In Part 1 of this post, I talked about how to maximize the positive effects of having a visiting artist give a clinic or master class at your school. I’d like to discuss some other thoughts I’ve had on this subject over the years that I’ve been an educator and clinician.
3. Start on time. If at all possible, prepare the room where the clinic will take place ahead of time. If the artist has to stand around for 30 minutes while the previous class clears out, chairs are being moved, and amps are plugged in then you are wasting the artist’s time and your money.
In some circumstances it may not be possible to set up in advance of the class time – if, for example, there’s another class in the room immediately before. However, there’s no reason the artist should have to be around for that. This is not a matter of the clinician being a prima donna, but more of a practical matter. Usually visiting artists are on a tight and often grueling travel schedule. They may be performing in a local club until 2am, and then getting up bright and early to be at your school (hopefully) on time. Respect the artist’s scheduling and sleeping needs by being realistic about what time the clinic will really start. An artist who is well-rested and feels that her time is being respected will be a better clinician, and more willing to stick around after the “official” clinic has ended to answer questions.
4. Live music is the best teacher. My final suggestion for clinics may seem self-serving: If the artist is performing in your town, whether at a concert in your school or at a local venue such as a jazz club, encourage your students to go to the performance. There’s no substitute for hearing live jazz, and seeing the artist put his words into practice is an invaluable learning experience for your students that simply cannot be duplicated in the classroom.
As in Part 1 of this article, comments, especially from clinicians and band directors, are welcome.