Original Course Materials
Trumpet Practice Companion:
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Additional Course Materials Related to Mental Health and Wellness
I have not yet had a student that did not require some sort of guidance or support regarding mental health. Of course, I understand my boundaries as a teacher, which is why I often refer my students to SUNY Potsdam Counseling Services. However, I am truly a believer in the "it takes a village" approach. Whenever appropriate, I try to have open, genuine discussions and provide practical tools for the difficulties they face.
In addition to the extensive discussions on mental health and wellness in the practice companion (see sections IV-VI), I regularly incorporate readings, discussions, and helpful graphics in both lessons and studio class lectures. Here are some examples of outside materials that I've found to be very helpful over the years.
In addition to the extensive discussions on mental health and wellness in the practice companion (see sections IV-VI), I regularly incorporate readings, discussions, and helpful graphics in both lessons and studio class lectures. Here are some examples of outside materials that I've found to be very helpful over the years.
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Maslow's Hierarchy of Needs
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Stress Reduction from SUNY Potsdam Counseling
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Student Accomplishments
Honors and Recognition
- 2025 S.E. Shires Co. Rising Artist, Molly Collins
- 2025 SUNY Chancellor’s Award, Casey Asaro
- 2025 Crane Concerto Competition Winner, Brian McNamara*
*First brass player winner in over 15 years
- 2025 IWBC Ensemble Competition Live Rounds, Virginia Bednarski, Brian McNamara
- 2025 National Trumpet Competition Live Rounds, Adam Sheifer, Maddie Pisciotti, Caiden Cook, Isaac Aviles
- 2023 CBDNA Intercollegiate Band, Olivia Montagno
- 2023 ITG Prelude Trumpet Ensemble, Olivia Montagno
- 2023 Crane Chamber Music Competition (3rd place)
Graduate School Acceptances:
- Longy School of Music, Andrew Shiebler
- University of Akron School of Music, Andrew Shiebler
- University of Maryland School of Music, Dillon Niles
- University of Utah School of Music, Dillon Niles
Assistantships:
- University of Akron School of Music, Andrew Shiebler
- University of Maryland School of Music, Dillon Niles
Alumni Honors:
- 2025 IWBC Lecture Presentation, Olivia Montagno: The Sound of Advocacy: Empowering Music Programs for All
- 2025 National Trumpet Competition Live Rounds, Andrew Shiebler (University of Akron)
Professional and Volunteer Work:
- 2025 Attendance of the Corfu International Trumpet Festival, Ethan Cobey
- 2025 Volunteer for IWBC Conference, Virginia Bednarski, Brian McNamara
- 2025 Volunteer for ITG Conference, Virginia Bednarski, Dillon Niles
- Camp Counselors for Crane Youth Music, Andrew Shiebler, Virginia Bednarski, Brian McNamara
Student Evaluations and Comments
Assistant Professor 2025-current
| mucs_420_fall_2025.pdf |
Lecturer 2024-2025
| mucs_420_spring_2025.pdf |
| mucs_420_fall_2024.pdf |
Visiting Assistant Professor 2022-2024
| mucs_420_spring_2024.pdf |
| mucp_499_fall_2023.pdf |
| mucs_420_fall_2023.pdf |
| mucs_420_spring_2023.pdf |
| mucs_420_fall_2022.pdf |
Emerging Leaders Comments
| emerging_leaders_2024.pdf |
| emerging_leaders_2023.pdf |
| emerging_leaders_2022.pdf |
Colleague Observation Reports
| Wheeler, Spring 26.pdf |
Teaching Reflections
To help guide this section, I have broken it down into four main areas:
Feedback, Reflections, Previous Changes, and Future Changes.
Feedback, Reflections, Previous Changes, and Future Changes.
Feedback:
There are three systems I have used to solicit student feedback, two of which are brand new: course evaluations, a debrief/reflection during every students' final lesson of the semester, and an online survey for studio classes.
Course Evaluations
While you can download the evaluations above, I've included a couple of examples. My response rate for course evaluations hover around 5-10%, and have never been above 31%, even after encouraging students to take the time to fill them out.
Final Lesson Debrief and Reflection
This semester, during each student's final lesson, we spent time reflecting on the semester. I asked them the following questions:
I've compiled pertinent responses below:
What worked/improved for you this semester?
What are some things you'd like to work on?
Areas of Frustration, General Feedback for Me:
- What worked/improved for you this semester?
- What didn't, and what are some things you'd like to work on?
- What goals do you have for the coming semester and beyond?
- Are there any areas of frustration that you have had in lessons? Do you have any feedback or suggestions for change for me?
I've compiled pertinent responses below:
What worked/improved for you this semester?
- Mental and bodily awareness while practicing and performing
- General levels of musical and technical improvement
- Learned how to practice more effectively
- Fixed bad habits
- More success accessing a curious and experimental mindset in the practice room
What are some things you'd like to work on?
- Overcoming barriers to get into the practice room more often
- Attending warm-up classes
- How to practice more effectively
- How to select repertoire for themselves
- Organization: overall scheduling, organizing practice time and within sessions
- How to stay on top of studies when life gets in the way
- Trumpet related: tone quality, articulation, range, endurance, etc.
Areas of Frustration, General Feedback for Me:
- Timeliness for lessons
- Felt like we worked on the same things over and over again
- Wanted more focus on solo repertoire and less on etudes
- Would like me to ask more follow-up questions
- Less time getting off topic during lessons
- Would like me to "focus on one thing at a time"
- "I think that the way you’ve been doing things is wonderful, you’re a very easy person to talk to."
Online Studio Class Survey
At the end of the semester, I sent out a survey specifically about studio classes, where students can respond anonymously. The response rate was over 60%.
What did you like about studio class?
What didn't you like about studio class?
How often did you use the Practice Companion? Did you find it helpful?:
Did you like Warm-Up Classes? Would you attend next semester?:
What is the sense of community within the studio?
Any suggestions on how to improve community?:
What did you like about studio class?
- Felt like the sense of community came back
- Good amount of time given to each performer
- Liked that there was space for both students and professor to give feedback
- "How friendly the atmosphere was and how you encouraged everyone—even the freshmen—to make their voices heard"
What didn't you like about studio class?
- Not enough performance time
- People's comments were unhelpful and repetitive
How often did you use the Practice Companion? Did you find it helpful?:
- Ranged from occasionally to barely
- Students found it to be useful when they remembered to use it
Did you like Warm-Up Classes? Would you attend next semester?:
- Those who went found them incredibly useful
- Generally pretty split about attending next semester
- Biggest complaint is that the class is too early
What is the sense of community within the studio?
- "The studio is in a very healthy place right now and is very friendly with each other all across"
- "Personally I feel like there is already a strong sense of community in the trumpet studios like almost half my friends are other trumpet players."
- "I feel we don't interact enough but nice things like the hot chocolate thing at the end of the year was nice so maybe more like that."
- "In my opinion the studio is spit into many cliques that honestly doesn't inspire much community."
- Feels overly competitive at times
Any suggestions on how to improve community?:
- Having more trumpet peer events can encourage more collaboration: duet days, small ensemble group work, peer lessons, friendly competitions for levels preparation.
- More cross-studio collaboration
- More studio bonding events like hiking, movie night, etc.
Reflections
With the breadth of feedback I received, I recognize that I have created a substantial amount of reflective work for myself. However, analyzing this data alongside my own observations has been extremely valuable in identifying a productive and sustainable path forward in my teaching.
Beyond the specific feedback, there are two primary areas on which I intend to focus. The first is finding an appropriate balance between my professional performance and recruitment activities and my teaching responsibilities. This has been an ongoing challenge since I began teaching at Crane in 2022. As a performer, a significant portion of my scholarly and creative work involves professional travel and public-facing engagement. Most recently, the end of the semester included three major commitments in close succession: a week-long recruitment tour with Dr. Chris Keach and Dr. Risa Okina; a presentation and attendance at the NYSSMA Conference in Rochester; and a drag trumpet performance in New York City that received national media attention in The Huffington Post. Each of these activities contributed meaningfully to my professional development, university service, and recruitment efforts. However, the timing of these events led me to feel that I was insufficiently present for my students, a concern that was reflected in past evaluations during my time as a Visiting Assistant Professor. As my roles at Crane have evolved, so have my priorities. In my previous appointments, it was necessary to maintain a broad professional profile while demonstrating strong institutional commitment. Now, as a tenure-track faculty member, my primary responsibility is this position and the students I serve. With new expectations related to recruitment and service, I am actively working to recalibrate my professional pace and establish a more sustainable balance—one that benefits the institution, our students, and my own well-being. This period of adjustment is ongoing, and I am increasingly aware of the need to slow down, reorient, and be more fully present. I am confident that as I continue to settle into this role, I will establish a consistent and effective rhythm.
The second area of focus relates directly to student communication. Moving forward, I plan to solicit student feedback in a more regular and structured way. In several instances, meaningful concerns were not shared with me until I engaged students in more intentional, in-person conversations. This has prompted reflection on my own approachability and highlighted the importance of fostering a studio culture that prioritizes direct, respectful, and timely communication. I recognize that students may internalize frustrations rather than express them, and I see this as an opportunity to both strengthen my own awareness and more explicitly teach professional communication skills as part of their musical training.
Beyond the specific feedback, there are two primary areas on which I intend to focus. The first is finding an appropriate balance between my professional performance and recruitment activities and my teaching responsibilities. This has been an ongoing challenge since I began teaching at Crane in 2022. As a performer, a significant portion of my scholarly and creative work involves professional travel and public-facing engagement. Most recently, the end of the semester included three major commitments in close succession: a week-long recruitment tour with Dr. Chris Keach and Dr. Risa Okina; a presentation and attendance at the NYSSMA Conference in Rochester; and a drag trumpet performance in New York City that received national media attention in The Huffington Post. Each of these activities contributed meaningfully to my professional development, university service, and recruitment efforts. However, the timing of these events led me to feel that I was insufficiently present for my students, a concern that was reflected in past evaluations during my time as a Visiting Assistant Professor. As my roles at Crane have evolved, so have my priorities. In my previous appointments, it was necessary to maintain a broad professional profile while demonstrating strong institutional commitment. Now, as a tenure-track faculty member, my primary responsibility is this position and the students I serve. With new expectations related to recruitment and service, I am actively working to recalibrate my professional pace and establish a more sustainable balance—one that benefits the institution, our students, and my own well-being. This period of adjustment is ongoing, and I am increasingly aware of the need to slow down, reorient, and be more fully present. I am confident that as I continue to settle into this role, I will establish a consistent and effective rhythm.
The second area of focus relates directly to student communication. Moving forward, I plan to solicit student feedback in a more regular and structured way. In several instances, meaningful concerns were not shared with me until I engaged students in more intentional, in-person conversations. This has prompted reflection on my own approachability and highlighted the importance of fostering a studio culture that prioritizes direct, respectful, and timely communication. I recognize that students may internalize frustrations rather than express them, and I see this as an opportunity to both strengthen my own awareness and more explicitly teach professional communication skills as part of their musical training.
Previous Changes Made
Over the past several years, I have implemented a range of changes in response to student feedback and my own ongoing reflection. Here are several examples:
- Introducing practice journals and a practice companion to help students develop greater structure, accountability, and independence in their daily practice.
- Implementing end-of-semester debriefs and surveys to encourage reflection, communication, and continuous improvement.
- Offering optional warm-up classes at 7am on Fridays to support foundational development and promote healthy, consistent routines across the studio.
- Resigning from the South Florida Symphony in order to reduce travel and better prioritize my responsibilities to Crane and my students.
- Actively working on improving my own time-management practices to ensure that each student consistently receives their full 50-minute lesson.
Future Changes to be Made
- Feedback and communication: continue working on teaching students how to communicate effectively and solicit feedback through more direct questioning. There are several specific students who I know will benefit significantly from this approach. This also means continuing the end-of-semester debriefs and surveys, in addition to strongly encouraging students to complete their course evaluations.
- Be more intentional and strategic when planning professional travel, with greater attention to timing and overall impact on students.
- Student goal ownership: as noted in several evaluations, we often begin semesters by identifying goals. I need to be more intentional about putting students in charge of tracking and articulating their own goals. I cannot realistically keep track of everyone, and I want students to use their goals to frame their own progress. In previous semesters, I have taken on too much of the responsibility for their goals, which can lead me to prioritize my own ideas for them. I would like to shift my role toward facilitator rather than problem-solver. I keep returning to the idea of “teaching someone to fish”—at times, students expect me to be the feeder, and I would like to help them develop greater independence and ownership.
- Continue to improve timeliness to lessons and remain more focused and efficient during lesson time.
- Several first and second-year students expressed frustration with the heavy emphasis on etudes rather than collaborative solo repertoire. While I believe strongly in my pedagogical sequence, I can do a better job explaining my process and making thoughtful exceptions when appropriate, especially if it improves the student experience.
- Spend more time teaching students how to give insightful, constructive, and professional feedback in studio class.
- "Focus on one thing at a time": This comment initially surprised me but became clearer upon reflection. Many students have shared that they experience ADHD and feelings of overwhelm; one student described the work as “too big.” I frequently tell my students that trumpet playing feels like keeping kittens in a basket: multiple elements must be managed simultaneously. While this multitasking is unavoidable, the reality is that we can only focus on one thing at a time, and the process is inherently slow. Moving forward, I need to be more explicit and intentional in guiding students through this process, while also acknowledging and navigating apparent incongruencies, such as a desire to focus on one element at a time alongside frustration with “working on the same things over and over again.” This includes being more attentive to when the pace of instruction may be moving too quickly and adjusting accordingly.
Other Ideas for Change
Separate from the evaluation reflections, I have thought about implementing the following projects and ideas for the coming semester:
- Add in an optional Fundamentals Class each week. Similar to the warm-up classes, this is a completely optional "class" where students can learn how to practice their fundamentals. Rather than thinking of this as a class, one can consider it office hours.
- Utilize some studio classes as a practice lab. Instead of students perform, have students practice in front of everyone and receive comments.
- Etude recording project: This idea came from speaking with Dr. Mark Hartman, retired Professor of Trombone. For this studio-wide project, each student will record the same etude, with recordings shared anonymously in studio class for group listening and discussion. The goal is to develop critical listening skills, encourage thoughtful and constructive feedback, and normalize the recording process as a tool for self-assessment rather than evaluation.
Additional Reflections and Evidence of Diversity, Equity, and Inclusion
Non-Classical Repertoire
Fall 2025:
“I always learn a lot from Dr. Spence whenever we have lessons; there are moments where he forgets to be responsive to the students' real needs. Over the course of my degree, I have learned a huge deal from him, and his style is important to learn from. It was especially important in the development of my recital, and his help was crucial in that preparation work. Sometimes while working with him, it felt like he was less concerned about my studies and was more of an impediment than a resource that wanted to point me in the right direction. No doubt, my trumpet playing improved tenfold with his help, and he can be a completely effective, motivating professor.”
Spring 2025
“Through the preparation of my recital, Dr. Spence has been incredibly flexible and helpful, which I really appreciated at the time. His teachings work, and he comes from a very important and well studied tradition of Trumpet playing that has been very influential in my learning in the past few years. I'm very glad that Dr. Spence is going to continue teaching at Crane. I do want to note that I question Dr. Spence's readiness to be an advocate for all musicians here at Crane. While performance is a big part of the experience in any music school, Crane has the ability to offer students a lot of variety, and I'm unsure if Dr. Spence's support is all-around. Just a note, since I am still very grateful for my time learning with him.”
Fall 2025:
“I always learn a lot from Dr. Spence whenever we have lessons; there are moments where he forgets to be responsive to the students' real needs. Over the course of my degree, I have learned a huge deal from him, and his style is important to learn from. It was especially important in the development of my recital, and his help was crucial in that preparation work. Sometimes while working with him, it felt like he was less concerned about my studies and was more of an impediment than a resource that wanted to point me in the right direction. No doubt, my trumpet playing improved tenfold with his help, and he can be a completely effective, motivating professor.”
Spring 2025
“Through the preparation of my recital, Dr. Spence has been incredibly flexible and helpful, which I really appreciated at the time. His teachings work, and he comes from a very important and well studied tradition of Trumpet playing that has been very influential in my learning in the past few years. I'm very glad that Dr. Spence is going to continue teaching at Crane. I do want to note that I question Dr. Spence's readiness to be an advocate for all musicians here at Crane. While performance is a big part of the experience in any music school, Crane has the ability to offer students a lot of variety, and I'm unsure if Dr. Spence's support is all-around. Just a note, since I am still very grateful for my time learning with him.”
I found these two evaluations challenging to interpret, particularly as they appear to have been written by the same student across two consecutive semesters and reflect differing perceptions. While the student consistently acknowledges the positive impact of my teaching (especially regarding technical improvement and recital preparation) they also express concern about my support for non-classical musical interests. The student frequently communicated an interest in jazz and other non-classical styles. Although these areas fall outside my primary training as a classical trumpet specialist, I made a deliberate effort to support these goals to the best of my ability. After the completion of the student’s recital, I devoted all remaining lesson time to these interests. Here are a few examples:
I was transparent with the student about the limits of my expertise and encouraged them to seek additional mentorship from Dr. Hong, whose specialization aligns more closely with these areas. While I am discouraged and disappointed by the student’s perception that I was not invested in their non-classical development, I am confident that I responded thoughtfully, professionally, and in good faith to their stated goals.
- Several assignments on jazz transcriptions. We worked on the accuracy of notation and how to emulate aspects of the artist’s sound when playing the transcription (things that one can emulate, but not necessarily dictate). We did lots of listening and discussion, along with playing along to the actual recording.
- We played through jazz standards and analyzed the texts (when applicable) and phrase structures in order to inform style and phrasing. We talked about how that can inform improvisations as well.
- We played jazz duets and I even challenged myself to improvise along with them.
- In studio class, I coached the student in a jazz standard along with a jazz piano accompanist. We talked about story-telling through improvisation and how elements of timbre, articulation, dynamics, and silence can all be used to tell a story.
- The student was also in the mariachi ensemble. We spent several lessons working on how to play in the mariachi style (articulation, sound quality, vibrato) and experimented with utilizing different equipment for more ease and stylistic appropriateness.
I was transparent with the student about the limits of my expertise and encouraged them to seek additional mentorship from Dr. Hong, whose specialization aligns more closely with these areas. While I am discouraged and disappointed by the student’s perception that I was not invested in their non-classical development, I am confident that I responded thoughtfully, professionally, and in good faith to their stated goals.
Evidence of DEI in Teaching
My applied trumpet syllabus includes an explicit requirement that all students performing a recital program repertoire by underrepresented composers: at minimum, one work for a 30-minute recital and two works for a 60-minute recital by composers who identify as BIPOC, LGBTQIA+, women, or members of other historically marginalized groups. This requirement has been effective in broadening students’ awareness of diverse repertoire and has meaningfully expanded the range of works studied within the studio.
In addition, I am intentional about representation in my teaching materials. Given the historical underrepresentation of women and people of color in the trumpet field, I regularly share recordings and performance examples by women and BIPOC trumpet artists. This approach provides students with a wider range of artistic models and reinforces the importance of diverse representation within the profession.
In addition, I am intentional about representation in my teaching materials. Given the historical underrepresentation of women and people of color in the trumpet field, I regularly share recordings and performance examples by women and BIPOC trumpet artists. This approach provides students with a wider range of artistic models and reinforces the importance of diverse representation within the profession.