Boyd Holmes, the Writer

The Songwriter’s Notebook – Tips for Tyros Part One

7/10/2022

As music educators, not much of our college experience is aimed at songwriting.

So here are some thoughts for teachers who want to get started, either writing songs for themselves or for their students.

The first thing is learn as many songs written by others as possible.

I’m talking about songs where you sing and accompany yourself.

The more songs you know – and I mean REALLY know – the easier it will be to progress as a songwriter.

So set a goal and aim for a number, say, learn at least one song a day. In a year, you’ll have a pretty extensive repertoire.

From jump street, start cataloging your song data.

Stay away from paper and create PDFs.

Gone are the days when I carried a milk crate with FOUR three-inch-three-ring binders with tons of music. Now I just have my tablet.

Get an app where you can keep all these PDFs organized.

I’m an Android kind of guy and have been using Zubersoft’s “MobileSheetsPro” and love it.

Keep an ever growing list of songs and the artists who popularized them.

Create PDFs of the lyrics, including the song title, the composers, and thee year it was composed.

I start with creating a Word doc and then import it as a PDF.

I keep two folders, one of Word doc lyrics and the other as a PDF folder.

If you need the music to play the songs, find a lead sheet and create a PDF of that too – but have a doc title ending with “music” so you won’t confuse it with the lyric pdf.

Find the best key for your voice and work hard at nailing the song down in that key. It might not be in the lead sheet’s key but learn how to transpose it into YOUR key.

Transposing is a key skill for songwriters and you might as well start bolstering that skill.

With every song you learn, learn the song in at least three other keys.

Eventually, you want to play any song in any key.

This is not just some kind of macho music chops thing.

As a songwriter, you need the flexibility to shift into any key that a song pulls you, even if just for a few measures.

Without a strong knowledge of keys and transposing, you’ll always be ruled by the song. You need the upper hand to be able to put any song into any key on a second’s notice.

0 Comments

Seeds

7/9/2022

0 Comments

Planting Seeds

7/8/2022

0 Comments

We are taught that life is a series of beginnings, middles, and ends.

But it is not always that way in music.

As elementary music teachers, it is about beginnings and middles. Ends are something way down the road.

I know what you might be thinking.

“Yo, Holmes, there has to be an arc of beginnings, middles, and ends for directors and performance ensembles when focusing on preparing for a concert. And every class has a beginning, middle, and end, right?”

True. And monetizing music requires that the product be complete, too.

But the idea of making music is much more open ended in the elementary general music classroom.

I’m always amazed at general music lesson plans that on the surface embrace the beginning, middle, and end of a collegiate concept in such a neat, tight, tidy fashion.

Nothing could be further from real life or truth.

It gets even more stupefying when the end product of the lesson plan is a musical composition.

Times that by two if the teacher has spent no time in their career actually pursuing composition but believes that they are enough of an an authority to teach it.

So many of these contrived lessons and curriculums have all the charm of a neglected ficus. They are like verbose cook book recipes that promise if followed them, The result will be a beautifully finished musical soufflé in a 45-minute class.

Bon apitite! But diners beware: the main course may be a little under-cooked.

Music teachers who perseverate with their elementary school students on musical concepts like music history, vocabulary, or the dreaded musical game, approach “teaching” with an “I know something that you don’t and you need to learn it” attitude.

The act of producing musical sounds works under a different set of realities.

When little kids look up to you, are they looking for more words or for music?

Authentic musicians share little sequential techniques with kids and then provide them with the time and opportunity to play with these ideas, free of any ersatz requirement for a timed finished product.

Just because we plant the seed doesn’t mean that we will be around to see the tree grow or revel in the fruit the fully mature tree produces.

We have to trust our instincts that what we start will continue to grow over the life of the student.

The seeds we plant can’t be dependent on what direction the next music teachers take either.

Hopefully their next teachers will assess kids, take them as they find them, and encourage them in their next steps and explorations.

Some music teachers bitch that the students they receive from Teacher X don’t know “important things” like how to write a major scale or the definitions of Italian and French tempo markings.

Don’t be that teacher.

Be thankful you have a student and you know what next to model.

More times than not, those whinny teachers are complaining about knowledge and not skills.

Why? Because their careers are an ex cathedra house of cards built on a handful of random musical facts they learned in college: words, concept, methods, vocabulary, techno talk – everything but actually making and producing music.

If they feel less than confident or successful creating or playing music on a variety of instruments, it’s much safer for them pontificating about music, codifying vocabulary, coloring pages, music word finds, all with hopes of dodging the piano-playing elephant in the room.

Heraclitus wrote in “Fragments”, “Time is a game played beautifully by children.”

The same can be said about music and children.

When kids play, they are never in a hurry. Time is limitless to them. They haven’t learned the adult rules of the game, namely that time is finite and has a nasty habit of dictating when the game is over.

If you watch kids play any game, you’ll notice a constant that runs through all their play: they change and modify the rules to the situation at hand. They don’t look at the rules of the game as a constitutional scholar looks at the Constitution.If the rules don’t work – Shazaam! - the game is afoot with a new set of rules.

Kids need this freedom to modify and mollify the rules when they play with instruments. As modeling musicians, we need to step back after we show them a few things.

Let them play – and learn - on their terms.

We’ll always be there for guidance for those that get confused and stray a bit but our real calling is in encouraging and praising those who take the seeds we give them and start their own garden.

The following video is over twenty minutes long but it encapsulates the work I did with the New Castle Elementary School students, K through 5, on piano in 2015.

2015 was incredible time of immensely positive convergences at NCE. Nikki Jones, one of the best educators ever, was principal, Rich Bryson was a confident and resourceful student advisor, I was sharing music duties with one of the finest, Fred Higgins, and from top to bottom, we had an solid group of teachers who knew how to support each other and pull for the common good of the kids and their families.

For over eighty percent of these kids, it was the first year in music that they had ever touched or played a piano.

There are three threads you’ll notice through all six grades as you watch the video.

First, the kids approach piano like play.

Second, they are always modifying the rules and ideas I lay out for them.

And third, the kids excel at teaching one another.

Seven years have passed since these kids played piano in our music room video. I was at New Castle Elementary only one more year before being transferred to Wilbur Elementary.

I think about those NCE kids a lot, still laugh at the question they ask at the end of the video, and hope they are still making music every chance they get.

I’ve learned that piano is a lot like that quote by Maya Angelou.

Kids may forget what they played on the piano.

They may forget what they learned on the piano.

But they will never forget how they felt playing the piano when they were young.

And that feeling will always draw them back to the piano and other instruments. That feeling will allow that seed to grow a bit more, as Bobby “Blue” Bland sang, “further on up the road”.

0 Comments

Collecting Songs

7/8/2022

0 Comments

The College Experience, the 7.5 Hour Job, and the 16.5 Hour Business

7/7/2022

0 Comments

So you are or were in high school and pursuing a career as a music educator.

The focus of your time in college is to become adept in all areas that you will need as an educator of music.

That means you're going to be working on your strengths as well as your weaknesses, but primarily relying upon (and mightily compensating) your instructors on helping you strengthen your weaknesses. The idea is so that when you leave college, you are self-sufficient and it's hard for people to tell what your strengths are because there is an high
level of evenness about your presentation.

Caveat: you and your instructors might disagree on what is a “weakness” or an “asset” in your portfolio of skills. I know I did. Never forget – this is YOUR career. They’ve had their opportunity to craft their professional path and now it’s your turn.

College and improving your weaknesses is a little bit like applying compression to an audio track. You're bringing up those low spots to look and sound more convincing next to your strengths.

When you get to your 7.5 hour job, your goal is to have all your strengths and weaknesses evened out.

As far as your 16.5 hour business goes, that is the time to really focus on your strengths and not your weaknesses. It's where you are going to make your most substantial gains personally, professionally, and financially because the sky's the limit in your 16.5 hour business.

There's always going to be a financial lid on how much you can achieve within a school. The nice part about having a teaching a 7.5 hour job in a school is that everything is laid out for you. If you just connect the dots, you will end up with a horizontal straight line. Compensation might be a flat straight line, but at least it'll be a straight line infinitesimally drifting north-northeast.

Unless you are pursuing a leadership degree at the graduate level, there are few opportunities to develop your leadership abilities and even fewer opportunities to make any money off of them for a typical music educator gig outside of your classroom within the district.

Lucky for you, you have a 16.5 hour business, right? I mean, you have your own business, correct?

While leadership is not a job requirement as a music teacher in a school, learning how to be a leader in your 16.5 hour business is crucial for your business’ success. You will be the boss of you. You will own the failures but you also own the successes and reap the financial rewards of their successes.

But, back to college.

College is the prime time to develop your entrepreneurial persona.

That is, unless you did that when you were in high school.

There is a ton of free time in a music education college schedule if you plan your hours correctly. I chose to get my school work done as quickly as possible and experiment on lots of projects. I endeavored to be the guy who read the text book before the first class.

These are some of the opportunities I pursued while still in college that were the beginnings of my 16.5 hour business. If you’ve never considered the idea of your 16.5 hour business, consider these as story starters:

Gigging - I actually started gigging in earnest in high school.

I joined the union.

By the time I got to college, I had played close to 1,000 gigs. They were low paying but were an academy where I learned my instruments and theory as well as the rules of the road.

The union band gigs that I played at the shore or at state parks were instrumental in landing my first full-time teaching gig. The first flutist in the Delaware Symphony and many of the union gigs was a woman in her fifties who I met on these college year gigs. We became friends and through a number of fortuitous circumstances, she created a flight path for me to take over her private school elementary teacher gig when she retired at the end of my senior year.

Again, many of these summer gigs were not high paying but they opened a very crucial door.

Substitute Teaching – One of the older men that I started playing jazz gigs with in high school had a wife who was a full time general music gig in a beautiful public elementary school.

During college, I used to hang out at their house. One night, Lois asked if I was interested in subbing for her and the rest was history. I also subbed for several of the teachers I met on the summer union gigs. As a “class B” substitute, the money was good but the experience was priceless.

Private Teaching – My junior year, I stepped into a director’s gig for a Saturday morning diocesan music program. We had up to 100 kids and I oversaw a staff of half a dozen teachers, including working on the payroll. I learned more in that job about teaching and myself than 90% of college.

That summer, I made a connection with a local school district that had a summer school private lesson program four days a week for six week. The pay was decent but the real dividend was having forty students a week – brass, woodwind, percussion – I saw every bad embrasure and compromised technique under the sun and had to come up with remedies.

Theater – As much as I hated marching band, I loved playing in pit orchestras. I got a few gigs playing in college and community pit bands and was the assistant conductor for a college production of Sondheim’s “Company” where I had to coach the cast with their singing.

Arranging/Composing – One summer, I worked with a classmate of mine, Terry Stewart, selling halftime marching band arrangements to local high schools. It was a hooky premise: we would arrange their school song or alma mater four different ways through the ages: Middle Ages, Classical, Dixieland, and rock.

Our secret selling weapon: we would tailor the arrangements to the strengths, not the weaknesses, of the band. The trick was it engaged the band directors in opening up and talking about their band (something all band directors like to do) – and anytime you are trying to sell something to someone and you can get them engaged in conversation is always good.

We sold the package to about six or seven band directors. I think we spent everything we made on paper, ink, pencils, and fast food on the way to the different schools as we traveled up and down the state.

I was also doing lead sheets for campus kids who were writing songs but didn’t know how to notate them. At $25 a song, it kept me in cigarettes and fast food.

Consulting – This is a weird one. I didn’t really make any money but I developed a hell of a lot of gravitas in the eyes of many of the music department faculty that created momentum in my own eyes.

The head of the theory department, Dr. Robert Hogenson, approached me as well as my classmate, Craig Smith, at the beginning of our senior year to design the university’s first electronic music studio and put a bid list together. We had to work within a limited budget.

We did the homework, helped our department chair order the equipment, and set it up on arrival. We were also enlisted by the department chair to do a demonstration presentation for the deans and financial department to pitch for additional purchases the year after we would graduate.

All this snowballed to the department deciding to hire an instructor of electronic music for the coming school year. Craig and I were chosen to interview all the candidates because we frankly knew more about the state of computer music than most of the music department members. We had private interviews with all the candidates. We sat in on faculty meetings and our opinions and observations were actually appreciated by our teachers.

The candidate we supported, Dr. Fred T. Hoffstetter, was brilliant and the department agreed with our choice.

The studio was simple but powerful. I ended up composing a sonata for tuba and synthesizer that a classmate, Jim Murphy, performed at his senior recital.

In hindsight, I realized this changed the way I looked at myself. While I wasn’t the best in anything musical in my music education department, I had developed a confidence walking through any door or on to any stage that money couldn’t buy.

So there you have it.

I pursued many of these threads after receiving my bachelor’s degree. They were the falling dominoes that led me to new beginnings like computer programming.

The key here is this: When I signed a contract for my first 7.5 job teaching position May first of my senior year, I had already logged hundreds of hours and invested many dollars developing my 16.5 hour business.

So if you are still an undergrad, it’s time to get crackin’.

Even if you graduated years ago and have been working a while, today is always a good day to make more of the hours that are available to us.

Kick around those ideas for your 16.6 hour business and entrepreneurial persona.

You’ll be happy you did.

0 Comments

Things I Miss From My Music Room Days - Number 53

7/6/2022

0 Comments

It Only Takes a Second

7/5/2022

1 Comment

Maybe you are like what I was.

It was long ago but still feels like yesterday,

Of course, in the span of time, it was more like a few seconds and inconsequential by most measures.

When I first stood in front of 60-member elementary band as a junior in college, I was scared.

As I uneasily stood on the platform behind the conductor’s stand, I nervously glanced down, saw the high school band director’s ashtray overflowing with Chesterfield King butts, and contemplating lighting up.

While I had a pack of smokes in my suit jacket pocket, I realized that I had no matches so that would require asking some eleven-year old girl I didn’t know in the first row of flutes for a light and that just didn’t feel . . . . confidence-inspiring.

I had been subbing my junior year but that was in general music classrooms – not in front of a large ensemble armed with loaded instruments.

Never before was I in a position where so many small, wide-eyed people simultaneously looked expectantly toward me for leadership, seeking musical knowledge, and calling me “Mr. Holmes”.

This was “Mr. Holmes 1.0”.

It wasn’t iteration 5.0, 4.0, or even the Mr. Holmes 3.0 that many would someday see win awards or exude poise and teaching technique in front of hundreds.

What the hell had I gotten myself into?

I didn’t smile much at first.

I was a new band director inheriting a successful diocesan music program.

Someone once said something to the effect of “When I look at the world, I get worried, but when I talk to and look at individual people, I feel it’s all promising.”

It was like that for me.

I learned that the more I talked to each kid individually outside of rehearsal, the easier it became during rehearsal.

The more I got to individually know the kids, the more they felt that I was talking directly to them during rehearsal – just as long as I kept scanning the room and making sure I was always making contact with every set of eyeballs all the time.

I also learned there was more bang for the buck if I memorized scores and kept my eyes on the kids eyes. I started noticing that some of them were memorizing their music and watching me all the time, too.

All of this made my upcoming senior year student teaching seem like a walk in the park. I had an air of confidence that was not bravado or an act – I really felt I was ready.

No matter how many people are in front of you when you teach or perform, focus on that ”someone” for a few seconds with the subtlest smile you can manage. The person or people you where you have developed a one-on-one relationship.

I used those smiles to differentiate my no-nonsense Mr. Holmes who didn’t smile much with the more humane one who occasionally did smile and allowed kids who paid attention a peek behind the curtain.

Even though you are separated by geographic or digital distance, find them, smile directly at them, speak, sing, and play directly to them.

This is a good time to lean in.

Other people in the group will see you smile at that person, will want you to smile at them, will lean into the person you are smiling at, and will attempt to get your attention by sending a smile to you.

The magnetism between you and that someone in front of you will pull the people on either side of your student or audience member into a positive emerging relationship with you.

All of this will create a unremitting momentum in your student relationships, sustained commitments from ensemble members, and music that gets better with every airing.

It only takes a second.

1 Comment

Children and birds

7/4/2022

0 Comments

Read the Manual

7/3/2022

0 Comments

I recently posted a picture that has received quite a few compliments. Everyone seems to feel it looks very painterly and has clarity and focus that's not often seen in most stuff on the internet. There are a few simple explanations.

One, I clean the lens on my phone so I get the best picture possible.

I've looked at a lot of pictures and paintings and have figured out what I liked about them, the tricks that the artist used to make their images pop.

They're not very fancy tricks, but they are tricks nonetheless. I simply repeat their tricks with my pictures.

I trust my eye and its sense of composition. I set up my subject carefully an a few seconds and am not averse to cropping after the fact.

After analyzing thousands of famous works of two-dimensional art, you start to see the tricks that da Vinci, Correggio, and Rembrandt used.

The most important factor in why my pictures tend to look better than many others is that I read the manual for the camera app on my phone.

I know the ins and outs of it, the resolution tricks, and the focus tricks. I don't mess with the filters that much because they're becoming cliché.

I stick with the basics.

Reading the manual is something most people avoid. It's boring, dry, complicated, and gets in the way of hands-on activity.

I have learned, though, that reading the manual is always the best way to get the best results.

It’s gotten to the point where, with every new piece of equipment I get, I read the manual before I even touch it. Think of it as technical foreplay.

The first serious keyboard I ever owned was a Roland W30. It was a sampling workstation with just over 14 seconds of sampling at 30kHz sample rate, which is infinitesimal by today's standards. I was using it to create and sell soundtracks for commercials, TV shows, movies, and ad campaigns.

As a little kid, everywhere I went I always – and I mean ALWAYS - carried a book with me – usually a Hardy Boys, Rick Brant, Sherlock Holmes, or something by Edgar Rice Burroughs. As an adult musician, I carried manuals.

That 212 page W30 manual was my constant companion. I studied it like a textbook every chance I had. I would close my eyes and envision myself repeating the outlined steps to create new and different sounds or devising was to squeeze out more processing power.

It got to the point that when I powered the keyboard on, I could race through the steps because I had pictured them in my mind so many times while reading the manual.

Every time I did a composing gig, I saved half of my earnings on the gig to upgrade my equipment. The W30 was bare bones, no effects at all, so I had to pick up a cheap Alesis Microverb to sweeten the dry sound a bit.

Now I had two manuals that I basically had to memorize.

The two-hundred plus page W30 manual was as extensive as the keyboard. By learning the architecture of internal software I was able to unleash hidden, powerful capabilities.

Next, I bought two Roland S330s that belonged to Tony Ventura.

A new manual! The rack-mounts had a similar architecture as the W30 so the learning cure wasn’t that steep.

Two years later, I bit the bullet and purchased a new, more robust keyboard – a Roland XP60.

My writing gigs had outgrown the scope of the W30 and so ran the XP60 in tandem with it via MIDI.

Another manual to memorize, this time, 248 pages.

I knew musicians who owned both the W30 and XP60 who only turned them on, pressed maybe five buttons, and took the pre-set keyboard sounds at face value.

They never touched the manuals, never got into the internal workings of the design of the software. For those people, the keyboards did just what they wanted.

But with my limited finances, and the need to make more impressive music that would sell, I had to master the manuals in order to master the keyboards.

And as far as “mastering” goes, that's not even talking about the improvements I had to make using my fingers on the black-and-white thingies to actually play the music I had composed after I learned how the keyboard worked.

Manuals and technology are no substitute for woodshedding.

The W30 and XP60 are long gone. I moved on to using Pro Tools and Reason as DAWs and Sibelius for notation. Their on-line pdf documentation runs into the thousands of pages. As much as I memorized the manuals, I still refer to them all the time.

I miss the old days and the simple 200+page dog-eared paper W30 manual that I carried along with me everywhere I went.

So why all this talk about manuals?

Because about right now, you are saying, “But Holmes, I'm not into all that technical stuff. I'm just a classroom music teacher, chorus director, band director. What’s the big deal about manuals?”

My advice is still the same: read the manual.

What? You didn't know there were manuals for teaching?

There are several that I would like to recommend. They are not specific to music education in the least but they will change the way you teach and the way your students learn.

Start with theses:

“Teach Like A Champion” by Doug Lemov.

“The Leader in Me” by Stephen Covey.

“Seven Habits of Highly Effective People” by Stephen Covey.

“Real Help” by Ayodeji Awosika

My blog

One of the common questions I was asked about my soundtracks was how did I get so many musician together for my recordings. Call it a trick, call it technique – it doesn’t matter – it was only me playing in the studio.

I always combined elements of sampled sound (many that I created myself) with live recordings of instruments that I played in my studio – guitar, French horn, casaba, flute, etc. I rarely used quantization. It’s not enough to have sampling hardware. You have to understand orchestration, how instrument frequencies interact, idiomatic intervals, what ranges work at what dynamic ranges – in other words, while using technology, “keeping it real” as far as the sound was concerned.

These were the “manuals” where I learned these techniques. Check them out:

“Twentieth-Century Harmony” by Vincent Persichetti

“Principles of Orchestration” by Nikolai Rimsky-Korsakov

“Professional Arranger Composer” by Russell Garcia

“Sounds and Scores : A Practical Guide to Professional” by Henry Mancini

I also hit on some of these topics in these blog posts.

Read these “manuals”, carry them around with you (you’ve got a smart phone, right?), memorize parts of them so that the knowledge is at your fingertips while you teach. Infuse their philosophy into you daily life and be like that W30: tap into power and abilities that you never knew were hidden in your architecture.

I promise you that if you pour over those manuals and see how they apply to the technical aspects of teaching, you will be a better teacher and your students will learn much more about music – and life.

So if you're already teaching and haven't read the manual, may I suggest that you pick them up and start reading today.
You'll be happy you did.

0 Comments

Stop Teaching!

7/2/2022

0 Comments

Yes, you over there!

Stop teaching!

No, I don’t mean get a new job.

What I am talking about is teaching 24/7.

You know the ones, you know who they are.

The ones who claim that they don't have a job; they have a calling?

Those people who say that “Teaching is my life!” who often have a zealot’s gleam in their eye that make me want to slink away to the hors d'oeuvre table at a party?

When you leave the school, stop teaching.

It’s like that joke about the two women discussing their love lives.

First woman: I broke up with my optometrist boyfriend.

Second woman: Why? I thought you were crazy about him!

First woman: I know, he’s a great guy, we have a lot of the same interests, and he’s really a kind person. He's just really irritating in bed.

Second woman: Huh?

First woman: Yeah. He was always saying, "So do you like it better like this... or like this? Like this... or like this?"

Just like our optometrist friend, there are times when we get so wrapped up with our jobs that our lives can go sideways.

For lots of teachers, when they are at school, they are thinking about home life, and when they are at home, they are thinking about their job at school.

Either way, it’s avoidance and unhealthy.

It’s best to give 100% to whichever personal or professional arena we are occupying at any given time and then sign off when we are done.

We (and the people we associate with in and out of school) will be happier with our outlook if we can find the on/off button in our teacher psyche and turn it off when we are not in the classroom.

A couple of places where we should definitely stop teaching:

On a date – a big buzzkill.

On a gig – a bigger buzzkill.

In a principal’s office – Don’t be that music teacher who is going to impart their “Mr. Holland-esqu” knowledge and philosophy on your boss. Don't hold back because they have bigger fish to fry but because they're hunting whales with harpoons. Your plea has the aroma of a bucket of chum, and you'll be putting a bull's eye right next to your blow hole. You’ll only tic them off. Better to go out for a few beers after work and share some self-deprecating gig stories to humanize yourself.

At an open mic – I love when the spoken intro a singer-songwriter gives for their song is longer than the song itself. Stop teaching, start playing.

At a school concert – There was only one Lenny and only one “Young People’s Concerts” and neither of us will ever approach his talent, grace, and technique – so don’t even bother. The parents came to hear their kids, not you. Keep your intros and outros short and try not to make speeches. If you insist in teaching the audience, you will have more than a few frowning parents agreeing with their kids that you talk too much.

At a family holiday dinner – I know you may only be a nephew, but if you talk enough crazy talk at a holiday dinner, you will become the crazy uncle, whether or not you have nephews or nieces. Save it for the Fox and MSNBC message boards. And don’t spill the cranberry sauce. I hear it stains.

In front of an angry person – Really? You wanna teach the guy who is yelling and spraying spittle? That’s like trying to teach the kid who’s yelling or the parent who’s yelling or ANYBODY who’s yelling. It never ends well. And then there's that whole spittle thing.

At happy hour – When I drink, I don’t want to be instructed in ANYTHING or discuss any kids other than you progeny or mine.

At a party – There is a reason they call it a “party”. If they wanted you to teach, they would call it “a boring”.

The cleverest two things you can do at most of the above settings is smile and listen . . . . which just so happen to be two of the the traits of great teachers!

0 Comments

<<Previous

Forward>>

The Songwriter’s Notebook – Tips for Tyros Part One

Seeds

Planting Seeds

Collecting Songs

The College Experience, the 7.5 Hour Job, and the 16.5 Hour Business

Things I Miss From My Music Room Days - Number 53

It Only Takes a Second

Children and birds

Read the Manual

Stop Teaching!

Author

Archives

Categories