Interview Questions

Question 1

Tell us about yourself. How did we get to today, any background you feel relative to this position, etc. Why do you want to specifically teach middle school?

Answer 1

Nebraska
Des Moines
South Dakota
Back to Urbandale
DMPS second time
JCSD model aligns

Question 2

Being a band director encompasses much more than teaching. In addition to being an outstanding teacher, what skills should a successful band director possess?

Answer 2

1. Communication (with students, with administration/colleagues, with parents, with community)
2. Role-Model (work ethic, hold high standards for self, person of character)
3. Organizational Skills (administrative tasks)
4. Develop and foster positive relationships with students.

Question 3

What have you learned from students?

Answer 3

The most important thing we do as teachers is to develop positive relationships with our students. They need to feel seen, heard and valued. That is more important than our content or curriculum.

Question 4

As a band director, what would you expect of your administrators?

Answer 4

1. Have a goal, and the ability to bring the faculty together to reach that goal.
2. Be visible at events, concerts, and during the school day.
3. Have a sense of humor, and be able to work well with a diverse group of people.
4. Communicate well with students, parents, and teachers.

Question 5

Change is difficult for some people. Having a new band director can seem like a big change to some students. How would you facilitate a smooth transition into your tenure in the department?

Answer 5

1. Students need consistency.
2. Particularly when somebody new steps in.
3. No major changes for next year.
4. Any changes would be gradual, and researched, informed changes.

Question 6

What literature would you foresee programming with the concert band at this school? What literature would you hope to program 5 years from now?

Answer 6

1. Difficult to predict literature with this ensemble, not knowing instrumentation or ability level.
2. Important for students to be introduced to and understand music of varying styles, cultures, genres, and purposes; I would program music accordingly.

Question 7

What have you learned from parents?

Answer 7

1. Parents will help a music program tremendoously, if asked!
2. They are an invaluable resource for the booster organization, as well as concerts, events, trips, etc.

Question 8

Do you foresee the use of technology in your classroom? If so, in what ways would you use it?

Answer 8

For me: Finale
1. compose and arrange pieces
2. modify parts to suit ensemble

For students: Smartmusic
1. as a lesson reinforcer
2. as a vehicle for auditions/playing tests

Sight Reading Factory

Rhythm Randomizer

iPad for scores

MyMusicOffice for all organizational/communication tasks.

Question 9

Why is fine arts education important for students?

What would you hope your students take from your class that will benefit them in their future, regardless of their career choice?

Answer 9

1. Understand more about mechanics of music, theory, history, etc.
2. Enjoy music (listening to, performing - at whatever level).
3. Sense of teamwork (working together toward a common goal, being a part of something larger than yourself).
4. Consumers of music and advocates of music education.

Question 10

What is your approach on classroom management?

Answer 10

3-tiered approach (1st 2 are preventative/proactive)

1. Being 100% prepared for every rehearsal.
2. Pace rehearsals so issues are less likely.
3. Simple look & gesture -> more severe. All taken care of in-house. Treat it like a police officer - “Still like you, but you got caught.”

Question 11

What have you learned from the other teachers in your building?

Answer 11

1. Every teacher has their own unique teaching style.
2. Establishing a mutual respect between myself and the students has worked well for me.

Question 12

What are some obstacles that could impede student learning and how might a successful teacher work around those obstacles?

Are there any obstacles that would completely prevent your program from flourishing? (NO!)

Answer 12

Two kinds of obstacles:

1. School-based (Scheduling, Budget, Rehearsal space, etc.)
2. Home-based (Lack of nutrition, poor home life, etc.)

“Show up, shut up, and teach!”

Question 13

What have you learned from administrators?

Answer 13

The most important part of an administrator’s job is the part that no one sees.

1. Organizing
2. Paperwork
3. Meetings

Question 14

A unique quality of instrumental music is the fact that students generally have the same teacher all four years. What are some of the pros and cons of this fact?

Answer 14

No cons - only pros

1. Build history, rapport, sense of family.
2. Really know strengths/weaknesses of bands.
3. Students take ownership in the program.
4. Set long-term goals for students.
5. Allows for proactive selection of music.

Question 15

How would you like the instrumental music program to be viewed by other instrumental music programs in the state/area?

Answer 15

1. Capable
2. Well-rounded
3. Approachable (Not on a pedistal)

May need to adapt for MS

Question 16

How can a band director help students of differing ability levels feel equally contributory to the program?

Answer 16

1. Know your ensemble - strengths, weaknesses, etc.
2. (Proactive) Choose music which works well for the ensemble.
3. Adapt parts to address weak sections or to highlight strong sections.

EX. Joey Dowding - cymbals - special needs - left hand belonged to him.

Question 17

What does a typical band rehearsal look like? Our class periods at are 43 minutes. How would you portion that time?

Answer 17

Routines. Every rehearsal begins with routines. Students know what to do as they enter the band room, because we have talked about it, demonstrated it, practiced it, and revisited it as needed.

Rehearsals begin with warmups. I have a standard set of warmups that have worked well with my younger bands, as they work on necessary fundamentals and give the students something familiar to start their rehearsal.

Included in warmups are sightreading via either SRF, Rhythm Randomizer or both.

Next would be one or more sections of the study guide I’ve created for the opening selection for the day. That study guide would introduce or remind the students of the key signature they’re in, and refamiliarize them with any melodic or rhythmic materials that I anticipate them struggling with.

We then would move into concert repertoire. I try to take a macro-micro-macro approach whenever possible. Explain.

I always try to close rehearsals with a summary of what we accomplished, how we did, and what we need to work on for next time.

Question 18

How do you assess student learning in band?

Answer 18

Assessment in lessons: progress and skill acquisition. Have used practice records, have taken a performance assessment approach.

Assessment in ensemble: largely effort, participation, focus. Reflections.

Question 19

What techniques would you use to recruit and retain middle school band students?

Answer 19

It is our job as 6th grade band directors to make ourselves seen and known to the 5th grade band students. Given a lack of information, many students will create the worst case scenario about middle school band. It’s too difficult, boring, the director is scary, etc.

Harrisburg - MS Jazz Tour
Elementary/community
Fun, recognizable music
Got the 5th graders excited
Great community outreach & exposure to our program

Retention - Students feeling capable, having a sense of belonging, and having a great director.

Question 20

What is the role of a middle school band program as it relates to the entire k-12 instrumental music program?

Answer 20

Primary job:

Get 6th grade band students excited about what they’re doing.

Teach them skills logically and sequentially so they can make the transition to 7th grade band smoothly. Get them excited for that - 7th grade band has more sophisticated music. More opportunities, etc.

Hook in 5th grade band students so that they can’t wait for 6th grade band.

Work with other band directors in the process. One cog in a machine. Must work with other cogs or the machine doesn’t work.

One cog in a machine.
Must work with other

Question 21

Our school places great emphasis on personalization of learning. How do you plan on incorporating that into the instrumental music curriculum?

Answer 21

At Harrisburg, I saw each student in ensemble every other day, and once a week in an individual lesson.

Tailor instruction toward each student’s strengths and struggles. Push them as they need. Make connections.

Question 22

What means will you use to communicate with parents about their child, both positively and negatively? Please share some examples.

Answer 22

Gradebook can be. Email can be. Website is an easy way, as long as they know to look.

Harrisburg - Paw-sitive Notes was a big one. Drive home phone calls. Good first contact before you have to make a not-so-positive one.

Question 23

What means will you use to communicate with students?

Answer 23

Several - as many places as you can. Most immediate - announcements spot on rehearsal plans powerpoint. Encourage students to look as they warmup individually.

Developed a website - storehouse of information for students and parents. Calendar, handbook, expectations, rehearsal plans, example videos, anything else.

Paw-sitive Notes at Harrisburg - postcards mailed home once a week. Something positive. Made a HUGE difference with some of the kids.

Question 24

How do you ensure that students know what is expected of them in your classroom?

Answer 24

Communicate it a lot, especially at the beginning of the year. Revisit it whenever necessary. Communicate it to parents via email, website, newsletter, remind.

Question 25

During a class period you have a student who is being a distraction to the class. This is not the first time this has occurred. You can also see his/her peers are getting frustrated by the behavior. How would you deal with this in band?

Answer 25

Ideally, this would have been handled more proactively with clear policies and procedures. With a situation like this, I would try to keep the student engaged and participating if possible. That might start with a redirection, an alternate rehearsal spot, or an escalated option. I prefer to deal with issues like this in the classroom whenever possible.