A couple years ago, I wrote a post about joining a local community band. After taking 35 years off of playing the trumpet, I decided to dust it off and join a band. At the time, I wrote about being terrified for the first practice. I literally had nightmares about being shunned from the group. Of course, that didn’t happen. I was welcomed by the group and have enjoyed being part of a band again.
Now it’s two years later and I’m still plugging away. I do my best to practice regularly and have even taken some lessons to work on my playing. I’d like to say that my playing has vastly improved, but learning (and relearning) things after three decades away hasn’t been easy. But the nightmares have (mostly) subsided.
Our community band is only active for about eight months of the year. To prepare for summer concerts, we start practicing in mid-April and meet weekly through the end of August. We take a few months off and then convene again in mid-October to start preparing for Christmas concerts. The band convened a few weeks ago to start preparing for this summer and we’re working through a host of new music. I’ve never been very good at sight reading. It usually takes me a few takes (or more) to get the hang of a song so these first few practices are always the most challenging for me. If you’ve never played a musical instrument, the best way I can describe the feeling of sight-reading new music is that it’s sort of like being on a fast-moving bus in a foreign country. I’m barely holding on and I don’t always what stop we’ve reached. I could ask someone nearby but I don’t want to feel foolish for not knowing the language. Thankfully, the feelings of sheer terror start to quell after a few practices.
I’ve been thinking a lot about last week’s practice. We’re working through the movements of Gustav Holst’s Second Suite in F. It’s a challenging piece, and we’ve been spending a few weeks working on it. In the first few practices, we focused on the first and second movements and we’re starting to get the hang of it. This past week, we started working on the third movement which has some tricky notation and timing. It’s also an upbeat movement, which adds another degree of difficulty to the music. Our first time through the movement was a mess. Returning to the bus metaphor, it’s like the members of the band were on different buses in different countries and we were all moving at different speeds. Midway through our first effort, the director stopped the band and chuckled. He suggested we try it again from the top.
And this is the part that I’ve been thinking about. Our second try was better, but not by much. We made it a little further in the song, but it was obvious that we weren’t all on the same bus yet. During our third try, we got a little more coordinated. By our fifth or sixth effort, it sounded cohesive. We were playing together and the music was starting to sound the way it was supposed to sound. I was really impressed.
Certainly, we still have a lot of work to do, but our development so far has been dramatic. And that’s the part that I’ve been reflecting on. As a teacher educator, I spend a lot of time talking with my students about different learning theories. I’m a big believer in social constructivism, which views learning as a process that occurs through social interaction and through the help of others. One key element of social constructivism is the zone of proximal development (ZPD). ZPD can be defined as the space between what a learner can do without assistance and what a learner can do with guidance or in collaboration with more capable peers. While I teach my students about ZPD and we talk about the power of learning in groups, it’s another thing to experience it firsthand.