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.
Sponsers
Sight Reading Factory www.sightreadingfactory.com
RCP Drum Company www.RCPDrum.com
Better Sax https://geni.us/bettersaxclassicsax
00:00 - Welcome to The Art of the Guard
02:00 - Guest introductions and color guard backgrounds
03:50 - What to look for in color guard tryouts
07:10 - Why willingness and presence matter more than experience
08:38 - Recruiting middle school students through high school leaders
09:58 - How color guard builds leadership naturally
13:21 - Why visual design is central to marching band storytelling
15:20 - Color guard as storytellers across the whole show
17:28 - How guard helps casual audiences connect with the music
19:52 - How directors can make guard feel valued in rehearsals
22:37 - Respecting the work guard actually does on the field
24:53 - Why transitions and reset time must account for equipment
26:29 - Using set numbers and clear language to reduce stress
28:07 - Helping newcomers survive the first season
31:59 - Don’t compare yourself to upperclassmen
34:11 - Common challenges band directors may not see
36:36 - Finding experienced help through schools, videos, and alumni
38:24 - Communicating changes in closer, tempo, or stand tunes
42:25 - Why color guard learns slower than most band sections
44:47 - Preventing toxic culture and cliques in the guard
47:36 - The block system as a simple antidote to drama
52:47 - How to use a color guard instructor effectively when time is limited
56:39 - What to do when guard is with the band instead of separated
58:52 - Advice to your younger self: keep it simple
62:22 - Final thoughts on community, expertise, and asking for help
64:02 - Uniform, makeup, and shoe choices that support confidence
66:51 - Reach out for help and ask guard questions anytime
67:39 - 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.com
Better Sax https://geni.us/bettersaxclassicsax
RCP Drum Company www.RCPDrum.com
00:31 – Meet the California band directors
01:02 – The organizations that govern California music events
03:17 – How California All-State auditions and ensembles work
05:20 – Where statewide conferences are held
06:55 – Regional events, festivals, and local honors bands
08:30 – Opportunities for rural and smaller programs
10:05 – Director conferences across the state
11:06 – Marching band and concert classifications
12:40 – Why Southern California’s marching scene is so distinct
15:26 – Northern California parade competition vs. Southern California field shows
17:00 – Judging, guard scoring, and marching-band awards
18:07 – Show-style bands, HBCU marching, and physical demands
19:10 – Is there a statewide marching-band champion?
20:42 – Indoor guard and drumline opportunities
24:28 – Concert festivals, ratings, and required repertoire
29:55 – Choosing festival music and avoiding novelty programming
32:03 – All-State audition material and honor-band pathways
33:40 – Northern California, the Bay Area, and regional identity
35:14 – All-State jazz, choir, orchestra, mariachi, and modern band
37:21 – Jazz festivals and solo-and-ensemble opportunities
40:02 – The California band-director community and mentorship
43:18 – Teacher retention, funding, and arts education
45:25 – Advice for new and out-of-state California directors
47:33 – 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

The wrong music can wreck a middle school band year. The right music can transform bored kids into confident players, and this conversation shows you exactly how to tell the difference before you hand out a single part.
Rachel Allen sits down with Jordan White, Jeff Simpson, and Randall Standridge for a sharp, practical conversation about choosing repertoire that actually works for middle school ensembles. If you teach band and you’ve ever stared at a score wondering whether it will inspire your students or crush them, this episode is for you.
Rachel brings 22 years of middle school band experience from Charlestown, West Virginia, and frames the real-world challenges directors face when selecting music for young players. Jordan White, in his fifth year teaching grades 5-12 in Missouri, shares a newer director’s perspective on finding music that keeps students engaged while still challenging them. Jeff Simpson, with 28 years in middle school band in Michigan, offers the seasoned classroom lens on what makes a piece teachable, musical, and worth returning to year after year. Randall Standridge, a former band director turned full-time composer and publisher, brings the insider view from both sides of the stand and explains how great writing for percussion, low brass, and every section can make or break a selection.
You’ll discover:
Why percussion writing matters far more than just "having a lot of percussion"
How to make sure every section, especially low brass, has meaningful music to play
Why the best concert music also helps you teach specific concepts like syncopation, dotted quarter notes, and sixteenth notes
How to judge whether a piece matches your actual ensemble instead of the grade number on the cover
What to look for in beginning band music when publishers label everything "beginner"
Why chamber music, duets, trios, and rote teaching can accelerate growth more than relying on concert repertoire alone
The conversation also gets real about the practical stuff directors deal with all year long - small budgets, uneven instrumentation, changing class structures, busy student schedules, and the pressure to keep every child engaged. Randall makes a powerful case that repertoire is not just about programming a concert, it’s about curating the student experience and shaping what young musicians believe they can do.
If you’ve ever chosen a piece that was too hard, too easy, or just plain wrong for the group in front of you, this episode will feel like a masterclass in programming with intention. Essential listening for middle school directors, new teachers, and anyone who wants better concerts and better musicians.
Sponsors:
sightreadingfactory.com
https://geni.us/bettersaxclassicsax
Thebandblueprint.net
00:00 - Opening the discussion on middle school band repertoire
01:04 - Meet the guests and their teaching backgrounds
05:21 - Choosing music that keeps the director interested too
08:31 - Repertoire selection as curating the student experience
10:29 - The old days of buying music without hearing or seeing scores
12:27 - Dotted quarter notes, sectional coverage, and teachable moments
16:47 - Low percussion numbers and fitting the ensemble you have
18:38 - Section stereotypes and unexpected behavior in ensembles
22:42 - How different beginners can be from year to year
30:10 - Chamber music and etudes as part of repertoire growth
34:17 - Stories of pieces that were too hard at concert or festival
39:21 - Rachel’s own example of choosing festival music that was too advanced
43:39 - Playing through individual parts to test difficulty
49:22 - Mechanical Monsters and the concert D flat debate
57:50 - Choosing a harder piece that still became a meaningful memory
61:52 - Pushback against the idea that certain composers should be avoided
65:24 - Thinking about concert shape and emotional pacing
69:24 - Why visibility matters for students
#band #banddirector #bandroomtherapy #musiceducation

Arkansas bands run on a system that is tighter, more collaborative, and more demanding than most states - and this episode reveals exactly how it works. If you’ve ever wondered how a state can build strong marching, concert, jazz, and honor ensemble opportunities while keeping directors connected across huge rural distances, this conversation gives you the inside look.Host Mrs. Allen talks with Mr. Ashley and Kara Reynolds, two Arkansas band leaders who break down the state’s unique structure - from ASBOA and AAA to the Arkansas Small Band Association, Arkansas Marching Arts Association, and Arkansas Jazz Educators. They explain why geography shapes everything, how regions are drawn, and why some schools may drive hours just to audition or compete.You’ll discover:

• How Arkansas organizes nine regions and why those lines may need to be redrawn as schools grow
• The difference between region-level events and state-level events
• Why Arkansas uses in-person auditions with anonymous judging screens
• How classifications determine repertoire difficulty and why some schools must meet higher concert assessment standards
• What honor ensemble looks like in Arkansas, and why junior high and high school pathways work so differently

Mr. Ashley and Kara also open up about the culture behind the system - the expectation that directors serve each other, judge each other, mentor each other, and show up for students no matter how many weekends it takes. That spirit helps explain why Arkansas has such a strong pipeline of homegrown band directors, retired mentors, and lifelong advocates for music education.If you’re a band director, a music educator, or just curious how another state builds a rigorous but supportive band culture, this one is packed with practical insight. It is especially valuable if your own state is debating classifications, audition formats, regional structure, or how to keep students challenged without losing sight of the human side of the work.

Sponsors:

Sightreadingfactory.com

https://geni.us/bettersaxclassicsax

0:00 Introduction1:16 Arkansas Band Organizations5:02 Regions and State Geography7:09 Director Community and Professional Development10:18 Grade Levels and Event Eligibility14:46 The Arkansas Band Calendar19:00 Auditions: In Person, Blind, and Regional23:33 Travel Expectations for Events26:29 Qualifying for All-State29:49 Honor Ensembles and State Concert Contest35:19 Classifications, Standards, and Required Repertoire42:30 Jazz, Ensembles, and Music Lists46:20 Serving the State Band Community48:00 Band Director Retention in Arkansas51:14 Retirement and the Network of Former Directors54:34 Closing

#stateofband #bandroomtherapy #bandroom #Arkansas #Arkansasbands

Picking jazz rep is where great jazz bands are made - or quietly held back. The wrong chart can flatten your section, frustrate your rhythm players, and kill momentum fast. The right one can build confidence, teach style, and turn a mixed lineup into a band that swings.
On this panel, Mr. Ashley is joined by Kyle Smith, Keith Heim, and Trent Warner to break down how experienced directors choose repertoire that fits real school ensembles - not idealized ones. They get into the practical decisions that matter most when you open a chart at a convention, from brass range and trombone register to rhythm section demands, orchestration thickness, and whether a tune is actually playable with your current kids.
You'll discover how these directors handle nontraditional instrumentation, why blues is such a powerful teaching tool across every level, and how to balance swing, Latin, rock, ballads, and standards without losing your audience or your students. They also share how they think about improvisation, written solos, student suggestions, and the difference between a chart that looks easy and one that actually rehearses well.
Just as importantly, this episode makes the case for active listening, flexible programming, and building jazz culture in a way that includes more kids instead of narrowing the field. If you're a director who wants to choose better charts, stretch your ensemble without overwhelming it, and keep your program musically alive, this conversation is full of immediately useful ideas.
Perfect for jazz directors, band directors new to improvisation, and anyone trying to program a concert that is both educational and exciting to play.
00:00 - Why this is the first of a three-part jazz rep series
00:58 - Kyle Smith, Keith Hyme, and Trent Warner introduce their jazz programs
02:30 - How each director evaluates ensemble strengths and weaknesses
03:44 - Matching charts to the exact band you have
04:49 - Trent’s auditioned high school jazz setup and feeder program approach
06:16 - What to do when your instrumentation is unusual or unbalanced
07:27 - Keith on welcoming nontraditional players and building beginners into jazz
08:53 - Why bringing in everyone can create more doublers later
09:49 - Jazz as a way to make students well rounded and connected to American music history
11:53 - First things to check on a chart: trumpet range, trombone range, and rhythm parts
13:47 - Why guitar voicings, chord changes, and bass lines matter for beginner groups
15:57 - Choosing composers and keeping program history balanced
17:49 - Knowing when a chart is too easy or too hard for your students
19:23 - Why easier charts can still build style, confidence, and exposure
21:49 - Starting with simpler music and hearing students grow over a semester
22:42 - What a well rounded jazz concert should include
24:16 - Programming for your audience, not just for festival judging
26:23 - Matching chart choice to audience and occasion
28:21 - Why the blues is foundational to jazz style and history
32:15 - How much student input should shape repertoire choices
35:31 - How much improvisation should be in a concert program
37:57 - Directors asking for help with improv teaching
39:09 - How different directors handle written solos with their students
42:23 - When a written solo is essentially part of the chart’s tradition
44:52 - How to spread solos around without overloading the audience
48:18 - The teacher’s role in creating positive early improv experiences
50:16 - Balancing audience enjoyment with giving everyone solo opportunities
52:52 - Cutting tunes when the solo section makes the concert too long
55:41 - Stretching yourself as a teacher by learning unfamiliar jazz styles
57:52 - Starter chart recommendations for younger groups
66:53 - Closing encouragement for directors choosing jazz rep
SPONSORS:
Sight Reading Factory SightReadingFactory.com
#band #banddirector #bandroomtherapy #musiceducation

First-year band directors often feel like they're drowning in a sea of keys, schedules, and unspoken community rules—the chaos is real but manageable.

In this candid episode, experienced teachers share their rawest first-year stories, revealing how a little guidance, some humor, and a lot of humility can turn overwhelm into confidence. From navigating unexpected student behaviors to surviving the first school day with a crumpled warm-up plan, these veterans show you that you’re not alone—and that it’s okay to screw up sometimes.

You’ll discover:

How to set your expectations before day one, including essential procedures and community culture.

The truth about over-preparing—what actually helps and what wastes your time in those frantic first weeks.

The vital role mentors and community support play, plus practical tips for forging connections with colleagues, admin, and even the custodians.

The importance of building your personal "non-negotiables" and staying true to your authentic teaching style amid the chaos.

Why you should prioritize relationship-building over perfection, and how to recover when students challenge your authority.

This episode isn’t just about surviving your first job—it’s about setting the stage to thrive. Whether you’re just starting out, switching districts, or looking for reassurance that you’re doing okay, these stories will inspire you to embrace the mess and find joy in the journey.

Plus, learn from seasoned teachers about the small but mighty routines that can save your sanity—from creating simple student surveys to knowing who to call when chaos strikes. And if you're hesitant to reach out, you’ll be encouraged to ask for help, develop your community, and understand that you are enough in this wild world of music education.

Ready to turn first-day fears into first-year wins? Tune in, because every teacher needs a little bandroom therapy—and this episode offers the wisdom, humor, and solidarity to keep you going.

00:00 - Introduction: first memories and overwhelm as a new band director

02:19 - Overcoming initial overwhelm: handling syllabus, music selection, and administrative tasks

03:36 - Early thoughts on getting in and setting the tone for the year

04:39 - The chaos of keys, junk, and clutter in your first band room

06:04 - Personal stories about small-school teaching and the challenge of starting from scratch

07:10 - Over-preparing in your first year: what to focus on and what to let go

08:54 - Essential preparations before students walk in on day one—room setup, schedules, budgets

12:04 - How to balance concert content with procedural information

13:18 - The pitfalls of over-planning rehearsals and paperwork overload

15:01 - The importance of understanding community and student demographics

17:47 - Building confidence and being authentic as a teacher

19:31 - Reflecting on what you would do differently if you could redo your first days

21:11 - Finding your teaching style and personality in a challenging environment

23:47 - Key advice from mentors and valuing their support

28:00 - Essential first-day preparations: knowing concert dates and school procedures

31:33 - The significance of understanding your school’s policies and culture

36:08 - Setting your vibe, expectations, and establishing non-negotiables

38:02 - The importance of being a teacher first and maintaining professional boundaries

41:43 - Handling student behavior: authentic communication and fair boundaries

47:25 - An item you wish you had before day one—planning curricula or essential tools

55:11 - Building a support system: mentors, colleagues, and community connections

70:23 - Making the first impression memorable and genuine with students

77:52 - The value of returning to familiar institutions and maintaining connections

87:43 - Final advice for navigating change and building your professional community

#band #banddirector #bandroomtherapy #musiceducation

Arizona’s band community isn’t just about sunshine and deserts; it’s a vibrant, organized ecosystem packed with unique traditions, competitive circuits, and innovative ensembles that could inspire educators nationwide. Jackson Snyder and Nate Conell, two experienced band directors from Scottsdale and Phoenix, reveal how Arizona’s comprehensive structure and diverse competitions are shaping the future of high school music programs.In this candid conversation, you’ll discover how Arizona manages its statewide music governance through AMEA, Ebota, AZMBA, and new regional circuits, ensuring both unity and opportunities for even the most remote schools. Jackson and Nate break down how classifications are based strictly on size, not geography—a departure from many states' practices—and explain how performances are scored in both marching and concert contexts with a focus on numbers and ratings.You’ll learn about the extensive calendar of events—from the start of the school year in August, through fall competitions, to state finals in November—covering everything from marching band semifinals to Allstate, solo and ensemble, jazz, and even the emerging mariachi ensembles. Curious about audition processes? They detail how students prepare for Allstate ensembles, the specifics of scales, sight-reading, and repertoire selection, plus the innovative virtual components that are reshaping audition standards.For anyone passionate about excellence in high school music, this episode offers a blueprint of Arizona’s unique approach—highlighting community support, safety in hot climates, and a culture that celebrates diverse ensembles. Whether you’re in Arizona, looking to emulate their success, or simply interested in how states craft their musical identities, this conversation delivers actionable insights and inspiring stories.Tune in to explore how Arizona’s vibrant, inclusive, and fiercely competitive band landscape is helping students thrive and communities unite through music. Don’t miss this opportunity to learn from two passionate educators who truly love their state’s musical spirit.

Jackson Snyder is the director of Band and Orchestras at Desert Mountain High School, Scottsdale, known for his extensive experience and leadership in regional circuits. Nate Conell is the director of instrumental music at Arcadia High School, Phoenix, recognized for fostering innovative ensembles and community engagement.
0:00 Introduction1:39 Arizona’s music organizations2:50 Regional structure across the state4:04 How AMEA and ABODA support programs6:07 Eligibility and out-of-state competitions7:39 Marching band classifications9:18 Arizona’s annual band calendar15:55 Marching band competitions and championships18:32 Concert band festivals and ratings20:06 All-State Band auditions and process23:48 All-State Jazz, Orchestra, Choir, and Guitar27:12 Solo and Ensemble Festival29:36 What makes Arizona band special

#stateofband #bandroomtherapy #bandroom #Arizona #ArizonaBands