Modern Day Troubadours

Developing a Homeschool Music Program

Our Story:

The Valley Troubadours

Sitting on the couch and looking out of our big picture window in the living room, I watched the school bus pass our house and continue down the block. “Here we go,” I thought, as we began our first year of homeschooling. Were we making a mistake? Would our daughter miss out on all of the experiences kindergarteners should have? I don’t have any Play-Doh. Should I flag that bus down?!

Common emotions for a homeschool mom. My emotions that day were pulling double-duty, though. You see, this was the first time in over 25 years where I wasn’t going to school in one way or another. Aside from my own education in the public schools (an education that while not ideal, afforded me many opportunities), I continued on to college to pursue a career as a band and choir director.

In my 8 years of teaching at public and private schools, I can say that I truly enjoyed working with students. In my new career change to home-educator, I had reluctantly resigned my baton. I was entering into a new season in my life.

Our family’s reasons for choosing to homeschool back in 2004 I’m certain mirrored the reasons of many others who did so at the time. The school district in our area had many challenges, private schools were too expensive, and we found a community of other families who could walk alongside us as we sought curriculum and direction. We planned to take things year by year. And so we did.

When a Job Finds You

In our third year of homeschooling, we moved to Black Mountain, NC due to my husband’s job change. In exploring our new town, I came upon the local homeschool co-op and talked with the parent in charge.

This co-op was typical in many ways. The parents of the homeschooling community had taken inventory and found the specialties of certain moms and dads who would then offer classes. The group had an astronomy class, Latin, a “Mathletes” team, and a geography class, all meeting on Fridays during the year. With a heavy heart, she also informed me that they used to have a homeschool choir of 30 students (K-12). They had hired a local musician as a choir director, but he had just informed them that he could no longer direct for health reasons. So, here came the question (delivered with a chuckle):

“You don’t happen to teach music, do you?”

And with that, I picked up my dusty baton.

Necessity, the Mother of Invention

In the next few years, I had split the choir in two, and our numbers jumped to about 60 kids. We met once a week on Fridays for an hour apiece, and enjoyed sharing what we learned in two concerts a year. It had a nice, small town, homespun kind of feel, but it was a wonderful community for my kids - and I could teach music. Win-win!

When our oldest was 10, she fell in love with the music of John Williams. She really wanted to play French horn, but we were a good 45 minutes away from a private lesson teacher, and homeschool students could not step into our local schools to take a class like band. My main concentration in music education was band, so I wondered if there were others in our choir who might be interested in learning an instrument along with us. The answer was a resounding, “Yes!”

That next semester, we started our first Beginning Band with 21 new students (including a mom that had always wanted to play oboe - go figure!). We had many younger siblings who were disappointed that my age limit was 10, so I started a tin whistle class to meet the demand. This was no longer just a co-op class offering. We were now a homeschool music program. These kids traveled each Friday from a variety of towns within a 45 minute radius to take music classes. And thus began my merry band of modern-day Troubadours.

Building & Growing

In 2013, we moved halfway across the country to a new town in the Fox Valley area of Appleton, Wisconsin. Due to the classes and schedules of typical homeschoolers, a Troubadours program was readily embraced. An instant community for our family, I could continue with music as a part of my children’s education as well as my profession. I was excited and a bit surprised by the way the newly minted Valley Troubadours filled a much-needed gap in homeschooling. Apparently, this program was a need in many communities, evidenced by the interest. And so, the numbers and the opportunities grew.

The Waves of Educational Change

In the early 2000s, homeschooling communities, resources, curricula, and services began to proliferate. Many, however, were still on the fence. The two biggest barriers for most families in choosing to homeschool were:

1) Finding and connecting with other families in their area, and

2) Overcoming negative stereotypes from friends and family.

Socialization was often the first concern for all involved, and one that persists even today for those outside of a homeschool model. Much could be (and has been) said about this subject, but the crux of the matter for our purposes is this: A homeschool music program is a beautiful answer to both of the barriers homeschool families face. Each week, families connect with one another while offering a positive endeavor to foster social experiences for the students we serve. Many parents over the years have commented on how our concerts provide an ambassadorship to family members who were reluctant or even negative towards this type of educational choice.

Covid

Covid-related school shutdowns threw homeschooling, and education in general, into the conspicuous foreground. Creative approaches and innovations clashed with crisis and disruption. All of the disparities, isolation, and abuses that took place held court with our quiet homeschooling world. Many believed that the “crisis-schooling” our country experienced was a glimpse into homeschooling. Definitions were blurred, and homeschooling stereotypes retrenched. But…it wasn’t all bad.

Many also reached out to veteran homeschoolers for help in navigating the change. Those that did found that education could take place in ways unfamiliar to the experiences of most. Some kids actually flourished at home. Some families liked the lifestyle, the curriculum choices, the philosophy, and the time spent with their children. They stayed. Homeschooling saw a new wave, a tidal wave, and programs like ours had waitlists. This “new” option had merit.

It is important to convey that while school choice can raise strong and strident opinions from the proponents of each (public, private, distance-learning, and homeschool), my position is that every option has validity. Our multi-faceted educational system needs solid options for our kids. We must have strong public schools, excellent private schools, rich and diverse online learning options…and a community ready to embrace the challenges and benefits of home-centered education with aplomb.

As music educators, we can be instrumental in the success of a community already committed to educational priorities. Come see why my Troubadours have become my extended family, and why we’re needed now more than ever.

Troubadours Tales #1:

A Covid Story

Covid. We all have our battle scars of frustration, struggle, and loss. I have also heard stories of growth and success, and I rejoice with all educators who persevered through unimaginable circumstances. The Valley Troubadours experienced much of the same: Zoom lessons, a virtual concert, social distancing…I feel the weight of those months even typing the words, so I’ll just move right on to how our homeschool students weathered the storm with me. Our singular circumstances as homeschoolers afforded us singular opportunities. We had freedoms and flexibilities that made all the difference in the 2020-2021 school year, and it blew me away…

After the school year officially ended in May 2020, with no concert and no closure, my wheels wouldn’t stop turning. Was there any way to still get the kids together to safely play and sing? Outdoors? Was outdoors safe? I had heard of programs in warmer areas rehearsing on the track or out in the parking lot, so why not? Let’s have an adventure.

My home in Wisconsin had some distinct advantages. We live on 5 mowed acres surrounded by about 25 acres of corn fields stretching out in all directions. Our exposed basement had a nice, flat concrete patio and a sloped grassy area for a bit of stadium-like seating. With a bit of elbow grease and a ton of faith in the weather forecast, my husband and I re-created a band and choir room in our backyard.

We moved percussion equipment, chairs, keyboards, and music stands and set everything up so kids could have plenty of room to spread out. Choir members brought beach towels and lawn chairs, and band students brought clothespins to keep music from flying away into the corn. That summer, Tuesdays were choir days, and Thursdays were band days. We finished rehearsing the concert music we had started way back in January, and it was glorious to see and hear everyone again!

At the end of July, one of our families offered the hill leading up to their big red barn as our concert stage. Parents and friends came to hear our distanced outdoor concerts and celebrated being together and feeling somewhat human again. The kids put their heart into every note.

We started back up in late August to make the most of the weather and I handed out new music, started new kids in Beginning Band, and moved ahead in our very unusual outdoor amphitheater. We rehearsed each week until our fingers were too cold to play to give my husband and me time to add fresh air-exchangers and filters to our music building. We also added a Livestream option for whenever a family member had Covid and students needed to stay at home. I had several families with spotty internet connection, and I heard of some who drove to the local McDonalds parking lot to use the Wi-Fi for their music lessons that day. Humbling. Motivating.

They persevered, so I did too.

We had the obligatory virtual concert that December, yet the kids played on. What to do for second semester during a Midwest winter? We were able to delay the start of our semester by a month to the beginning of February and push performances into mid-June to maximize precious outdoor time. We planned all outdoor-friendly concerts that utilized our plans for my backyard: Musicals & Marching Band!

Our entire community dove in to transform the back of my house into a stage and theater, complete with rigging for backdrops, an outdoor sound system with speakers, mics, mixing board, sound booth, a stage, lighting, dressing rooms, and marked seating areas for the audience. We took a relatively flat area of my backyard to stripe a football field in the grass and purchased a whole battalion of marching percussion. It took an army of parents to pull this off - and it was spectacular!

We performed the musicals “Bugz!,” “Oliver Twist,” and “The Sound of Music” in the span of two weeks. In the following week, we performed our very first marching field show. None of this would have happened without the freedom and flexibility of my homeschool community. They joined me on an incredible ride, and the kids had continuity. We kept much of our enrollment, and by the following fall (when we could return to some semblance of “normal”), enrollment spiked.

We had weathered the storm because out-of-the-box thinking synced well with out-of-the-box families. I’ve never worked harder or been so rewarded in my music career. It’s a time I will never forget.

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Why Do We Need Homeschool Music Programs?

As the director of the Valley Troubadours Homeschool Band & Choir Program in Appleton, WI, I’d like to make a case to you, dear music educator:

Major Premise: Homeschooling is booming

Minor Premise: It is difficult for families to provide music education in a home-centered model.

Conclusion: Quality homeschool music programs are needed and desired across our country.

We have an opportunity in front of us to create programs that serve a population in our communities committed to investing in education.

The Students: Home-Centered Education Defined

“Homeschooling,” especially during and after Covid, is often used as an umbrella term referring to those who educate their students at home. For our purposes, this idea may suffice, but entering into and analyzing the world of homeschooling requires more in-depth definitions of the communities we may seek to serve.

Homeschooling is a term that specifically references a home-based private educational program not administered or controlled by any institution.

Distance education, online public/private schools, hybrid (part-time public) schools, and virtual schools are some terms referring to education that is administered or controlled by an outside institution. Many families experienced this type of education during the pandemic.

While seen as two distinct groups within a home-centered educational experience, these students do have two things in common:

They’re educated mostly at home
They need music education - the kind of music education that band, orchestra, & choir can afford.

Home-Centered Education Statistics: Current Landscape

At the start of the Valley Troubadours program in September of 2013, our fall semester classes consisted of 80 students in K-12. We had two choirs, a Beginning Band, and a small ensemble of students who played arrangements of chamber music. By 2018, we had reached the capacity of our one large room, and so we invested in a small church building with a sanctuary upstairs (Choir Room) and a basement of similar size (Band Room). As our program grew, we expanded throughout the years to include 6 choral ensembles, 6 bands, 3 string ensembles, tin whistle, a drama program, ukulele/guitar, bucket drumming, handbells, and private lessons. A student may participate in a variety of ensembles (band, choir, & jazz band for instance), so our registrations tend to be roughly twice our student numbers.

On Fridays, it is common for families to pack up schoolwork and lunches and come to spend their whole day on our campus. Siblings and parents sit and watch rehearsals or play outside while they wait for the next class to begin. It truly is a family affair. As word of our programs spread, and as families increased and invited others, we’ve grown. A lot. Our program now includes almost 600 students (with a waitlist), and in January, 2023, we purchased and moved to an even larger facility to accommodate our ensembles. Here is a picture of our growth over the last 11 years:

What Happened?!

According to the most recent numbers (2021-2022), about 6%, or roughly 3.1 million of our nation’s children are now homeschooled. Many started homeschooling out of necessity during the pandemic and found, for numerous reasons, that this model worked well for their children and family. Many parents continued to work from home either full or part-time. Homeschool numbers skyrocketed.

This figure alone would be impactful to the educational terrain, but note: homeschool statistics do not include students enrolled in the second (distance/online/virtual school) category. The percents are hard to determine, but a post-pandemic 172% increase in virtual schooling has been noted on one recent study involving 10 states. Anecdotally, our own program has seen an increase of students who are virtual-schooled grow from 1% to 15% in 10 years. These numbers for the growth of both types of home education are monumental. We would be especially wise to take note.

While statistics in and of themselves can be fascinating from an educational perspective, the bottom line is this: your community has a boatload of kids who want and need music education. This is an opportunity all-around.

(Note: for the sake of brevity, I will be using the term “homeschool” throughout the book to refer to the whole spectrum of students participating in all types of home-centered education.)

Since I, as a parent and as a music educator, moved into the world of homeschooling well before the pandemic, I had a front-row seat in watching homeschooling take off like wildfire. My once-a-week music program now provides me with a full-time income (although I’ve reinvested much). I also have the privilege of serving hundreds of kids who need music in their lives, while participating in an incredible community that benefits my own children.

Benefits and Freedoms of Being Independent

Venturing into an independent music program model seemed daunting at first. The hardest part was acclimating to a lack of resources, especially in band. No music room, no stands, no posture chairs, no major percussion equipment, uniforms, or music library, and no budget in sight for these items. The barriers felt significant, as I wanted to give the students every advantage I was accustomed to as a teacher. We partnered with our local music store, and students brought folding music stands, purchased their method books and supplies, rented their instruments and we dove in together. I made connections with local music programs and retired music directors, and gleefully welcomed donations of equipment and music. You have no idea the amount of stuff music folks collect over the years, or how happy they are to share with a startup like ours.

As challenging as that might sound, the benefits of an independent program outweighed what I lacked in “stuff.” The buy-in from parents and students was unlike anything I had experienced in a school setting. At first, it seemed odd to always have a handful of parents in the back of the room during rehearsals. I soon discovered that these parents were not only my advocates, but my coworkers. They would jump in to help with anything I needed, and I quickly noticed that behavior issues in my ensembles were virtually nonexistent. It just felt different. The learning environment seemed more organic.

We had a wide range of ages in our beginning instrumental groups - an interesting diversity. Any student 10 or older could jump in to band or orchestra, which changed the dynamic of student maturity, encouraged mentoring, and heightened engagement. Also (and these are big “also”s): no bells, no announcements, no hall passes, no detention slips, and most significantly…no grades.

So many of the diversions and distractions (albeit necessary ones) of a school environment that had become part and parcel to what I viewed as education were suddenly absent. I was at liberty to just…teach. No faculty meetings, no attendance reporting, no rubrics, portfolio assessments, tests, or report cards, no submitting lesson plans (still use them, though!), no administrative conflicts, no half days or days off (that I didn’t schedule). We just do music. The kids are there solely for music. The parents are there to support music. I have complete autonomy as a music educator to select, plan, coordinate, and direct what’s best for the music program and my students. It’s unbelievably liberating.

I remembered what I loved about teaching music to kids, what brought me into the profession in the first place. My joy grew exponentially. I was free to teach. What I lacked in “stuff” paled in comparison with what I had gained. In the last year, I have heard with dismay about teacher burnout, stress, discipline problems, frustration, music class “dumping grounds,” anger, and finally, apathy. Music teachers are leaving the classroom at a record rate. Our vital education system is struggling under immense pressure, and so are our teachers. I want to shout from the rooftops, “Don’t quit!” For some of us, there may be a different path.

Music Education Desert

Home-based education in general can provide a great opportunity for one-on-one or small-group tutoring, focused curriculum tailored to each student’s individual needs, independent study, flexibility and academic adaptability. Of course, a child interested in pursuing the study of music can do so utilizing private lessons. Occasionally, students may then proceed to participate in a local youth choir, community band program, or youth symphony, but only if one is available to them. Many homeschool students find their lack of ensemble experience a barrier to entry. Bridging the gap between private lessons and an ensemble experience can be daunting.

Additionally, most homeschool parents are not skilled in music education. Online music class options are few and not very engaging, and access to public or private school bands and choirs during the school day is often non-existent or conflicts with other homeschool classes or co-ops. Many homeschool families have already sacrificed one income and their families tend to include multiple children. The costs of private lessons are simply out of reach. And to be honest, most kids want to make music with other kids, right? With their friends. Bottom line: Our homeschool students face a desert devoid of accessible music education ensemble opportunities.

Music can certainly benefit us personally, as we play, sing, and express ourselves for our own enjoyment, but so much of the value of music happens in community. Making music with others, working together towards a common expression is invigorating to the soul. Experiencing culture, history, and heritage within an ensemble grants us the gifts of understanding, empathy, compassion, charity, and goodwill. We are social creatures very much in need of these gifts. We need music ensembles now more than ever.

A Word About Socialization

In our Troubadours community, all of our families have made a concerted effort to foster social opportunities as carefully and intentionally as we have chosen our math curriculum. It is a part of our homeschool lives: co-op groups, classes, 4H, field trips, scouts, karate, dance, drama, robotics, speech & debate, Valentine’s Day and Christmas parties, church, youth groups, volunteer projects, sports teams, prom…homeschoolers struggle these days to actually BE at home. Lock-down during the pandemic was not a picture of homeschooling. We’re social, make no mistake.

On Fridays at the Valley Troubadours, students from a wide demographic (background, ability, income, faith, philosophy) converge to make music together. Many of these students have seen one another at least one time during the week at the activities previously mentioned. Most have mingled in a few different peer groups throughout the week, and find one another altogether at Troubadours. As my son once quipped: “It’s like the town square of our area homeschooling community!” And he’s right.

You know that feeling you get when a whole group of kids hang out in your music room before or after school, maybe during lunch, and just revel in being together? That’s Troubadours. That’s the whole day. Several times during the day when I walk in to the band or choir room for the next rehearsal, the kids erupt into cheers and applause. Seriously. They are that happy to be there; it’s a weekly celebration. And I get the honor of teaching them. Can you imagine?

Please imagine. You may rediscover the joy of teaching music with these modern-day Troubadours. Over 3.1 million kids need this music education paradigm.

Maybe so do you.

Who Can Start a Program?

Join me in considering our out-of-the-box perspective. Starting a homeschool music program may be too considerable a paradigm shift to appear viable as a career choice. Leaving the relative security of a traditional school job, with its health insurance, pension, budgets, schedules and structures would be quite a large leap of faith for many music teachers, but hear me out. Below are a series of options that may harmonize well with your current or future job situation:

1. Current Teachers: A Supplement

A common refrain in our education system is that teachers are underpaid and undervalued, especially considering our level of education and experience. I’ve met many teachers working a side job outside of their teaching career just to make ends meet. We must continue to work towards recognizing and compensating our educators fairly in districts across the country, but if we are considering supplementing in the meantime, we can greatly contribute to music education in our communities with a little effort.

2. The 3:30-5:00 Time Slot

Consider starting a once or twice a week Homeschool Band, Orchestra, or Choir program during this after school time, maybe on Tuesday and/or Thursday afternoons. This time could keep evenings free and still be a great fit for your homeschool community, as it won’t typically conflict with other community or co-op days in their schedule either.

3. Fill Gaps for Less than Full-time Positions

Many of us are familiar with music teachers only filling a part-time or 2/3-time position, leaving us with a gap in our schedules. If we were able to use that time to our advantage by adding a private music ensemble situation like a homeschool band or choir, you may find that filling that gap is both musically and economically worthwhile.

4. Retired Teachers

At Midwest Clinic every year, I meet teachers who have retired, received their well-earned pensions, and yet feel they have more to contribute. Some have moved into arranging, heading music camps, composition, and being representatives for instrument companies. How often, though, have we heard from those who say that while adjusting to retirement, they find it is more difficult NOT to teach. Having the flexibility to make your own schedule can be a way to still teach music and share what you have spent years refining, without the frenzied daily grind and demands of the school calendar.

5. College Students in Need of Teaching Experience

It’s a very ancient saying, but a true and honest thought: That if you become a teacher, by your pupils you’ll be taught. The best way to learn in any profession is by doing. Nothing prepares you more for teaching than being in the classroom and working with students. When I was at DePaul, the Music Department worked in cooperation with local Chicago schools in need of general music (woefully absent in some area schools), and we taught small groups during the week as a “lab” experience. Making lesson plans and having actual students to work with gave us an incredible leg up on entering our student teaching experience. The initiative of starting a homeschool music program as a lab experience looks amazing on a résumé, and time spent with the students will never be wasted.

6. Former School Teachers (Work-Life Balance?)

In a recent newspaper article about our program, I had to chuckle as the article described me as “a former music teacher.” What I’m sure they meant to convey is that I made a decision to leave the traditional workforce, and it’s a decision many have considered or made in recent years. Covid taught us much about evaluating a healthy work-life balance for ourselves and our families. Many music educators are like me, and have stepped out of working full-time for one reason or another for a season. Taking on a start-up music program may sound daunting, but at the end of the day, I still make what I would otherwise be making at a school, and I technically work about 2 days a week. The rest of my time is free to use as I determine, and has been especially important to our family as we navigate homeschooling demands, a husband who frequently travels, and a whole host of therapies for our one daughter with significant special needs. My flexible schedule helps to keep sanity and a healthy rhythm to what may otherwise be a chaotic life.

7. Your New Full-Time Gig?

A splendid and most delightful surprise of having this off-the-grid music program is that it grew to become an actual full-time gig. I am in charge of what classes I offer, how many students I wish to take, how long each class lasts, and how often and on what days I teach. Think about it. In this model, YOU are in control. You can teach, as I do, on a “once-a-week slam” schedule and program classes all in an entire day. You can have a program that meets on multiple days throughout the week. You can spend each day and travel to multiple locations. The point is, it’s really up to you.

As a final note and consideration on this section, I’m just gonna leave this right here:

I found this to be a much more rewarding path than subbing.

Where Do You Start a Program?

In deciding to start a program, the “where” is crucial to your program’s success. You need to be as centrally located as possible (near a highway or the middle of a more metropolitan area would be ideal). Many of my families will travel up to an hour for a once-a-week program, especially when multiple classes are offered for various ages. I have experienced and seen a broad spectrum of creativity on the “where”s that have met with varying degrees of success. The following are several suggestions utilized by homeschool music programs across the country:

In an Existing School

If you are currently teaching in a school, this could be as simple as asking the administration if they would be open to allowing a program like this after school or on a Saturday. Some schools are already serving as host to community bands, orchestras, and choirs, so it may be an extension of that service to the kids in the area. The details might be challenging to navigate, but by doing so, you would start well ahead of the game with literature and equipment. If you are not currently teaching in a school, it still may be worth the ask. Starting off with a large band/choir/orchestra rehearsal space made for our purposes is a great option. Don’t forget private schools in the area that might have appreciable flexibility. Speaking of private schools…

A Private or Charter School

Looking at the private or charter school landscape in your area, you may be surprised by how many do not offer a band, orchestra, or choir program, but really, really want one. I have received offers from private schools in our area to start a program at their school, and it’s on the back burner for me for when my kids at home are older (if I want to fill my schedule). You can offer to bring a music program to their school (or a combination of area schools) and invite homeschoolers to be a part of your new adventure. High schools currently without feeder programs would be thrilled!

Some private schools may not have a dedicated space, so this may involve a gym, auditorium, chapel, or cafeteria situation. Be prepared to be flexible as you make a start.

An Existing Program

Look before you leap. You may be surprised to find that a homeschool music ensemble already exists in your town. We tend to fly under the radar, so ask around first. If you do find a program, you may be able to partner with the director. If a choir exists, offer band or orchestra, or vice versa. Right now, I’d give my left arm for someone to help with my Beginning Band or Children’s Choir.

Doors that seem closed rarely are.

Local Faith Communities/Community Centers/YMCA

Many churches and community centers serve as host to homeschool classes and co-ops. I have found churches to be excited and open to allowing a one-day-a-week use of a fellowship hall or sanctuary space. Pews become our choir space, and the basement fellowship hall our band and orchestra room.

One of the hurdles with this arrangement, however, is storage space for percussion. We started our band with drum kits and folding music stands brought by the students. At the end of my first year, my band students actually crafted me a lovely podium that was lightweight and portable. Our rehearsals became so much easier when we finally had a place to keep our equipment. Manhasset was one of my first calls.

Where the Homeschoolers are Hiding

If you don’t currently know any homeschoolers, we can sometimes be a challenge to find. However, there are many ways to locate an existing group in your community:

Google Search: Do a simple Google search for a website dedicated to a homeschool group in your area.

Social Media: Many area homeschool groups use Facebook to communicate events, classes, and field trips.

Faith Communities: Churches and other communities of faith may use congregational facilities for their classes, and may have names to contact.

Libraries: More and more often, libraries are serving homeschool families with materials and meeting space, so librarians could give you some possible leads.

YMCA: Another great place to check for during-the-day classes for homeschoolers, and contact info. Our local YMCA actually has a private lesson program, so talking with a director may bear some fruit.

Classical Conversations: One of the largest homeschooling organizations in the country has a state and city search engine for local communities that utilize this classical curriculum.

Local Music Stores and Lesson Studios: finding homeschool musicians that already take lessons can turn into a ready and able ensemble.

The Planning Stages

Location, Location, Location

As you evaluate your situation, the goal is to find a centralized location that is geographically accessible for families within a 45-minute commute. As you locate the various homeschool co-ops in the area, you are de facto also creating a map of spaces open to having homeschool classes use their space. This is where you start. You may even wish to approach the largest homeschool co-op near you to help you advocate for using the space they currently use (but on a different day).

Ultimately, your location will be what is available to accommodate your group’s size at a cost you can afford, but homeschoolers tend to already know which spaces are open to being approached for your classes. Many are members of the churches or organizations in which their group resides. If they are excited about your opportunity, they will be your advocate for space.

Choir is the Path of Least Resistance

If you are like many music educators who have training/experience in both instrumental and vocal music, the first and easiest means of starting a homeschool music ensemble is definitely choir. The initial investment for the families beyond the cost of the class can be as simple as a folder and a pencil.

When I began, I was able to borrow some music from a local middle school, which eased the cost burden on my end, too. Many schools clean out their music libraries in the summer and may be willing to pass along pieces that still have life left in them to supplement your repertoire as you build a music library. For younger students, I made good use of the reproducible books with nice literature found in many General Music classroom materials.

Once a choir program has been established, directors then have a bit of working capital to add other class offerings.

Cost Structure that Works (for You & the Community)

This topic is challenging due to the differences in communities and the going market in your area for group classes. My cost structure works for me and my community, but may be either under- or over-market for yours. Initially (in 2006), I went with a nominal fee per student for a 14-week semester. The students could experience the class without too much expense, families felt comfortable trying it out, and we went from there. This is not feasible for most, and I understand that, but due to the many expenses faced by homeschool families who have most likely sacrificed at least one income, I still lean towards charging too little per student. “Affordable” is a key word in my mission statement, and what I miss bringing in from individual families I make up for in multiple registrations. Homeschool families tend to have many kids. This invites and allows them all to participate.

As an added incentive for our larger families, I include a Family Cap in my cost structure. Once families reach a certain amount (typically the cost of 3 students), I cap the price and allow additional students to register at no additional charge. As class offerings increase, this also allows for students to take both band and choir without having to drop one due to finances. Some programs choose the Sibling Discount route. Either way, it is helpful to acknowledge students in larger families - it’s a great benefit to have these families able to afford music education for all of their children.

Even 30 students at $100 each is a wonderful economic start for a semester-long, once-a-week choir class. That truly is where it all began for our program.

If you are looking for a metric with which to gauge the going rate for classes in your area, check with dance studios, karate studios, or other similar weekly class offerings. Keep your overhead in mind (music, accompaniment, rent for rehearsal or concert space, etc), but I’d advise to aim low for registration fees and high for participation. My teaching efforts are roughly the same whether for 20, 40, or 60 students, but the take-home multiplies exponentially as registrations increase.

Find a Day

(Consonant with Local Homeschool Schedules)

My program exists on rehearsals once a week. Admittedly, the once-a-week model is not what many of us educators are accustomed to (or prefer) for music rehearsals, and band students especially will progress at a much slower rate. The homeschooling world, however, tends to revolve around planning their classes out of the home on a once-a-week basis. I have seen some homeschool music programs reach for a second day each week for rehearsals, but it is rare.

As you look for your main rehearsal day (understanding you may be already constrained by your own schedule), note the main homeschool co-op or Classical Conversations group days in your area. Find the day with the fewest conflicts and go from there. Fridays have always worked best for the two areas I’ve worked our program, so that may be a day that would work for you, as well.

Needs for a Program

Below are some of the basic needs for starting a program that can set you up for success. I will expand on each one in the following sections.

Website

Registration Process

Handbook/Setting Expectations

Percussion/Equipment

Partner with Local Music Store

Music Library

Promotion (Offer Instrument Demo for Local Homeschool Co-Op)

Parents-as-Educators are Your Coworkers

Starting a Website

This may sounds daunting, but for a technophobe like myself, I was able to develop at least enough skill with this to effectively communicate and advertise with my community. There are so many platforms available, with advantages to each, but I settled on Wix and find it user-friendly.

Registration Process

Registration, especially as the program gets bigger, becomes more complicated. Again, the market has provided several options for streamlining the registration process. Gathering your necessary information, allowing families to choose classes, and managing a variety of payment options will need some fleshing out in your community. When I started, families were content to come to class and bring me cash or a check. This has evolved over the years to include credit card payments, payment plans, stipend checks, becoming an "approved provider" for the various virtual school programs, and so forth.

As our class option became more complicated, I invested in hiring one of my homeschool mom friends to be a registrar. Our registration form is a basic Google form, and we utilize My Music Office to organize our data.

Wix has several options within the website builder to use for forms, shopping carts, and payment options to keep everything in-house. I have also used Sawyer, which is often utilized in summer camp situations. I have been contemplating Chorus Connection, or another alternative, as nothing seems to quite fit just yet.

* Keep in mind that if you wish to charge for tickets to your concerts or musicals, it would be great for your payment process to include these options, as well.

Handbook/Setting Expectations

If you have taught band or choir before, I'm certain you are familiar with a basic handbook. Our organization has several specifics for our location and classes, but I have attached our modified handbook below, if you would like a template to start your own. By the way, an electronic signature for this handbook must be completed prior to registering for each semester. All participating families must read and agree to the contents of our Handbook:

[Put the name and location (address) of your program here]

MEANS OF COMMUNICATION

DIRECTOR: [Your Name]

EMAIL: [Your Email]

Email contact is preferred. Messages sent via Facebook/Messenger may not be received/responded to in a timely manner

COMMUNICATIONS VIA WEBSITE

[Your website address] is our primary means of communication year-round, a ready reference and wealth of information. During the two semesters, it is the responsibility of both parents and students to check the website regularly for the most current information. There, members will find a link to any time-sensitive announcements.

CALENDAR

UPCOMING EVENTS will be at the top of the front page. We will also strive to update the Calendar page throughout the year. Note important dates from your registration form on your home calendars. Please advise the Director, via email, of any conflicts as soon as you are aware of them, especially for a performance or any of the 3 practices prior to. See also “Reporting Absences and Date Conflicts” found under “Attendance” in the Handbook. Periodically check the website/emails throughout the year for updated information.

IN CASE OF EMERGENCIES

On your registration form, we asked for a cell phone number for emergencies only. This number will be used to contact you for weather or other unforeseen, last minute problems that can cause a delay or cancellation of a rehearsal or event. Please have your cell phone on en route to music-related events so we can reach you should the need arise.

INCLEMENT WEATHER POLICY:

When winter weather requires a delay or cancellation of rehearsals, check the website as of 7:00 a.m. on the morning of rehearsal for information. Emails will be sent and messages will be posted on Facebook, but it is the responsibility of each family to check the website, and make a personal final determination as to driving conditions. As weather conditions vary around the area, please exercise due caution accordingly.

PLEASE DO NOT CALL, TEXT, MESSAGE, OR EMAIL prior to 7 am, or without checking the website as of 7am

SUPPLIES

LABEL ALL YOUR BELONGINGS! We don’t want to collect things in Lost and Found. Label your music folder, scripts, all your own books, and refillable water bottles, etc. These are the items left after practice most frequently.

SUPPLY LIST

Supply lists will be distributed by the teacher/director of individual classes prior to the first day of rehearsals.

SEMESTER SCHEDULE

Two concert semesters are scheduled, and each semester requires separate registration and payment. First concert semester is September through the Christmas Concerts in December. The second concert semester begins in January through the Spring Concerts in May. There may be a few additional performance opportunities during the year. Members are expected to make a commitment for the entire semester. A full refund will be given up to 2 weeks before the semester starts. After that, partial refunds may be given. Auditioned ensembles will have additional rehearsal/performance expectations for families to calendar.

PROBLEMATIC DEVICES

Cell phones: Cell phones need to be off or on silent mode and put away during practices, rehearsals, and performances. The only exception is when used as a tuner in band/strings classes.

EXPECTATIONS OF PARENTS

Parents have the regular responsibility of getting their student(s) to and from rehearsal each week, on time, at least 10 minutes before their start time. Please make sure they are prepared and adhere to the dress code included in this handbook. Dress codes for rehearsals and for concerts are listed in detail. We ask all parents to review the Dress Codes with their students a couple weeks before each concert or performance. At the same time, check the fit and readiness of the items they will need to wear for performances.

Lastly, parents should carefully review the sections titled “Rules of Conduct and Building Rules,” and “Attendance” with their students so all are aware of what is expected.

ARRIVAL TIMES FOR ALL MUSICIANS

All students need to arrive early enough (at least 10 minutes before their rehearsal time) to prepare instruments, stands and music, and be ready to begin rehearsal promptly at their practice time. Percussionists need to assist with ALL the instrument set-up necessary for their band, before their practice time begins, as well as clean-up.

[List the Times and Rooms for your Class Schedule here]

AT REHEARSAL

There will be many people coming and going during practice and space is limited. Instrument cases can be left on the floor (out of the way). Cases or belongings are not to be left in the percussion section, including those of the percussionists. It is necessary to move around the percussion area throughout practice and that space needs to be free of clutter.

Talking During Rehearsal – Talking between songs is generally not a problem unless the Director is speaking, in which case all should be quiet. There should also be no talking once the Director begins to work on a piece of music. While practicing a song, she may make frequent stops in order to fine-tune something, pick apart a passage or work on a problem area. It is difficult, if not impossible, for her to speak to students and be heard over the chatting. This is not a problem if members wait patiently, remain quiet, and pay attention.

MUSIC RESOURCES – AUDIO LINKS

Audio links will be posted on the website if available. It will greatly aid your personal progress and mastery if you play/sing along with these links in your daily practice. Of course, it will probably take a while until you are able to play at the tempo of the recording. You will find just listening to the music frequently, apart from your practice time, will improve your ability to learn and play the song. It is recommended that you save the files/links to your computer.

ATTENDANCE

REPORTING ABSENCES and DATE CONFLICTS

Absences, whether anticipated or not, should be reported as soon as possible. The Director expects an email for any and all absences.The more advanced the notice, the better. E-mails should be sent before the day of practice, as possible. Please state the student’s name as well as what ensemble(s). Date conflicts, whether for practices or performances, are to be made AS SOON AS POSSIBLE to the Director.

Due to the nature of auditioned ensembles, Trouvères, Drama Troupe, and Show Choir attendance requirements will be shared with students in separate communication.

ATTENDANCE CHOICES AFFECT THE ENSEMBLES

There are a myriad of interesting activities in which to participate. One of the most popular categories is sports. As a comparison, here’s some food for thought:

Most often, sports programs require multiple practices and a game or two each week. Many sports have multiple people to play the same position, or positions may rotate. This is not the case with band/strings/theater especially. There is only one practice each week, for fifteen weeks before a performance, our one and only “game." Individuals are assigned one part to practice on their own over the semester. There is not always someone else with the same part. It is not fair to other students to expect someone to “cover” a part when they have not had it to practice. If you choose to miss practice, you are missing 100% of that week’s practices.

As performance time approaches, each practice becomes more and more critical. When one student is missing, it can, and does, affect that week’s entire rehearsal. The absent person is not affected by it, but the hole that is left is very noticeable to all present. Of course, we understand illness and other serious problems may arise, causing an occasional absence. We are asking you to consider seriously your commitment to the ensemble, especially your regular attendance at weekly practice, when making your choices.

IMPORTANT: ATTENDANCE AT OUR FINAL REHEARSAL IS MANDATORY IN ORDER TO PERFORM AT CONCERTS.

GUIDELINES FOR KEEPING SICK STUDENTS HOME

COVID-19: Please keep students at home if they have a fever of 100.4 ̊ or higher, are coughing, experiencing shortness of breath, have a decrease in sense of smell or taste, have a sore throat or have muscle aches or pains.
Colds: Keep students at home if experiencing discomfort that would interfere with ability to sing or play an instrument.
Conjunctivitis (Pink-eye): Following a diagnosis of bacterial conjunctivitis, student may return after the first dose of prescribed medication. Students with viral infection may return when eyes are clear.
Diarrhea/Vomiting: Students with diarrhea and/or vomiting should stay home until symptom-free for 24 hours.
Fever: Students should remain at home with a fever of 100.4 ̊ or greater, and can return after they have been fever free for 24 hours (without fever-reducing medicine such as Tylenol or Motrin).
Head Lice: A child with head lice should stay home until after the first treatment with a medicated head lice product.
Strep Throat: A child with strep throat may return to rehearsals 24 hours after antibiotic treatment has begun.

A sick child cannot learn effectively and is unable to participate in classes in a meaningful way. Keeping a sick child home prevents the spread of illness in our community and allows the child an opportunity to rest and recover.

RULES OF CONDUCT AND BUILDING RULES

CONDUCT

Conduct will be enforced before, during, and after rehearsals anywhere on the property in which the groups rehearse or perform. Directors reserve the right to deny participation in rehearsals or performances due to inappropriate behavior, and the following will result in immediate disciplinary action, up to and including dismissal from the program for the semester without refund:
· Foul language, coarse joking, or unwholesome or disrespectful talk to students or adults

· Roughhousing
· Disruptive behavior
· Physical displays of affection
· Disrespect for those in authority

The following will result in immediate dismissal from the program for the remainder of the semester without refund. Re-admittance to the program will be at the discretion of the Director.
Use/possession of illegal drugs, alcohol, smoking/vaping, or inappropriate materials or weapons (pocket knives, lighters, matches, etc).

DISCIPLINE

Directors will discipline as deemed fit for each offense, but in most cases will use the following guidelines:

First offense: Warning.
Second offense: Dismissal from current practice/performance. Student & parent return to the next 2 practices and must sit together. Following this, a meeting with the student, parents, and Director must take place to reevaluate the situation.
Third offense: Dismissal from the ensemble for the remainder of the semester without refund. Student & parent must meet with the Director to determine if re-enrollment is allowable.

BUILDING RULES

In addition to the above, these rules apply to our rehearsal facility and any other practice or performance facility the group uses:

Other than a water bottle, no food or drink allowed in rehearsals.
Keep the facility/property clean. Pick up trash and dispose of it properly.
Children are not permitted to play in or around cars in the street.
Younger children must be supervised when not in class.
Damage done to a facility or equipment will be the financial responsibility of those involved in causing the damage.
In general, when an ensemble is rehearsing, students who are waiting can be in the Fellowship Hall. No students are allowed to be in smaller classrooms unless under adult supervision.
Please take advantage of agreeable outside weather, but also be mindful of your students’ whereabouts and activities. Parents, please assist in respecting our neighbors!
There is to be no food or drink in the rehearsal spaces other than water. Lunch/snacks may be eaten in the Fellowship Hall at the tables during break. Please dispose of trash properly when finished.
Please use the restrooms prior to rehearsal. This is especially important for our Children's Choir students (parents, please assist in reminding students before rehearsal begins).

DRESS CODES

Our dress code is not a judgment on individual dress styles or personalities but is expected for participation in our organization for the purpose of appearance, unity, and maintaining an academic environment. There are many positive ways to stand out in our organization, and opportunities for self-expression and individuality abound through music and theater.

DRESS CODE FOR PRACTICES

Parents are responsible with regards to their student’s personal appearance. We desire that students’ clothing be appropriate for an academic environment and demonstrate respect for others. Outfits that are immodest, too tight, too short/revealing, contain inappropriate messages/symbols, or attract undue attention are not acceptable, this includes t-shirts of a political nature. Parents, please show appropriate consideration.

DRESS CODE FOR MUSIC PERFORMANCES: A UNIFORM LOOK

As in many performing groups, our goal is to provide a clean, neat, uniform appearance in our music performances. We strive to become one ensemble, one look, one sound. In order to do this, no one member’s appearance should stand out. We are a group with a common goal and focus.

For formal performances (Christmas Concert), we would like to have an all-white shirt for all members, and all-black on the bottom (black pants, or below-the-knee length black skirt), black socks/tights (if worn), and black shoes. Women have the option to wear pants or long skirts.
Marching Band will wear all black on the bottom (pants/socks/shoes, etc) and a band shirt, or formal Marching Band Uniform
For more informal performances (usually spring concerts), we may wear a provided concert t-shirt and blue jeans (or below-the-knee jean skirt).

Students who participate in our organization must agree to comply with the Rules of Conduct, Building Rules, & Dress Codes.

Curriculum

Typical Band Methods (EE, SoE, ToE, etc)

Choir Method (Voice for Life)

Program Material (Gotta Know Your Audience)

Involve the Parents (à la Suzuki Method)

Practice Incentives

Solo & Ensemble Opportunities

Recitals/Concerts/Parades

Other Classes to Offer (Or a Gentle “First-Step”)

Private Lessons

Ukulele/Guitar

Tin Whistle

Bucket Drumming

Rock or Praise Band Class

Music for Special Needs

Summer Camps