Whenever I am asked, "What do you do?" the conversation typically goes something like this. "Well, I'm a teacher." "What do you teach?" "I teach choir." "Oh, that must be fun, what grade do you teach?" "I teach middle school, sixth, seventh and eighth grades." And usually the response is some variation of, "Oh, my gosh. I'm so sorry!" Or, "You must be a saint... or insane!" Or, inevitably, "I don't know how you do that." Unless I intend to have a meaningful conversation about teaching middle school, my response is generally, "No, I really enjoy it, and the kids are great." No doubt, other middle school teachers have experienced similar conversations.

For over 20 years, I have taught and worked with students from elementary through college. And, to the surprise of many, I find the greatest satisfaction in working with middle school age students. Having experienced the thrill of listening to high school students perform with all-state ensembles under the direction of renown conductors, and the never-ending "oohs and ahs" of parents after elementary programs, I find tremendous fulfillment in seeing a middle school choir take shape and then surpass all expectations! I have taught students who were struggling to help raise their siblings, special needs students whose bright spot in the day was choir, and students of considerable intelligence and affluence. And, they all astonish me with their insight, curiosity, wit, desire to do well and, most importantly, their musical promise! However, it has become quite clear through conversations with colleagues, student teachers, students' parents and friends that several myths regarding teaching middle school students exist that I feel warrant dispelling.

Myth #1: Middle school students are aliens and should be avoided.
False. Admittedly, there are days when middle school students can behave like aliens. However, 12-, 13- and 14-year-old students are, in fact, human beings. More often than not, they prove to be likable, interesting and very teachable. Fortunately, I have the luxury of teaching most of my students for three years. As a result, I am able to establish a meaningful relationship and rapport with them. Good, long-lasting relationships can begin in sixth grade when they enter choir, as rules are established, procedures and daily routines are learned, and expectations are outlined and understood. As students grow, mature and begin to become more independent in seventh and eighth grade, discipline problems are considerably reduced, as we have already formed a mutually respectful relationship.

However, this does not mean we should be friends! Friends are people I invite over for dinner on Saturday evening, or kids our students invite to their slumber parties. We can and should be friendly, but not friends. We hope students feel that they can confide in us privately, if necessary. But, it is inappropriate for me to involve my students in my personal life. It is important they recognize that we teachers are human too, but the classroom is not the place to divulge private information, and TMI is TMI!

Middle school students deserve the same respect, support and consideration as students of all ages. Sarcasm, humiliation and other negative behaviors on our part will certainly erode the positive relationships we are striving to develop. Students do recognize when they are consistently treated with respect, fairness and genuine concern. However, when a stern conversation is necessary, doing so in private whenever possible is much more effective in achieving the desired result than embarrassing students in front of their friends. I would much prefer my administrator address an issue with me in private rather than at a staff meeting!

Perhaps the reason I enjoy teaching this age so much is because I was such a typical middle school student, if there is a typical. Remember those days of drama and the incredible high after receiving a note from "him," and the desperate low and sense that life won't go on when you're not selected for the solo. From my adult perspective, these everyday situations may only seem like interruptions and distractions to the rehearsal. But I must be mindful that they are very real to the students. The intensity of middle school students is one of the many qualities that make them so enjoyable.

Myth #2: Working with middle school boys and their voices is impossible.
False. However, working with boys of this age and the challenges their changing voices present is DIFFERENT than working with girls. There is a wealth of excellent literature and information available today to help understand the changing voice, so I will not specifically address that issue. I would, however, like to share a few considerations when working with boys in general.

The first day of school, sixth-grade girls enter our classrooms and are like putty in our hands. They sit quietly in their seats, anxiously awaiting each pearl of wisdom we have to offer and then do their utmost to please us. They are just waiting to be molded into young ladies and accomplished musicians. Boys, on the other hand, are like ants in an ant farm-full of energy, enthusiasm and wonder, ready to become musical studs.

In my experience, placing the boys and girls into separate ensembles is integral to their musical success for numerous reasons. First, when boys are in an all-male ensemble, an environment can be created in which they are allowed to experiment with their ever- changing voice and make mistakes without critical girls looking on. Also, separating the girls from the boys allows for different rehearsal styles. This past year, rehearsals in my Seventh/Eighth-Grade Boys' Choir quickly took on a sports team practice quality. When I complimented someone ... "Great posture today, David." or "Yea, Todd, nice 'ah' vowel," it was usually followed by a few seconds of high-fiving and lots of "way to goes." While this environment was hardly my "plan," it created a wonderful sense of camaraderie and support for each other. This positive, enthusiastic attitude and atmosphere also go a long way when it is time to select classes for the next school year. Several parents shared with me that choir has been, more than once, the topic of conversation at soccer, basketball and football games. Nothing is more effective in recruiting than one cool football player saying to his teammates, "Yeah, choir is fun. You need to take it next year."

Another important reason to separate the boys from the girls is that, face it, at this age the girls can, and do generally move a little faster, simply because they do not have to deal with a new vocal mechanism. The boys should be able to work through those tough vocal times, without the girls impatiently standing by. I also do not want the girls to get bored and lose interest while I spend extra time with the basses helping them match pitch, or review the tenor part, again. Sometimes, it just does take the boys longer to learn and maintain their part. With the girls in a separate choir, they can move on to more challenging literature. The boys will and do, however, catch up!

And lastly, having the ensembles divided by gender allows for much better and more appropriate repertoire options. Repertoire choices can make or break a choir program. It is essential that every boy's vocal range is known and notated. (At the beginning of the year, after listening to each student, I tape a small bit of staff paper in his folder, indicating his range on a grand staff.) Not only am I now aware of the various ranges of the students in the choirs, but also, each boy knows exactly where his voice is - which notes may be easier to sing, which notes should be sung in falsetto, which may be in the middle of his range and easy one day but not the next, what is his lowest comfortable note, etc. Once I am very familiar with the voices in each ensemble, selecting repertoire that fits those ranges is crucial. Be prepared to do lots of "re- arranging" of music for the choir, and recheck (and notate on their staff) each student's vocal range frequently. Most boys' greatest frustration in choral singing, and the reason for boys not continuing in choir, is their attempt to sing music that does not fit their range. Additionally, boys who continue to sing during and through the voice change, oftentimes find that transition much easier than those who do not sing for several years. This is yet another reason why providing boys with a positive singing experience and appropriate repertoire is so important.

In selecting music for male ensembles, don't assume all middle school boys just like to sing sailor and railroad songs! They, too, can and should sing a wide variety of literature. But, also consider the audience ... performing Black is the Color of My True Love's Hair in front of their friends during an assembly may not be the best time to highlight their musicality. When selecting literature, carefully consider the skills and objectives that will be addressed and taught in each piece. Also, remember that what we like or think they'll like, and what they actually like, are likely NOT the same thing. I usually select four to five pieces we'll be working on for our next concert and as we get close to concert time, I let the students select the three or four pieces they like best, or the one piece they'd prefer not to perform. They then have had some input in the decision.

In many situations it is not possible to separate the boys and girls. Depending on the make-up and skill level of the choir, it may be more appropriate to combine the students. In my opinion, the ideal situation for a middle school mixed choir is one in which students are auditioned or director-selected. However, in such mixed ensembles, boys still must sing literature that fits their range. Also, they need to feel they can take risks and make mistakes without being ridiculed, and they need to feel good about their musical experience and their accomplishments. Middle school boys need to feel like rock stars. Boys should be held to the same musical standards as the girls. They are just as capable, but remember to be patient ... baby steps. They will likely sound a little rough for a while, but they can and will make wonderful music and become successful singers and musicians.

Myth #3: Middle school choirs can't ever sound good.
Absolutely false. Yes they can! We are selling ourselves and our students very short if we have low expectations for their musical achievements. I have heard outstanding middle school choirs sing with amazing accuracy, beautiful tone, balance, blend, energy and finesse. Middle-school singers can experience those wonderful moments when the audience begins applauding even before the song ends, and those long seconds of silence while the listeners process the stunning piece they just heard, before beginning to applaud.

Again I'd like to emphasize, the teacher's choice of literature is of utmost importance. Considerations include, but are not limited to the following:

• Vocal ranges of each part
• Appropriateness of the text
• Level of difficulty of the music
• Appeal to the students
• Concepts and skills the piece offers for student learning

I'm embarrassed to admit until a few years ago, I approached selecting music in a rather haphazard, random manner ... Okay, how about a fast piece, a slow piece, maybe one in a minor key, one or two in a foreign language, a folksong, perhaps I can throw in a sacred piece, etc. Then I had an epiphany, an amazing "Ah Ha" moment. What if the music selected was based on the concepts to be taught and the desired student objectives? In other words, rather than teaching a musical concept such as phrasing or staggered breathing when it came up in a piece, I began looking for repertoire that supported the skills and concepts that would be covered during that quarter. Choosing repertoire became a very different experience. An added benefit to this logical, focused approach is that I am already much more familiar with each piece of music before the score study even begins.

Another consideration when selecting literature is the level of difficulty. Shall I select easier literature that students are guaranteed to learn quickly and perform well, or opt for more challenging pieces that will certainly require more rehearsal, and present the possibility that students may not reach quite the same level of performance? I generally try to do a little of both, a piece or two the students can quickly feel good about, and one or two that will really push them. In any case, the literature must always be of good quality (which is another topic, altogether!). Even professional, seasoned musicians enjoy singing familiar songs as do our students. So when choosing popular music, maintain that standard of quality and select only the best arrangements. Generally, students think they want to sing songs they know and hear on the radio. But once they've experienced singing Bach, or discovered music of other cultures, a whole new world of musical possibilities is opened up to them! How exciting it is to help them realize the joy and satisfaction of singing all types of music.

The success of our choirs depends, in large part, on preparation prior to each rehearsal and the rehearsal itself. Again, it is very important to create an environment in which every student feels welcome, where they are encouraged to take risks and be confident they have the support of their peers. Rehearsals should be well prepared, fast-paced, varied, organized and fun! Students should walk out of every rehearsal humming or singing something, or talking about what they did in choir that day. It's music to my ears when other staff members tell me they have to tell students to stop singing in their classes! And above all else, during each rehearsal we must demand excellence in everything they (and we) do. We cannot settle for mediocrity simply because they are middle schoolers.

Myth #4: Teaching choir at the middle school level can never be rewarding or fulfilling. I can't really have an impact.
False again. Middle school is the time when educators can perhaps have the greatest impact on students' lives. It is a time of amazing discovery for them. Provided with an awe-filled, fun and rewarding musical experience, and given the tools and inspiration to continue, students' musical possibilities are limitless. However, if these years are viewed as a period of limbo that doesn't really matter, a time while we wait for the girls' voices to mature and the boys' voices to change, an invaluable opportunity has been missed. Or, if landing a middle school gig is considered a means to another end—getting a real job at a high school—we are doing both our students and ourselves a disservice.

The rewards of teaching middle school choir students are immeasurable. There are small successes, like the day I no longer have to remind students to "sit tall," or the day the entire bass section sings its part, rather than the melody an octave lower. There are also the great moments when students come in before and after school to share with me the song they've written or the guitar part they've been working on for one of our songs. And, how satisfying when students come in day after day, wanting to work on their song for Solo and Ensemble Festival just a little more until it's perfect. It's also very energizing when former students come back to visit and share what they're singing in their high school choir, or to let me know they're majoring in music in college. Of course, middle school music teachers make a difference.

And the moment I'll never forget, the first time one of my middle school choirs gave me goose bumps during rehearsal! Being a middle school music teacher and witnessing the wonderful musical growth that takes place during those three short years is unbelievably fulfilling. I propose you forget what you may have heard or believed to be true about teaching middle school and enjoy these great kids!