Why do we stick with the norm and teach inside the box?

Why do we continue to teach inside the box when there is so much creativity that is left out?

Brandt Schneider hits the nail on the head in his article, "Creating Musical Flexibility Through the Ensemble." It's true, in general, that a majority of band programs are a performance based focus. Call me out if you believe that I am wrong, but in my experience, most of the band classes I have sat in on or participated in were focused around a set list of pieces to be played at the next concert.

During our rehearsals, we would be expected to work on a particular section of a piece. Take Movement IV - Fantasia on the Dargason for example. It starts with an alto sax solo that is based off an old 16th Century dance tune that is light and playful. At the beginning of rehearsal, you play through the movement to see where everyone is at and what needs to be fixed. During the rehearsal, you work on the playfulness of the melody and how it should be a continuous and even flow from voice to voice as the melody is passed along. It's starting to sound better than it did at the beginning of rehearsal. At the end of rehearsal, you run through what you worked on once more to make sure the something out of the rehearsal was retained. Tomorrow, you rinse and repeat with a different section of music. Maybe where the 6/8 melody overlays Greensleeves. 

Is this fun and educational for our students? Well...it may be fun to an extent. But what if you are one of those lovely instruments (like the trombone) that doesn't get to play that fun little melody? Man can those rehearsals get boring. As far as education is concerned, let's just say that there is a lot to be desired.

Is this what is considered good musicianship? If we are strictly defining good musicianship on the ability to read the notes on the page and trading it between other voices, then maybe. Otherwise, I feel that there is quite a bit that is left to be desired.

What Brandt proposes in his article is quite interesting. What if I were to walk into the room and ask the trombones read the alto sax part and the flutes to read the trombone part? What if I asked to have the opening melody played on bass clarinet? How cool would it be if the bass clarinet player asked me what key I wanted them to play it in!? That, my friends, would be a much larger step towards what I believe musicianship to be.

As Mr. Schneider says, "If we don't, who will?"