Co-edited with Mary Jo Papich, this book provides one huge “room” where everyone can gather to ask questions on the art of rehearsing and listen to answers from people who know. A portion of the proceeds from this book benefits the Jazz Education Network; clicking on "Read More" links to the publisher's webstore.

Ryan is a contributing author to this collection of 57 articles from educators, performers, and industry professionals to help jazz educators of all levels from junior high to university and novice to professional. Clicking on "Read More" links to the publisher's webstore.

Back-issues of Ryan's monthly newsletter; subscribe to upcoming issues using the form at the bottom of this page.

Quick bits of advice for those about to leave the comfy womb of music academia.

Tuning is one of the few areas of music that are binary; something is in tune or it is not. However, even though most everyone would agree with this statement, the subject of tuning and its pedagogy get surprisingly muddled especially within the world of marching band. While there are still many ways to address tuning, keeping in mind the following concepts will help guide you to success and diagnose problems you may encounter.

In part 1, we established two major things about tuning; that it is by definition a comparison, and that having a consistent quality of tone is important before tuning. Now we can use those ideas to clarify some other areas of tuning and provide a guide to address some common problems.

Performing with accurate vertical rhythmic alignment or “playing in time” is a subject worth addressing in any style of music, but nowhere is it more important or difficult than in marching band. Unusual listening environments and placement of performers leads to complex situations and unique problems, but understanding and applying the following concepts tends to provide simple solutions to even the trickiest scenarios.

Simple yet important concepts to help anyone trying to learn music improvisation in any style.

Whether as an educator or a performer, the idea of brass players warming up properly is both extremely important and tied to the idea of a regular practice routine. Here are some of the most important ideas to consider when developing or examining your own routine.

When teaching jazz for high schools and middle schools, all too often the discussion is about what is different about jazz playing versus classical playing. There is certainly no shortage of these differences, but for band directors looking to develop consistent musical habits in their programs and who may or may not have a strong jazz background themselves, looking for and emphasizing commonalities can be very helpful.

Simple concepts to help improve or focus marching band show design.

Ryan's broad reach has put him at the forefront of countless discussions regarding both the immediate and long-term future presented by the COVID-19 pandemic, giving him a unique perspective on adapting existing programs and trying to plan ahead. He offers the insights he’s gained through those experiences here with some basic guidelines to help you think through your own situation.