. Once the first submission of the portfolio is

successful, students may update the existing portfolio. Students are advised to seek help

with questions about this project well in advance of the deadlines.

Chamber Music performance requirement In addition to concerts and other

performances, some assignments are big curricular targets; I elaborate here to give

the “heads up” to parents and students long before any due dates.

Students are required perform in a chamber music setting at least once during the school

year.

This complements the large ensemble opportunities in the course to balance the student’s

musical training.

A small ensemble (2-18 players) or accompanied solo performance can be accomplished in

several ways:

Chamber Ensemble

First Friday

OMEA Solo/Ensemble

Jr/Sr Career Ed (CTE) presentation

TSA recitals at Trinity

Student-organized performance event (i.e.- Black Kite)

Music Seminar album project or your own demo album

Recording session at TSA, or at an off- campus studio

TSA Holiday Chamber Orchestra

Kaleidoscope Students are welcome to propose their own idea to faculty for consideration.

Performances will be graded in the grading term in which they occur; students who fail to

perform this requirement will have the zero grade reflected in the fourth quarter. Summer

performances and solos performed with large ensembles will not count for grading purposes.

Students who exceed the one required performance will receive extra credit for each

subsequent performance.

Leadership Projects

In order to develop and enhance individual leadership skills, specific tasks and projects will

be assigned to selected students; these projects will afford students opportunities to

experience management and conducting duties as would be found in professional rehearsal

/performance settings.

Projects may include:

Ensemble Management

Stage / rehearsal area set or equipment manager

Music Librarian

Ensemble Conducting

Sectional rehearsals

Large ensemble tuning / warm-up

Ensemble Directing

Large or small ensemble rehearsals / performances

Students assigned to leadership duties will be assessed and class points assigned per level

of accomplishment:

10-50 points per grading term not to exceed the allowable extra credit percentage for credit courses.

EVALUATION Formative and Summative assessments:

The results of the learning processes are seen in public performances scheduled throughout

the course. Public performance is the end-product of the musical study and is a major

component of the courses. In addition to public performances, students will be evaluated

through live and recorded playing / skill tests, sectional and large group rehearsals,

auditions, written assignments, demonstration of professional employment skills, and

cooperative musical participation.

Text here addresses the predictable questions about grade calculation, and the

inevitable cost of waiting until the deadline to find out that tech will fail in moments of

need:

Points are earned in each class and event for musical performance. Instructors will

determine whether full, partial, or no credit will be earned for each activity/event; this is

determined by the degree to which students achieve the general, employment, and

professional/ musical performance standards. Students are advised to budget time to

recover from technology problems before assignment deadlines, and back up important data

in case of technology glitches. Some of the performances may be optional at the outset, but

once you have chosen or been selected to perform, it becomes a graded event for you.

Approved make-up assignments earn the same points as the missed activity/event.

More details about grade calculation when students don’t meet the goals; all of these

have happened and are included as a result of teacher/ parent/ principal meetings on

these topics. Note the text about make-up work; this keeps the amount of work for

each student equivalent so I don’t have a double standard (more work for compliant

students, less work for those who have or find reasons to miss required

assignments):

Tardiness, absence, or disciplinary action will result in a reduction/loss of grading points

(unless the student is excused by staff, and any applicable make-up work or extra credit

work is submitted). To ensure full credit for each class performance, students must be at

their assigned place at the assigned time. Students who have unexcused absence for any

class or event will be subject to grade reduction and may be prohibited from re-enrollment in

the class; students are advised to keep all student performance, academic, extracurricular,

and personal assignments/events/activities on ONE calendar to better track your time and to

avoid creating your own conflicts.

What happens when the student is ill /injured / has a family emergency? This is how I

address the missed assignments in extended absence or when the possibility of the

usual make-up work is not practical:

For extended excused absence or extenuating circumstances, students and parents may

consult the director to request a special project.

What’s in it for the student? Answers the question: “Why?”

THE RESULTS OF PROFESSIONAL INTERACTION

Maximum benefit from learning opportunities presented Effective use of time and resources leading to successful musical performance

Positive rapport with staff and students

Positive report to parents/ guardian and administration

Opportunity for maximum grading points

Opportunity to re-enroll in instrumental music courses

Opportunity for extra credit, special rewards, and performance opportunities

Positive recommendation from staff for college, professional, honors and auditioned opportunities and applications

This is the exact sequence of responses I use when students don’t meet the goals.

This aligns with school disciplinary policies:

THE CONSEQUENCES FOR UNPROFESSIONAL INTERACTION

Verbal warning

Loss or reduction of grading points

Alternate assignment in practice room or other area, be sent home (when applicable), or school detention; students tardy to class are subject to detention per school policy.

Contact parent/guardian

Loss of performance opportunities

Referral to administration

Prohibited from re-enrollment in instrumental music courses

But I can move an incident to admin referral if the circumstances warrant; note that a

referral does not have an automatic consequence, and it lends more authority to the

resulting decision because I can consult with my boss:

Any severe or insubordinate behavior will be immediately referred to the administration.

This addresses a recurring problem students have learning time management. Some

students and parents assume that any conflict, even of their own making, means the

music assignment /performance will take a back seat to their other event. This is not

the standard in the music industry, and I work diligently to make this point. Self-made

conflicts are considered ‘unexcused’ and result in loss of grade points:

ADDITIONAL INFORMATION REGARDING PERFORMANCE ATTENDANCE:

As a general rule, only circumstances which are unavoidable or emergency in nature will excuse an absence or tardiness.

Self-made conflicts DO NOT constitute an “unavoidable circumstance” or an “emergency”; students who create their own conflicts may not be eligible for make up assignments.

No absence or tardiness can be excused without contact (note, phone call, visit) by a parent/guardian or faculty member.

GRADING SCALE/COMPUTATION

More details about grade calculation; all of these have happened and are included as

a result of teacher/ parent/ principal meetings on these topics. Note the text about

make-up work; the redundancy is intentional:

Points are assigned to all events and assignments during the course. Directors will

determine whether full, partial, or no credit will be earned for each activity/event. The

average of these points will determine the course grade.

It is not the teacher's responsibility to "chase after" students about assignments, events,

make-up work, etc. Students are expected to take the initiative and ask the teachers for

information if necessary.

Approved make-up assignments earn the same points as the missed activity/event.

Students and parents may consult the school online grading website for grading status;

generally this information will be updated weekly.

Grades are computed by averaging the total points earned versus the total points possible in

a grading period. This percentage is compared to the school grading scale, and the

corresponding letter grade is entered. Similarly, the year-end grades are computed

according to this formula.

I worked hard to find a proportion that kept large targets (concerts /performances,

portfolio, chamber music) worth enough points so as not to be insignificant in the

final average (vs the daily, formative assessments)...but not so much that a student

can miss the daily, formative assessments and have the large target assignment

points negate a persistent problem in rehearsals:

Maximum points assigned to each class activity are as follows:

Daily class - 5

Playing or written test - 25

Dress rehearsal - 35

Performance at assembly or combined arts event - 65

Concert/Contest/Featured performance - 125.

Special project / performance grades will be assigned as available (Currently, Portfolios are 100, Chamber Music is 100, and a large junior/senior class

performance project is 500.)

School grading scale (%):

98-100=A+; 95-97=A; 92-94=A-;

89-91=B+; 86-88=B; 83-85=B-;

80-82=C+; 77-79=C; 74-76=C-;

71-73=D+; 68-70=D; 65-67=D-;

0-64=F

More details about grade calculation; the specifics are to address the questions that

arise piecemeal when a particular student has grading issues:

Late work information for assignments other than musical performance:

Students are required to do all course work that is assigned. Students excused from school

may submit assignments for full credit per the school policy. Unexcused absence or

unexcused missing assignments will result in a grade reduction.

Students should note the following regarding on-time submission of assignments.

-Specific assignments will have a hard deadline; failing to submit by deadline will result in a

“0” grade.

-Specific assignments will be completed using a ‘mastery’ approach- students may be

required to repeat an assignment until the results reach a satisfactory level of

accomplishment; the resulting grade will be reduced to 80% or 50% depending on time and

circumstances.

-Assignments submitted late due to excused absence must be submitted by the school

deadline; missing this deadline will result in a grade reduction. Assignments submitted late

unexcused will be subject to grade reduction 10-50% depending on time and circumstances.

-Failure to submit an assignment with an extended deadline will result in a “0” grade.

Special note to students and parents when checking grades online:

For ‘mastery’ assignments and approved makeup assignments-

This text addresses a shortcoming in our grading program:

Powerschool grades may initially display a (temporary) “0” until the work is complete. These

“0” grades will be updated, but are posted to remind students and inform parents that the

students’ work still needs to be completed. Without this strategy, the Powerschool program

calculates an artificially high grade that is not reflective of the student’s current grade status;

in the past, this has encouraged students to ‘forget’ about missing work. The current

strategy also avoids “surprise” grades at end of term if a student has incomplete or missing

assignments.

This aligns with school policy:

Should the issue of missing/late assignments persist, then the student may receive an after

school detention with the teacher; the detention time may be used to make up missing

assignments or to correct the irresponsible behavior.

In the actual document, I insert a course supply list; it is omitted here for space.

The following sections are instructive and address the myriad of questions that

arise over the course of the school year:

SPECIAL INSTRUMENTAL INFORMATION

Individual Instruction

Private Lessons will greatly enhance a student’s success in band & orchestra classes,

but are not included in the course grade. Any student receiving individual instruction

(private lessons) from a TSA instructor will be subject to payment schedules and

policies adopted by the school administration. Details regarding this instruction are

distributed separately by TSA administration.

Section Seating

The Band and Orchestra use performance evaluation to place students in the sections.

The director determines, from the performance of class material, the ranking of players

in each section and arranges seating to place experienced players throughout the

sections in keeping with an accepted professional seating plan.

Seating is NOT an indication of skill level or grading status. Players are expected to

adopt a professional attitude regarding seating assignments and recognize the

importance of keeping the ensemble’s objectives

THE TOP priority.

School-Owned Materials

All school-owned materials issued (music, books, instruments/accessories, equipment,

etc.) must be returned at designated times in the same or better condition as issued, or

the student may be liable for repair/replacement cost. Materials damaged due to abuse

or neglect may be charged to the student.

Students are required to make reasonable attempts to secure school property against

damage and theft. All materials must be kept in designated storage areas/lockers, or

students may be liable for repair/replacement cost. If assigned a locker, it must be

kept locked to secure the instruments and materials.

Your director may have more specific instructions for you; students should consult their

director if they have any questions or difficulties.

Student-Owned Materials

Students are advised to keep instruments and their components locked in a locker,

storage area, or locked case at all times.

Keep a copy of instrument make/model/serial numbers at home in case of theft, and

have instruments insured through a rider on your homeowner’s or renter’s insurance

policy. With the large amount of traffic through the music areas each day, it is not

possible for the school to be responsible for privately-owned instruments. Parents are

advised that the instrument storage room in the music department does not have

lockers or cabinets; and instruments must be insured against loss or accidental

damage.

Instrument Maintenance

Whether or not a student uses a school instrument or their own instrument, it is

expected to be maintained in playing condition at all times. Students must supply

expendable materials, even for school instruments. These items can be purchased at

retail music shops around Toledo:

Woodwinds: reeds, cork grease, neck straps, swabs, mouthpiece spray

Brass: valve oil, slide grease, mouthpiece spray

Strings: rosin, extra strings, shoulder rests, “cookies”/rock stops

Instruments in need of repair or maintenance should be taken to a qualified music

instrument dealer for the necessary service. Many instrument parts are not designed to

last indefinitely, and do need to be replaced/serviced on a regular basis; failure to do

this often renders the instrument unplayable.

If your financial situation prevents you from purchasing required maintenance items,

parents/guardians must send a note to the teacher in advance and the items will be

provided.

Avoiding Instrument Damage

Students are cautioned about activities which promote damage to the instrument:

1) Do not leave the instrument alone out of the case. This happens most often in the

rehearsal room. When the instrument is knocked over, damage occurs, even if it is not

immediately apparent.

2) Do not set the instrument on a music stand or chair during rehearsal. This furniture

was not designed for this purpose and the instrument will easily fall off.

3) Do not transport instruments without their cases.

4) Avoid rough treatment of the instrument while in the case. The case was designed

for minimal protection, and the impact of the instrument against the inside of the case

can damage it as well.

5) Avoid eating food before/ while playing wind instruments. The food/saliva mixture

blown into the instrument after eating will decompose, and freeze up or corrode

internal parts.

Performance Dress/Stage Costume

Proper dress is considered part of the musical performance; this varies by event, and

will be announced by your director in advance. Students may lose all or part of their

grading points, and be prohibited from performing, if not in performance dress. These

items are for costuming purposes and do not need to be new or expensively-priced

items.

These are commonly required items that all students should have available:

White Oxford-style dress shirt; long sleeve (not acceptable: T-shirts, sweatshirts, sweaters, jerseys, sleeveless tops)

Black Oxford-style dress shirt; long sleeve (not acceptable: T-shirts, sweatshirts, sweaters, jerseys, sleeveless tops)

Black dress pants (not acceptable: shorts, cargo pants, jeans, sweatpants, capris)

Black dress shoes (not acceptable: gym shoes, boots, shoes of different color, not wearing shoes); please note that black sandals/flip-flops are NOT shoes.

If you wear socks –black socks only.

Black “Studio Orchestra” polo shirt- available only through TSA- details announced in class.

If your financial situation prevents you from purchasing required costume items,

parents/guardians must send a note to the teacher in advance and the items will be

provided.

The actual performance schedule would be included with this document, listing

all required events, plus optional and auditioned events (Honor Band, etc.) It

includes (redundantly) the text from above- “students are advised to keep all

student performance, academic, extracurricular, and personal

assignments/events/activities on ONE calendar to better track your time and to

avoid creating your own conflicts.” More recently, parents are the ones to

double book their student, then ask for excused absence due to parental

oversight. These are unexcused, and the reason for the parent signature page

that follows...

PERFORMANCE SCHEDULE

The performance schedule completes this syllabus and is printed or posted on a

separate page. Students should consult their director for details. Parents are advised

to add the required dates to your family calendar at this time; misplacing this

information will not excuse a student later; students are advised to keep all student

performance, academic, extracurricular, and personal assignments/events/activities on

ONE calendar to better track your time and to avoid creating your own conflicts.

The performance schedule is also subject to revision throughout the term, and

students must stay aware of updates; required performances will be added as they

become available. These updates will be posted in Schoology (see “Electronic

communications regarding assignments”)

My actual calendar is inserted here, but omitted today for space.

This page is my assurance that parents have the opportunity to read/ review all

of the information and ask me questions. I use this acknowledgement later to

remind parents if they ask to excuse their student for self-made issues, or claim

to be unaware of a policy or assignment/ performance date.

Parents/ Guardians:

The TSA Syllabus for String Orchestra and Studio Winds Classes contains

important information regarding your student

(Name:)______________________________________

and student course expectations

Please sign this page to indicate that you have read this information and discussed the

course expectations with your student; this includes, but is not limited to:

Information regarding required performances. Parents, please mark important dates on your calendar.

Supplies needed for class

TSA Portfolio requirement.

Information regarding the Disney Tour

PLEASE DO NOT SIGN THIS PAGE IF YOU HAVE NOT READ THE

ACCOMPANYING COURSE SYLLABUS.

If you have any questions regarding the class or have not seen the class information,

please contact your student’s instructor

[email protected]

______________________ _____________________

Parent name (printed) Parent signature

___________________________________________________

Parent phone and/or email

Students are responsible for returning this page with your signature

immediately.

Students who do not return this page are assigned detention, during which time

we contact parents and determine the reason for the delay.

Jay Welenc

Jay Welenc is currently on the faculty at the Toledo School for the Arts. A music

educator since 1981, Jay Welenc has served as an instructor and director in

Instrumental and Vocal music, Music Theory, and Career Education; he has

experience in urban, suburban, and rural schools at the elementary through

undergraduate levels. Over the decades, his ensembles have received numerous

accolades and awards, with a growing number of former students joining the

professional ranks. Among his honors, Jay was named the Ohio State Board of

Education District 2 Teacher of the Year for 2018. Jay also continues to serve as

Conductor of the Toledo International Youth Orchestra, leading performances in the

U.S., Ireland, Ecuador, and Canada.