School music programs typically favor large ensembles. This way, one teacher can serve the needs of many students, which makes it a relatively feasible economic model for music education. However, this model does not support the needs of many student musicians who wish to learn instruments such as electric guitar, drum set, keyboards, and other instruments that are common in rock, jazz, and other contemporary styles. It also is impractical for school systems with too few students to complete a large ensemble.

Berklee College of Music has been teaching thousands of students every year to play in small bands, and offers a series of books called The Berklee Practice Method as a means of sharing with other institutions ways to incorporate small rock/jazz bands into their music programs, without placing too much strain on scarce resources. This series is designed to require as much or as little direction from a music director as desired, to be self-contained and flexible to a wide variety of organizations, while delivering high quality, well rounded music education that will prepare students for entry into college-level music programs. Students learn technique, theory, timing, improvisation, reading, and how to practice. Most of all, they learn how to listen to other members of the band, and to think creatively within a musical context.

Small music ensembles have many advantages over traditional larger ensembles. Institutional equipment and facility costs are lower, when compared to the cost of marching band uniforms, stables of tubas and double basses, and dedicated rooms large enough to accommodate a hundred students. While sound equipment is helpful to small band performances, it is not essential. A few microphones and a mixing board will help you achieve better balanced performances, but students’ own amps can work just fine as well. And small ensembles can perform at many school functions, such as dances, dinners, fundraising events, and others where a larger group would not be practical.

Here are two models for teaching bands in school music programs. The first is the kind of program that is easily implemented by the average school music teacher, who is likely to be busy with large ensemble programs, but wishes to bring other student musicians into the community of the school music program. It is based on independent study, and the teacher acts as a facilitator. The second model is how we do it at Berklee. These are opposite extremes, and there are many possibilities in between.

1. Independent Study. Students use their individual books to learn on their own. They practice their parts independently or with a private teacher. Then they meet regularly as a band to put the parts together and develop their own interpretations. The teacher acts as a facilitator and coach.

2. Berklee-Style Band Instruction. At Berklee College of Music, beginning-level ensemble classes are taught with a four-tiered system. All students in this program play one of four instruments: guitar, bass, drums, and keyboard.

a. Performance and Lecture. A faculty band of four musicians (bass, drums, guitar, and keyboard) performs the "tune of the week" to the students, who all gather together as a large group (usually sixteen to twenty students) to hear the lecture. The teachers take turns explaining what they were doing in their unique parts, and they discuss how their parts fit together and what they were trying to achieve together as a band.

b. Sections. Players of each instrument meet as a group to learn their parts. These are technical lessons, focused on performing specific tunes and performance practices.

c. Guided Rehearsals. Each band is coached by an instructor, as they work on their arrangement.

d. Independent Rehearsals. Each band meets together without a faculty member present, and works out the tunes on their own.

Twice every semester, the Berklee student bands perform for each other.

Most critical is that the teacher takes a step back from the role of being a traditional conductor. A goal of popular music styles is individual freedom of expression. The teacher should encourage students to be independent. Students should take turns being the "leader" on different tunes, counting them off, and developing unique arrangements. Encourage your students to create their own interpretations of each tune, and make this music their own.

Periodically, have your different student bands perform for each other. Have "battles of the bands," where several bands play.

Here are a few guidelines to help you begin your program.

Roles of Instruments

There are five essential instrument roles in a band. Different instruments can perform any of these roles.

1. Lead. Either a solo instrument or a vocalist. This role can include playing the written melody and improvising. Instruments frequently take turns performing in this role, and sometimes several instruments may perform it together.

2. Comping. Chordal accompaniment may be performed by any keyboard, rhythm guitar, or other multiphonic instrument, such as vibraphone. Sections of monophonic instruments can also perform this function as a group, but generally only when there are full written arrangements.

3. Bass. The bass grounds the tune’s harmonic framework. The bass line can be played by acoustic or electric bass, or by other instruments, such as keyboard or even tuba or baritone sax.

4. Percussion. Everyone in the band must feel the time, but the drum set or lead percussion player is the final arbiter. Generally, in most bands, this role is fulfilled by the drum set, sometimes with additional hand percussionists. In other styles, there may be a group of hand percussionists only.

5. Backgrounds. Background supporting melodic parts can be performed by any pitched instrument.

Each band generally has a leader, though this may change on different songs. It is the leader's role to set the starting tempo and to make arrangement decisions, such as who solos, and when. Have students take turns leading different tunes, and don't assume the role yourself, except in an advisory capacity, when necessary.

Setting Up

Set up your band physically so that everyone can see each other. Bass and drums should have an easy sightline, as should comping instruments (keyboard, rhythm guitar, etc.). The drums should be centrally located.

A sound system will give your band a lot more control over their sound balance. Ideally, every instrument should be uniquely miked, and plugged into a single mixing board. Balance the volumes from the perspective of the center of the hall. One set of speakers lets the band hear themselves; another set of speakers is turned at the audience.

What Students Should Know

Students will get the most out of The Berklee Practice Method if they have a basic capability on their instrument and basic music reading skills.

Specific requirements vary, depending on the instruments. Each instrument volume begins with a Basics section to review required topics.

Bass

Bassists should be able to read pitches and rhythms in bass clef. Tablature is provided for musicians who are less comfortable with traditional notation.

Drum Set

Drummers should be able to identify rhythmic notation. They should be able to play the basic rudiments. This series uses and recommends the Percussive Arts Society (PAS) standard of drum set notation.

Guitar

Guitarists should be able to read pitches and rhythms in treble clef. Tablature is provided for musicians who are less comfortable with traditional notation.

Keyboards

Keyboard players should be able to read pitches and rhythms in both treble and bass clef. They should be able to play several major scales and arpeggios.

Saxophones

Saxophone players should be able to read treble clef, including basic articulations. They should be able to play several major scales.

Trombone

Trumpet players should be able to read treble clef, including basic articulations. They should be able to play several major scales.

Trumpet

Trombone players should be able to read bass clef, including basic articulations. They should be able to play several major scales.

Vibraphone

Vibraphone players should be able to read treble clef. They should be able to play several major scales and arpeggios, and know the basic drum rudiments.

Violin

Violin players should be able to read treble clef, including basic articulations and bowings. They should be able to play several major scales.

Five Tips for Teaching Rock/Jazz Bands

1. Facilitate music making. Give students the facilities and organization that will help them succeed. Your students may only need a rehearsal space, assistance structuring their time, and occasional technical advice. Help them find performance venues and dates.

2. Encourage individual expression. Students should develop their own arrangements and interpretations to this music. Though this method offers many suggestions, if your students’ creative inclinations pull them in other constructive directions, help them in their explorations. If they wish to add vocals or a turntable part, and no volume exists for that instrument, encourage them to adapt these ideas, or develop new ones that will help them to be successful. If they wish to add a heavy metal edge to a swing tune, that’s fine—though encourage them to master the swing material first.

3. Know the material. Ideally, you should be able to fill in any part, if a student is not present. A basic MIDI setup, with some decent keyboard, bass, drum, and guitar sounds, will allow you to fill in. If you can play the actual instruments, that’s even better. If you do sit in with a band regularly, avoid assuming the role of the conductor. This kind of music is about collaborating equally.

4. Be supportive. Provide the right amount of support. Let students lead as much as possible. Give them the responsibility for counting off, deciding the order of solos, and creating their own parts. Step in only when it is necessary to keep them productive and safe.

5. Listen. Recognize playing music as an opportunity for creative freedom, and understand that they will try to articulate what is important to them, in this music. Give them the tools and techniques to communicate.

A small-ensemble program can bring a fun, inclusive dimension to your school’s music program, and it can serve a community of students that has traditionally not been well integrated into formal music education. The Berklee Practice Method offers a well-rounded, time-tested curriculum that will help you to launch such a program in your own school.

Jonathan Feist is the series editor of The Berklee Practice Method, co-author of its Teacher’s Guide, and editor of over 100 other books and online courses about music, technology, business, and culture. He teaches music online at Berkleemusic.com and presents seminars about writing. Jonathan holds bachelor's and master's degrees in composition from New England Conservatory of Music. He is Managing Editor of Berklee Press.