In spite of the relatively long history of formalized music teacher preparation in the United States, surprisingly little research has focused on the question of how teachers learn to teach music. The authors of this article have proposed a theory of situated learning, building on the idea of apprenticeship. Several models of music teacher preparation draw on this theory. They attempt to prepare preservice teachers for the realities of contemporary schooling through significant field-based experiences during the initial stages of learning to teach. Small cohort groups of preservice music teachers are based together at the same school site, under the combined supervision of one experienced school music teacher and a university professor. One version of this kind of preparation is the Professional Development Partnership, described in more detail in the resources in the Suggested Reading list and modeled after what the Holmes Group has called a Professional Development School (PDS). In most Professional Development Schools, preservice teachers take part in a rotation, first observing and teaching for a short time in the classrooms of all teachers in a specific grade level or subject area, then remaining in one of those classrooms for an extended internship. This model functions well for the preparation of elementary teachers and for subject-area teachers in language arts, math, social studies and science. It has not, however, worked as well for the preparation of music teachers, simply because it is unlikely to find more than one full-time music teacher in an elementary school building or more than one choral or instrumental music teacher in a middle school or high school. Provided are excerpts taken from conversations with or writings of preservice teachers who were based at one middle school Professional Development Partnership site. The commentary shows that situated learning for preservice music teachers consists of the following: (1) Access to exemplars of music-teaching practice; (2) Engagement in productive music-teaching activity; and (3) Collaborative reflection. (Contains 6 notes.)