<![CDATA[Mitchell Family Publishing - Blog]]>Wed, 19 Aug 2026 09:35:34 -0700Weebly<![CDATA[5 Notes, 1 Melody: A Simple Composition Activity for Beginning Band]]>Tue, 21 Jul 2026 15:10:21 GMThttps://www.mitchellfamilypublishing.com/blog/5-notes-1-melody-a-simple-composition-activity-for-beginning-band

One of the things I have always enjoyed about beginning band is helping students realize how much they have actually learned—and then showing them ways they can be creative with that knowledge.
As a composer and educator, I try to bring the creative side of music into my classroom whenever I can. Learning to write music and then perform it can be a valuable way for students to showcase what they have learned at any point in their musical journey. It also gives them another way to reinforce that knowledge.
One of my favorite ways to do this with beginning band students is to have them compose a simple melody using the notes and rhythms they already know.
Let me show you how I introduce this activity to my students and some ways you can adapt it for different levels of musicians.
Start with What They Already Know
In the beginning band setting, or with any early instrumentalist, the idea of writing music can seem like a huge and daunting task. But students often have much more knowledge to draw from than they realize, especially once they have learned a few notes on their instruments.
I like to introduce this composition activity after students have learned five notes and feel comfortable playing them. By this point, we have practiced drawing treble and/or bass clefs, learned rhythms including whole, half, quarter, and eighth notes, and spent time learning how to play those first few notes.
In other words, they already have almost everything they need to write a melody.
The challenge is helping them realize that.
Give Students Parameters
The first thing you have to do is get students past the anxiety of creating something new.
There will always be a few students who are ecstatic to write their own music. But the majority will probably feel some hesitation when they are first asked to create something from scratch.
The best way I have found to overcome that hesitation is to give students a specific set of parameters to follow.
For example:
  • Write in 4/4 time.
  • Write 4 measures of music.
  • Only use the 5 notes you know how to play.
  • Only use whole, half, and quarter notes.
  • You may only use one whole note.
  • You cannot repeat the same note more than twice in a row.
These limitations may seem restrictive, but that is actually part of what makes the activity work. Students aren't staring at a blank page wondering where to begin. Instead, they have a small set of musical choices to work with.
The goal isn't to limit their creativity. It is to make creativity feel manageable.
Help Students Get Started
Even with specific parameters, some students will still be hesitant to put that first note on the page. When that happens, I go around the room and help individual students get started.
Sometimes all they need is one small suggestion.
I might suggest that they:
  • End on a whole note.
  • End on the first note they learned to play.
  • Start on the first note they learned to play.
  • Start and end on the same note.
These suggestions take away some of the decision-making and give students fewer measures to figure out. Once they have a beginning or an ending, the rest of the melody often becomes much easier to write.
The important thing is to help them get past that first moment of uncertainty. Once they have made one creative choice, they are usually more willing to make another.
Write It First, Then Hear It
At some point, students will probably ask a question like:
"How am I supposed to know what it sounds like if I'm just writing it?"
That is the fun of the exercise!
They get to write something—and then hear what they wrote.
Explain to students that they will have a chance to play through their melodies after they have finished writing them. Depending on your classroom and available technology, there are several ways you can approach this.
You could:
  • Have the entire class play their melodies at the same time.
  • Have students perform their melodies individually for the class.
  • Have students enter their melodies into notation software and use the playback function.
  • Collect the melodies and play them on the piano.
  • Have students perform their melodies in small groups.
I have experimented with all of these approaches. I try really hard to have students do things without their computers whenever possible. They spend a lot of time on devices in other classes, and I think having time in the band room to put those devices away can be valuable.
I also really like having students play their own melodies. There is something powerful about hearing the music you created come to life through your own instrument.
One of my favorite questions to ask after they perform is:
"Does it sound like what you thought it would when you wrote it?"
If it doesn't, ask them why.
This opens the door to a conversation about how notation represents sound, how musical choices affect what we hear, and how composers learn by listening to the results of their decisions.
You can even give students an opportunity to revise their melodies. Maybe they didn't like something they wrote. Maybe it sounded different than they expected. Maybe they now have a better idea of what they want the music to do.
That is a wonderful opportunity to introduce the idea that composing is not always about getting everything right the first time. Sometimes we write, listen, and then make changes.
Give Students Time to Perform Their Music
Depending on how you structure the activity, this can easily take an entire 60-minute class period.
I have also split the activity over two days. On the first day, we talk about the parameters and spend time writing and rehearsing. Then, on the second day, we finish the melodies and spend time performing them.
I really like having students play their own melodies whenever possible. More often than not, it gives them a sense of pride in something they have created.
They also begin to realize just how much they have learned in the relatively short time they have been studying their instruments.
Students are often surprised by how well their melodies sound.
And think about what happens in a class of 30 students: you now have 30 original melodies written by your students.
That can be a powerful moment.
Every student has taken the same basic musical knowledge and used it to create something different.
Adapt the Activity for More Advanced Students
As students become more advanced musicians, I change the parameters to give them more freedom and more opportunities to make their own musical decisions.
You might try:
  • Writing a longer melody.
  • Allowing students to use more notes.
  • Introducing additional rhythmic choices.
  • Using different meters.
  • Adding a key signature.
  • Allowing students to choose their own starting and ending notes.
  • Asking students to write something that is easy or challenging for them to perform.
  • Having students write music in a specific style or mood.
As students become more comfortable with the process, you can gradually remove the restrictions and give them more control over their musical choices.
The goal is to move from "Here are the rules you need to follow" toward "Here are the musical choices you get to make."
A Gateway to Composition and Improvisation
I think activities like this can be a gateway not only to composition but also to improvisation.
One of the biggest challenges for young improvisers is learning to trust themselves. They have to become comfortable making creative decisions without knowing exactly what the result will be.
Writing a melody gives students a chance to practice that skill in a low-pressure environment.
They make a choice.
They hear the result.
They decide whether they like it.
Then they can make another choice.
That process builds confidence in being creative and trusting yourself to make good musical decisions. Those are skills that can serve students well when they begin improvising later.
Let Students Create
In the end, this activity is about more than teaching students how to write four measures of music.
It is about giving them the opportunity to engage with music in a way that is personal and creative—and different from simply playing or rehearsing music that someone else has written.
Our students spend countless hours learning to reproduce the music of other composers. That is an important part of music education, but it doesn't have to be the only way they experience music.
Sometimes, we should give them the chance to be the composer.
They may be surprised by what they discover they already know.
And you may be surprised by what they create.
Give this activity a try in your beginning band classroom or private lessons. Start with five notes, a few simple rhythms, and some clear parameters. Then step back and see what your students do with the musical knowledge they already have.
You might just find that giving students permission to create changes the way they understand—and approach—learning music.


    5 notes, 1 melody worksheet

]]><![CDATA[Free Printable Oversize Music Alphabet Flash Cards + 3 Fun Games for Music Students.]]>Tue, 30 Jun 2026 22:30:14 GMThttps://www.mitchellfamilypublishing.com/blog/free-printable-oversize-music-alphabet-flash-cards-3-fun-games-for-music-students
Picture
3 Fun Music Alphabet Games + Free Oversize Printable Flash Cards

​Starting new students is exciting! I love the joy and anticipation that come with beginning something new. That excitement is often palpable, especially during those first few lessons as students learn the basics. I enjoy building on that enthusiasm to help them overcome the overwhelm that can come with absorbing so much new information.

After I've taught my students proper posture and playing position, introduced a few basic rhythm values, and shown them how to follow written music, we're ready to learn the musical alphabet. Like many teachers, I begin by having students recite the English alphabet. At this stage, most can do it effortlessly! Then we say it again, this time stopping at the letter G. We talk about how the musical alphabet has only seven letters (A–G) before it repeats. Once they've been introduced to this concept, I like to reinforce it with a few fun games that help make the musical alphabet stick.

Here are three of my favorite games to use, followed by a free printable set of oversized music alphabet flash cards. I hope you and your students enjoy them!

1. Mystery Note Challenge
Private lessons: Fan the flash cards in your hands with the letter names facing down. Have the student choose a card at random and identify the corresponding note on the keyboard or their instrument as quickly as possible.

Group lessons: Have students take turns choosing a card while everyone identifies the note before moving on to the next flash card.

2. Note Dash
Private lessons: Have the student stand across the room from the keyboard or hold their instrument in playing position. Hold up a flash card and see how quickly they can race to play or point to the correct note.

Group lessons: Divide students into two or three teams. Have one player from each team stand across the room from the keyboard or hold their instrument in playing position. Hold up a flash card and see which player can find the correct note first. Award one point to the winning team. The first team to earn eight points wins!

3. Alphabet Scramble
Private lessons: Shuffle the flash cards and hand the stack to your student. The printable includes three complete sets of the musical alphabet, giving students plenty of practice remembering that the alphabet continues with A after G. Set a stopwatch and see how quickly they can arrange the cards in the correct order. Shuffle and repeat two or three times, encouraging them to beat their previous time.

Group lessons: Divide students into two or three teams. Give each team one complete set of flash cards (three musical alphabets). Have the teams race to see who can arrange the cards in the correct order first.

Learning the musical alphabet is one of the first building blocks of music literacy. By turning it into a game, students stay engaged while developing an important foundational skill.

I'd love to hear from you! What are your favorite games for teaching the musical alphabet? Share them in the comments below.

​Enjoy your free printable flash cards!
Picture

Printing Tips 
-Print on cardstock for sturdy flash cards.
-Designed for A4 paper.
​-Printing on US Letter? Select Fit to Page (or your printer's equivalent scaling option) for the best results.

    Oversize Music Alphabet Flash Cards Download

]]><![CDATA[High Five Fundementals]]>Tue, 16 Dec 2025 22:52:29 GMThttps://www.mitchellfamilypublishing.com/blog/high-five-fundementalsHaving taught middle and high school band for the past ten years, I have consistently emphasized the importance of learning and mastering scales as a foundation for strong musicianship. Like many directors, I relied primarily on one-octave scales and saw reasonable success in the most common keys—E♭, B♭, F, and G. However, once we moved beyond those familiar territories, progress often began to break down. Even though our repertoire rarely lives outside those keys, students still encounter less common tonalities often enough that gaps in understanding become clear.


Earlier this year, I was reminded of something from my undergraduate studies. My horn professor had given us a simple sheet of five-note major and minor scales, designed to reinforce tonal awareness without the technical and range demands of full-octave patterns. That memory sparked a question: would my students experience greater success if they focused first on the opening five notes of each major scale? Could that smaller, more accessible chunk lead to meaningful growth?
​
Picture

I searched for materials that fit what my ensemble truly needed, but nothing quite matched my vision—so I wrote one myself. We began by playing through all of the five-note scales in a single rehearsal, simply to assess strengths and weaknesses. Over the next few days, we focused on the scales that needed the most attention. After that, we worked through three scales per week for several weeks, building consistency and confidence.


To keep things engaging, I added an element of chance. I used a simple online spinner, assigned each scale a number, and had students play whichever scale was selected that day—sometimes just one, sometimes several. If the group struggled, we slowed down, isolated problem spots, or gave students time to practice independently before trying again as an ensemble. I also incorporated practice strategies from my own routine, such as altering rhythms, sustaining notes as long tones, or focusing on tone and air rather than speed.


Two clear results emerged. First, students’ scale fluency improved more quickly than it ever had with full-octave scales alone. Second, they learned their music faster. Fingerings became more secure, and passages that once caused hesitation were no longer roadblocks. Even at the high school level, where students had technically “learned” these fingerings years earlier, I noticed fewer stalls and much greater confidence.


I believe High Five Fundamentals is effective because it allows directors to spend more time on fundamentals without overwhelming students. The shorter patterns are more range-friendly and accessible, especially for developing players. As a young horn player myself, I remember how discouraging it could be to learn scales that began in an uncomfortable register or required large leaps—particularly when those ranges rarely appeared in the music we were playing. This approach removes that barrier.


By breaking major scales into manageable, success-oriented chunks, students gain confidence in keys they often label as “hard.” Instead of being intimidated by extra sharps or flats, they experience success early and often. From there, transitioning to full-octave scales feels like a natural next step rather than an insurmountable challenge.


I first implemented High Five Fundamentals with my high school band and later shared it with our middle school director. Both ensembles have seen noticeable improvement in scale proficiency, technique, and overall musical understanding.


My hope is that High Five Fundamentals can serve as a flexible warm-up and teaching tool for beginning, emerging, and even more experienced ensembles—any group that benefits from strong fundamentals presented in a clear, achievable way. I look forward to seeing the success it brings to your classroom as well.


Ready to try it with your band? You can download High Five Fundamentals by entering your email below. You’ll receive immediate access to the exercise, plus occasional updates, teaching ideas, and new resources designed to support band directors and developing ensembles.

    High Five Fundamentals Download

]]><![CDATA[Jumping into Christmas Music with My Students]]>Fri, 07 Nov 2025 22:10:34 GMThttps://www.mitchellfamilypublishing.com/blog/jumping-into-christmas-music-with-my-students
Picture

Jumping into Christmas Piano Music with My Students

Disclosure: As an Amazon Associate, I earn from qualifying purchases. This post contains affiliate links, which means I may receive a small commission if you purchase through my links — at no additional cost to you.

Christmas is fast approaching, and I’m so excited to be jumping into Christmas piano music with my students this week! In the Mitchell household, we believe in giving each holiday its time to shine — no Christmas decorating or celebrating until after Thanksgiving.

In music lessons, though, things work a little differently. I want my students to have plenty of time to make their way through their entire book of Christmas music. We want to savor every beautiful note, not rush through or leave any favorites behind. That’s why as soon as November rolls around, it’s time to break out the Christmas piano books!

Finding the Right Christmas Piano Book

When it comes to Christmas piano books, there are so many options out there. Over the years, I’ve tried several, but one set has become my absolute favorite — the Faber & Faber Piano Adventures Christmas series.

Since my students already use the Piano Adventures method books during lessons, their Christmas books align perfectly with the level they’re studying. There’s no need to push beyond their current range or skills. I want them to enjoy the Christmas music season, not feel overwhelmed by difficult music.

Why I Love the Faber Piano Adventures Christmas Books

One of my favorite things about the Faber Christmas series is the variety. Each book includes a beautiful mix of cultural, religious, and secular Christmas songs. It feels like everyone’s favorite holiday tune appears somewhere in the series — from “Silent Night” to “Jingle Bells” to “We Wish You a Merry Christmas.”

This variety also gives me the opportunity to talk with my students about the origins and traditions behind the music. We get to explore how people around the world celebrate the holiday season through song — and students love connecting these ideas to music they already know.

Perfectly Formatted for Young Pianists

Another big plus: the formatting. The Faber books are easy to read, with large print that’s perfect for early readers. The colorful illustrations are bright and inviting, keeping students engaged from the first page to the last.

As you may already know, I believe strongly that students should be able to play songs they know and love, even before they’re fully comfortable reading music on the staff. Piano Adventures provides just that — familiar Christmas tunes that make learning fun and meaningful.

Explore the Piano Adventures Christmas Series

My First Piano Adventure (Ages 5–6)

Piano Adventures Core Levels (Primer – Level 4)

For Teens & Adults

Each of these levels corresponds perfectly with the regular Piano Adventures curriculum, so students can enjoy their favorite Christmas songs without jumping ahead or backtracking in difficulty. Whether your student is just starting out in My First Piano Adventure or has advanced into the later books, there’s something festive for everyone.

Here’s to a joyful and music-filled Christmas season — may your lessons be merry and bright!

Affiliate Disclosure: As an Amazon Associate, I earn from qualifying purchases. Thank you for supporting my studio and helping me continue sharing music resources!

]]><![CDATA[Camping Under the Buck Moon: A Creative Reset for Musicians]]>Mon, 14 Jul 2025 21:08:13 GMThttps://www.mitchellfamilypublishing.com/blog/camping-under-the-buck-moon-a-creative-reset-for-musicians PictureThe Buck Moon rises over Bear Lake County.
By Mitchell Family Publishing
Last week, we took a much-needed break from the screen and the staff paper to spend a quiet evening outdoors, just as the Buck Moon rose over the hills.
There’s something humbling and restorative about stepping into a quiet natural space—no deadlines, no rehearsal schedules, just the rhythmic hush of the breeze, the chirp of insects, and the soft glow of moonlight over the landscape.
These moments do more than relax us—they refresh us creatively.
If you’ve been feeling stuck, stale, or overworked musically, here are a few simple, unplugged activities that help us reconnect and refocus:

🎶 Moonlight Journaling – jotting down musical ideas or thoughts in a small notebook without judgment
🎶 Field Listening – no instruments, just listening to the rhythms and textures of the world around you
🎶 Improvisation Outdoors – a travel keyboard or melodica under the stars opens up new sonic possibilities
🎶 Simple Silence – sometimes the best inspiration comes from doing absolutely nothing at all

We believe that rest is an essential part of the creative process—and nature offers the best kind of rest.
So next time you feel that creative block creeping in, maybe take your music outside. Even just an hour under the open sky can bring surprising new inspiration.


Happy composing,
– The Mitchell Family
🎼 www.mitchellfamilypublishing.com
]]><![CDATA[The Walk: A Mental Health Journey]]>Thu, 22 May 2025 17:34:20 GMThttps://www.mitchellfamilypublishing.com/blog/the-walk-a-mental-health-journey
Picture
Last year, the Suicide Awareness Walk was hosted by two of the young women I worked with in our church youth group. I love these two girls and wanted to support them — but I ended up being the one supported. I was at the kitchen counter making pancakes for breakfast when I remembered the walk. It was just starting, but I was determined not to miss it. I threw my hair in a high pony and tossed Mike the spatula. “I’ll be right back!” (Poor man knows I never mean that… lol.)
When I got there, the ceremony had already begun and everyone was gathered in a parking lot. It was the bead ceremony. I had never attended the Suicide Awareness Walk before, so I didn’t know what was going on. One of the girls explained what each color of beads represented and encouraged everyone to hold up their beads — or their hand — when she got to the color that applied to them.
Here are the colors and their meanings:
Picture
As she went through the list, people slowly began to raise their hands. Some lifted bead necklaces quietly. Others looked around and made eye contact, tears shining.

I had only thought of wanting to support these two sweet girls — not about sharing my own personal struggle. I was nervous, but I wanted to show the same strength and openness I could see in them. So when she said, “Green,” I raised my hand.
After the ceremony, it was time to walk. I stopped by the bead table. I wanted to support as best I could. Once again, I felt nervous choosing the beads that applied to me. The inner voice in my head said, “Green?! How could you claim to have a struggle? So many others are struggling much more than you. They have real reason to take green.”
That inner voice is something I am frequently bombarded with. On one hand, I feel it can be helpful sometimes. As musicians, we use our inner voice’s judgment to drive us to practice a difficult passage or woodshed a tricky run to perfection. On the other hand, when it cuts into our inner fibers, it can leave us feeling raw and ragged.
Through meditation, I’ve been learning when to tell my inner voice to sit down and be quiet. I took this as one of those times — and took the green beads.
As we started to walk, we were a community of people strung out for blocks. It was beautiful to see all the different people and the ties they have to struggles with suicide, walking together. A family I’m friends with was walking a ways in front of me. The wife slowed her pace to walk next to me. She gave me a side hug, and we continued walking together, sharing our struggles with one another.
The brave way in which she shared her struggles with me gave me the strength to share mine.
My struggle has taken two forms.
The first was a darkness I found myself stuck in after our second miscarriage. I grappled with feelings that the baby’s death was my fault — that I deserved to suffer for costing that soul the ability to live. The darkness felt deep, lonely, and hopeless. I felt like I was stuck in a cold, deep, dark hole that I could not pull myself out of.
After months of this, I realized I had to decide to leave that place. My path out of the darkness was choosing to accept Christ’s healing forgiveness and crawl toward His light. It didn’t fix everything overnight, but I was able to find happiness and peace again.
I realize the journey back to the light is different for everyone. I’m not suggesting that if those who are still in the blackness would just turn to Christ, He will immediately heal them. Many need other forms of healing, such as medication and counseling or therapy services. There are so many facets. But this is how I was able to find light again during that trial. At other times, I’ve used natural medications and some counseling to find the peace we all need.
The second form I struggle with is on a smaller, more regular basis. It comes from the voice that whispers, “You are not enough.” When that voice becomes loud enough, it can make me feel like everyone’s lives would be better if I walked out into the dark winter night and never returned.
While studying different forms of meditation for a class, I came upon a man who described fighting the same voice. He said it’s empowering to identify the voice as not coming from yourself. When it creeps into his thoughts, he recognizes it as not part of his identity — and lets it go, since it isn’t serving him.
That perspective has helped me. I’m learning to tell that voice to sit down and be quiet when its words no longer serve me.
As my friend and I shared with one another, the blocks went by quickly. Before I knew it, we had reached the end of the walk.
I found myself changed during those short blocks.
I am so grateful to those girls. They helped me open up about this difficult subject. Their bravery made me brave.
]]><![CDATA[Mental Health in Music: Breaking the Silence for Mental Health Awareness Month]]>Thu, 01 May 2025 03:45:02 GMThttps://www.mitchellfamilypublishing.com/blog/mental-health-in-music-breaking-the-silence-for-mental-health-awareness-month
Picture

Music is often described as the universal language—a lifeline, an emotional outlet, and a source of deep personal expression. But behind the curtain of concerts, recitals, and studio classes, there's a quieter, sometimes more painful reality that too many musicians face: the mental health challenges that come with the pursuit of perfection, performance anxiety, burnout, and isolation.

As both musicians and mental health advocates, this topic is close to our hearts. We've faced our own personal battles with mental illness—some visible, others tucked behind practiced smiles and “I’m fine.” That’s why we’re writing this during Mental Health Awareness Month: to raise our voices for those who may not yet feel ready to speak, and to remind students, educators, and professionals in music that they are not alone.

The Hidden Struggles of Musicians and Music Students

Mental health challenges are common in the music community, but they’re often overlooked or minimized. According to data compiled in resources like the James Madison University Department of Music’s Mental Health and Resilience Guide, musicians are at heightened risk for issues such as:

  • Anxiety and panic disorders
  • Depression and mood disorders
  • Performance anxiety
  • Burnout and chronic stress
  • Substance misuse

A perfectionist culture, long hours of solitary practice, high expectations, and inconsistent income for professionals can all contribute to declining mental health. For students, these pressures are compounded by academic stress and social isolation.

A recent article from the Mayo Clinic also highlights how early mental health issues can emerge in young people—making early recognition and intervention essential.

Picture
Michael playing his French Horn in college

Recognizing the Warning Signs

Whether you're a teacher, peer, or colleague, being able to identify warning signs of mental distress can make a life-changing difference. Look out for:

  • Noticeable changes in mood or personality
  • Withdrawal from social or musical activities
  • Lack of motivation, poor academic or performance engagement
  • Physical symptoms like fatigue, headaches, or changes in appetite/sleep
  • Increased irritability or emotional outbursts
  • Expressions of hopelessness or worthlessness

As educators and mentors, our job goes far beyond teaching music. We must also tune in to the human being behind the instrument.

Encouraging Help and Creating Safe Spaces

It's not always easy to talk about mental health—especially in environments where high achievement is expected. But creating space for open dialogue can break stigma and save lives.

Here are a few simple, compassionate ways to support a student or peer:

  • Ask open-ended, non-judgmental questions: “Hey, I’ve noticed you seem a bit off lately—want to talk?”
  • Reassure them: “You’re not alone in feeling this way. Lots of musicians struggle, and it’s okay to ask for help.”
  • Offer resources: Suggest counseling services, crisis lines, or online resources.
  • Model openness: Sharing your own experience can help others feel less alone.

Normalizing mental health conversations in music education is just as important as scales and technique. You can’t perform your best if you’re silently hurting.

A Personal Note from Us

We’ve lived through the late-night anxiety spirals before big auditions, the tears after tough rehearsals, and the pressure to be “perfect.” As educators we have seen our students struggle with this and have struggled with it ourselves to be the "perfect" educators.

If you're struggling, please don’t wait for it to get unbearable. Help is out there. Healing is possible. And most importantly, your worth is not defined by your performance.

Helpful Resources

Let’s Keep the Conversation Going

Let’s be brave enough to be honest—and kind enough to listen. In honor of Mental Health Awareness Month, let’s make music education a more compassionate, mentally healthy space for everyone.

Picture
Rachel playing her oboe in college
]]><![CDATA[Hop into Harmony: Fun Easter Music Games for Your Students]]>Fri, 28 Mar 2025 13:40:53 GMThttps://www.mitchellfamilypublishing.com/blog/hop-into-harmony-fun-easter-music-games-for-your-students
Picture
Spring is here, the weather is warming up, and our students are wanting to get outside. (So are we, if we're honest, right?!) It feels like we have to step up our teaching game a little this time of year to keep their focus on the music and not the siren song of sunshine pouring through the window. I love mixing in new games to help them keep moving forward in their lessons.

My favorite tool during Easter season is the plastic eggs from the dollar store. They're easy-to-find, cheap, fun, and versatile. Below are a couple games my students love. Easy prep and set-up are a must around here, so be sure to try these out on your students today! Free printable available at the bottom of the page to make it easy to put these games together. Plus, I added a blank sheet of cards to the printable so you can make your own if you'd like.

What are your favorite games using plastic eggs? Share them in the comments, so we can try them out!
Picture
Sample set-up of Musical Egg Basket
Musical Egg Basket
  • Plastic Eggs
  • Letter Names or Flashcards(printable HERE)
  • Basket
Close a letter name or flashcard in each plastic egg. If using flashcards, you may need to use the larger plastic eggs or print out flashcards you don't mind folding. Place the eggs in the basket. Have your student draw an egg out of the basket, identify the note or key, and play it. For extra fun, hide the eggs around the room ahead of time and have a quick egg hunt before starting the game.
Picture
Simple set-up of Egg-ceptional Rhythm Game
Picture
Advanced set-up of Egg-ceptional Rhythm Game
Egg-ceptional Rhythm
  • Plastic Eggs
  • Dry Erase Marker
  • Basket
Using the dry erase marker, draw a different rhythmic note value on the top half of each egg. Next, draw the corresponding number of beats on the bottom half of each egg. Values and beats can be adjusted for the student's level.
Drop the egg pieces in the basket and ask the student to match up the tops to the correct number of beats on the bottoms. After they understand the game, take the eggs apart, drop them back in the basket, and have them do it again for time.
Picture
Sample set-up of Correct Chord-egg Game
Correct Chord-egg
  • Plastic Eggs
  • Chord Value Cards(printable HERE)
  • Basket
This game has 2 options for review. Print out the Chord Value Cards by clicking on the link above or the image below.
Option 1- Cut out the Major and Minor Chord Cards and close one inside each plastic egg. Place the eggs in the basket. Have the student pull out an egg, identify the chord value inside, and play it. For extra fun, hide the eggs around the room ahead of time and have a quick egg hunt before starting the game.
Option 2- Cut out the Scale Chord Value Cards and close one inside each plastic egg. Place the eggs in a basket. Choose a scale you will be working in. Have the student pull an egg out of the basket, identify the chord inside within the scale chosen, and play it. After going through the eggs once, return the cards to the eggs and play again for time.
PictureLetter name and Chord Printable
]]><![CDATA[Top 5 Oboe Resources Every Music Teacher Should Use + Free Printable]]>Fri, 31 Jan 2025 20:37:04 GMThttps://www.mitchellfamilypublishing.com/blog/top-5-oboe-resources-every-music-teacher-should-know-free-printable
Picture
Oboists are their own breed of student. They're typically driven and focused with an eye for details. We love their virtues and it's a good thing because they can be odd ducks, no pun intended! Our ensembles need the gorgeous sound their instrument produces when played well. How do we help them hone their skills, so they can be an asset to our ensemble? Below are 5 resources I suggest and use to help my oboe students on a regular basis.
Private Teacher
Oboe students need someone who speaks their language. Someone who knows when to commiserate over a terrible reed and when to kick them in the pants and get them to USE MORE FOCUSED AIR! That someone needs to have more experience on the oboe than a 6 week course in the undergrad can give.

As a private oboe teacher I understand that we're a little bit like unicorns, elusive, yet magical when found. There are a couple options to help the search and assist students who are in more rural areas. Start at the nearest University. Shoot an email to the oboe professor and ask for some recommendations. They typically have a feel for who is in the area or which university students are ready to take on their own studio. If the nearest University is too far, then feel out your current area. Ask other directors in neighboring towns if they have any connections. Even if the student can only afford to travel and meet with their teacher once or twice a month it's more instruction and direction then they would have otherwise.
Honor Ensembles
Be sure to take advantage of any opportunity you have to help them come in contact with other oboists. We're a rare breed and in many cases tend to be on our own in our ensemble. I grew up in a rural area. Until my senior year I was not only the sole oboist in my band, but also my school, my district, and the neighboring districts, as well. My first contact with other oboists was when my director took us to an honor band at our nearest university, about 1.5 hours away. I was so floored that other oboists existed. It was a Jasmine moment...
I was able to spend the weekend "talking shop" with the other oboists. We shared places we had found to buy reeds, favorite fingerings for different notes, and bragged about how much we practiced. It was a great way to encourage a deeper love for honing our skills.
Youtube
In today's digital world, our students have a whole universe of video resources at their fingertips for free. In seconds they can access recordings, lessons, and masters of their instrument. Sorting through the less desirable uploads can be daunting at times. I've included a list of Youtube channels that I find upload quality content on the free printable at the end of the page.

When it comes to using Youtube to access recordings of solos and other pieces, I always encourage my students to use a critical ear. Does the performance sound polished? Did they use proper dynamics and intonation? If they find a lack-luster performance, we use it as a teaching tool. What could the performer have done better? What exercises in their practice could hone those skills? 
ASU Oboe Resource Page
Martin Schuring is a great resource when it comes to the oboe. His recordings are fantastic and he has done a great deal in supporting the oboe community during his career. The resource page he has built on Arizona State University's website is a great place to send your students with questions. He has articles on a variety of topics to support the emerging oboist. I've included it on the free printable at the end of this page. You can also access his page HERE.
IDRS or International Double Reed Society
As per their website, they are "a worldwide nonprofit organization made up of professional double reed players, students, amateurs, hobbyists, university/college instructors, music teachers, institutions, instrument manufacturers, double reed product retailers, reed makers, and enthusiasts."

Their website hosts a wealth of knowledge on all things double reed. Resources to answer fingering and playing questions, lists of competitions, a marketplace to purchase instruments, and up-to-date information on the IDRS Conference. A five day event held at a new location each year specifically geared toward double reed players. I had the opportunity to go while I was in college. My sister, a bassoonist, came with me and for those five days, we were in double reed heaven!
Picture
Pics or it didn't happen, right?! Thank you early 2000s camera for the incredible exposure, lol. This was before the days when you carried a great camera in your pocket. 
Conclusion
Now that you've found a couple helpful nuggets in this list, be sure to download this printable and use it as a resource for your oboe students. Thank you for supporting your oboe students and helping them develop their skills! I'm always happy to answer any oboe questions you might have, feel free to shoot me an email!

Download the Printable HERE or click on the image below.
Picture
]]><![CDATA[2024 Midwest Clinic]]>Sat, 28 Dec 2024 20:53:59 GMThttps://www.mitchellfamilypublishing.com/blog/2024-midwest-clinic
Picture
Picture
This year I was blessed with the opportunity to attend the Midwest Clinic. This is the second time I have been able to attend and it is such a wonderful experience! I was able to attend sessions on new music and small schools. I learned a lot from educators around the United States about how to run my program better and how to provide opportunities to my students to enrich their musical education and experiences. I was also able to reconnect with some wonderful people and meet some new composers and educators. Getting to see my composer collective friends and help them sell some music and make connections was definitely one of the highlights of this trip. Shoutout to all my CodaChrome Collective friends and the help they give me in becoming a better composer. 

One thing I really enjoyed about this trip was how I got to and from the conference. I got to ride a train. Something that I have dreamed about for a long time is taking a cross country trip by train. This may seem silly since the time it takes to travel is so much longer than flying, but I have to say it was quite enjoyable! The stress of packing and getting on the train was so minimal. The ability to sit back and enjoy the countryside and see sights I might never have seen in any other way was so relaxing. Being able to sit back in my seat and let the engineers and conductors direct our train to our destination was so peaceful. When I got to the conference, I was not nearly as stressed as I have been when I get off a plane that is stuffed full, emerging into an airport that is also jam packed and then trying to make it to my hotel. Instead I got off the train, grabbed my bags and walked into the grand vista that is the Chicago Union Station. It was all decorated for Christmas and Hanukkah. The tree that filled the center of the station was decorated with all the different railways that have, or currently, run through that station. I was able to walk through the station and catch an Uber. Despite there being some heavy construction going on in and outside the station, it was relatively painless.

Once I got to my hotel, it was only a matter of walking to the conference center at McCormick Place. One thing I love about this conference is that even though it is a large international conference there are three hotels directly connected to the convention center by sky bridges. If you have ever been to Chicago in December, you know it can be cold and snowy! You almost never have to go outside, which is super nice. I could enjoy the vistas of Chicago without having to endure the cold too much.  
One of the benefits of this conference is the networking I get to do. I was able to meet many new people and see some familiar friends. It really helps me feel connected in a world where I am isolated from a lot of my colleagues. Even in the digital age it is nice to get together and discuss things in person, grab a bite to eat together, and talk about our personal lives in addition to the usual business. It helps me solidify those friendships and rejuvenate in a time of year when music education can get a little difficult.

Speaking of rejuvenation, I have had a hard time being creative lately, especially in the realm of composition. I finished two pieces this year, but it was a stretch for me. I haven't felt like myself and have struggled with depression that has been worse than I've ever experienced before. The bouts of depression have continued to worsen these last few years and I've finally garnered up the courage to do something about it. I had been worried that I wouldn't ever be able to compose like I used to, and making these changes and attending Midwest has helped me turn over a new leaf. I was able to get a good start on a new piece that I'm really excited about. I can't recall the last time I felt excited to be writing something, but when I was on the train and traveling back through Illinois and Iowa, the ideas just started flowing and I came up with three movements worth of musical ideas and concepts in a matter of minutes. It was exhilarating! I haven't felt such clarity of thought and passion for my music in so long I had forgotten what it felt like. The rejuvenating effects of hanging out with colleagues and learning together are so valuable. If you ever get a chance to attend a conference, I highly recommend you go!

As things return to normal home life, I'm looking forward to the new year and teaching my students, as well as writing new music. I hope the holidays have treated you wonderfully and that you find happiness, joy, and peace this season! Here's to new music and new adventures!
Picture
Look at the new scarf! Won't Rachel be surprised!
]]>