SA Music Teacher Autumn 2023

IN THIS ISSUE

2023 SUMMER PD DAY REPORTS

THE OVERTONE SERIES PART 3

STUDYING A SET WORK

WELCOME FROM THE PRESIDENT

As the President of MTASA (The Music Teachers’ Association of South Australia), it gives me great pleasure to welcome you to the latest edition of our magazine. I hope this publication finds you well and recharged after a successful Summer Professional Learning Day.

The Summer Professional Learning Day was held on January 25, 2023 in the lovely Hartley Concert Room, University of Adelaide. It was an outstanding opportunity for music teachers to come together, learn, and grow. I was inspired by the energy and passion in the room and the commitment of our members to advancing the field of music education.

In this edition of the magazine, you will find articles and resources that build on the themes and topics covered during the Summer Professional Learning Day. These reviews and resources are designed to support you in your ongoing professional development and to help you bring the latest innovations and best practices into your teaching.

As music teachers, we play a crucial role in shaping the next generation of musicians, music lovers, and citizens. By staying informed, connected, and engaged, we can continue to make a positive impact on the lives of our students and advance the field of music education.

I encourage you to take some time to read through the articles, try out some of the new teaching strategies and techniques, and share your thoughts and feedback with the community. Let’s continue the conversation started at the Summer Professional Learning Day and work together to make a lasting impact in the lives of our students.

Thank you for your commitment to music education and for your continued support of The Music Teachers’ Association of South Australia.

Sofie Arhontoulis, President MTASA

VOLUME 31 No 1 AUTUMN 2023

PATRONS : Dr Doreen Bridges AM, Emeritus Professor David Lockett AM, Her Excellency the Honourable Frances Adamson AC, Governor of South Australia and Mr Rod Bunten

PRESIDENT : Sofie Arhontoulis

VICE-PRESIDENT : Rodney Smith, Wendy Heiligenberg

SECRETARY : Elena Shakallis

TREASURER : Samantha Penny

AUDITOR : Australian Independent Audit Services

COUNCIL 2022/2023 : Sofie Arhontoulis, Pete Barter, David Brookes, Wendy Heiligenberg, Masako Kondo, Kathleen Lawler, Zuoyu Liu, Yong Cheong Lye, Yuxin Men, Anthea Mur, Samantha Penny, Elena Shakallis, Rodney Smith

EDITOR : Masako Kondo

LAYOUT : Sectrix

MEMBERSHIP ENQUIRIES to the SecretaryPO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219

E-mail: info@mtasa.com.au

ADVERTISING - please contact the Secretary

Please see MEMBER INFORMATION page for Advertising Price List.

DEADLINES FOR 2023

Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor (info@mtasa.com.au) no later than these deadlines:

Saturday April 29, Friday July 14, Friday October 27.

SOME CONTRIBUTING GUIDELINES

All text is to be submitted to the Editor for review.

Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both.

Single inverted commas to be used; double inverted commas only inside single inverted commas.

The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ?

MTASA WEBSITE

Please visit mtasa.com.au

MTASA FACEBOOK

Please visit the MTASA Facebook page at www.facebook.com/MusicTeachersSA/

WELCOME FROM THE PRESIDENT by Sofie Arhontoulis

COMING

COMING MTASA EVENTS

Saturday, 22 April

Concert Performance Day 1

Venue Time Ticket

Flinders Street Baptist Church

1:30 pm, 3 pm, 4:30 pm

Via Eventbrite

Sunday, 25 June

Concert Performance Day 2

Venue

Time Ticket

Flinders Street Baptist Church 3:00 pm, 4:30 pm

Via Eventbrite

Monday, 3 July

Dr Poom Prommachart webinar: Preparing Your Students for Success – The Difference between Examination and Competition

Time Ticket 8:00 pm (45 mins + 5 mins Q & A) Via Eventbrite : :

Saturday, 16 September

Competition Day (Miriam Hyde Awards)

Venue

Time Ticket

MEMBER INFORMATION

NEW MEMBERS

The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events.

Jenny Xu, Student, Piano

Shuhan Zhang, Student, Piano

Lucy Macourt, Full, Violin

David Shinn, Full, Classroom Music

Xuting Zhao, Full, Piano, Voice, Comp, Accompaniment

Loretta Bowshall-Freeman, Full, Piano

NEWS

Australia Day 2023

Order of Australia

We congratulate Rodney Smith OAM For service to music education

MTASA MEMBERSHIP FEES

Hartley Concert Room, The University of Adelaide 9 am, 1 pm

Via Eventbrite

Sunday, 12 November

AGM

Venue Time Ticket

St Spyridon College 5:30 pm

Via Eventbrite

The membership fees are:

Full member $125

Associate (continuing only) $115

Student member $62

Friend $33

Institution $33

RECOMMENDED TEACHING FEES

The following teaching rates are recommended to members by the MTASA Council for 2023.

Full Member - $80 per hour

Student Member - $55 per hour

MTASA MEMBERSHIP RENEWALS

Membership Subscription Renewals for 2023/2024 will be due on June 30. Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2023/2024 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Learning during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary. Paper invoices were sent to members who prefer to receive them.

POST-NOMINALS

Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.

REQUIRED PROFESSIONAL LEARNING FOR FULL MEMBERS OF MTASA

MTASA has introduced a Professional Learning scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents.

From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Learning during the previous twelve months.

The following examples are provided to give general guidance for Full members about Professional Learning that would be acceptable to MTASA.

These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au).

Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Learning.

MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Learning. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.

Examples of Professional Learning that would be acceptable to MTASA:

1. Online.

Attending a webinar or similar event; undertaking an online e-learning course.

2. Face-to-Face.

Attending a conference, workshop, masterclass or lecture.

3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution.

4. Personal Research. Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance.

Self-conducted research leading to a presentation, masterclass or workshop at a conference.

Composing an educational piece of music that motivates a group of pupils.

5. Team Research. A joint project with others that achieves particular improvements in a training ensemble.

Joint creation of music teaching materials that improve learning in a group of pupils.

Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!

EDUCATORS SA

As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers:

Andersons Solicitors offer MTASA members:

• 10% off legal services, in ALL areas.

• Free initial phone conversation with a lawyer.

When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/.

Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.

NOTICE TO STUDENT MEMBERS

Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience).

Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).

WORKING WITH CHILDREN CHECK

(WWCC)

New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000.

People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires.

People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child.

A Working With Children Check is needed for all schools (Government, Catholic and Independent). For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks.

EVENT VOLUNTEERS NEEDED

Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up the venue, helping with registration at the check in table, ushering, assisting performers, helping with meals, and packing up afterwards.

It is a great way to network and a volunteering certificate will be provided, which will enhance your CV!

For more information, please e-mail the Secretary at info@mtasa.com.au.

TEACHING IN REGIONAL SA

In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. There are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa.com.au.

MTASA MEMBERSHIP NOTES

Visit mtasa.com.au/index.php/members/becomea-member/ to join MTASA.

Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017, can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership.

MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.

TEACHERS OF THEORY/ MUSICIANSHIP

To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent. Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).

CONTRIBUTIONS TO

The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au.

ADVERTISE WITH SA MUSIC TEACHER

One issue $110. Four issues $375.

Advertisers have two choices:

1. To provide the inserts

2. To provide the artwork, MTASA will arrange the printing and invoice for this.

Members placing an ad are entitled to a 15% discount.

AD

MTASA Members, free. Non-members, $17. Please contact the Secretary (info@mtasa.com.au) about advertising.

‘SA MUSIC TEACHER’

RODNEY SMITH OAM

It is with great pleasure that we extend our warmest congratulations to Rodney Smith, who has recently been awarded the Order of Australia Medal (OAM) for his outstanding service to music education in South Australia.

Rodney is a dedicated and passionate educator, national examiner and AMEB Piano advisor, who has dedicated his career to promoting the importance of music in the lives of young people. Throughout his career, he has worked tirelessly to create opportunities for students to engage with music and develop their skills and talents.

As a music educator, Rodney has demonstrated a deep understanding of the transformative power of music. He has worked with students from all backgrounds, helping them to discover their own unique musical abilities and inspiring them to pursue their passions.

Rodney’s impact on music education in South Australia has been profound. He has been a leader in developing innovative music programs, fostering collaborations between schools and community organisations, and promoting the importance of music in the wider community.

His tireless work has not gone unnoticed, and we are thrilled to see Rodney recognized with this well-deserved honour. This OAM is a testament to his dedication and commitment to music education in South Australia, and serves as a reminder of the importance of music in enriching the lives of young people.

Rodney’s influence extends far beyond his students and colleagues, and his contributions to music education will have a lasting impact on generations to come. We are proud to have him as a part of our MTASA Council, as past president and current vice-president, and we offer our sincerest congratulations on this well-deserved recognition. Congratulations, Rodney, on this outstanding achievement!

Emeritus Professor DAVID LOCKETT

It is with great gratitude and admiration we note that our Patron, Emeritus Professor David Lockett, is stepping down from his role as Chief Examiner, AMEB Federal, and examiner in AMEB SA & NT. Professor Lockett’s exceptional contributions to the field of music education and his unwavering commitment to excellence have been an inspiration to all who have had the privilege of working with him.

David Lockett’s career has included solo and chamber music concerts in fourteen countries as well as recordings for radio, television and CD. He has given many premiere performances of new compositions by Australian composers. He recorded the piano music of Margaret Sutherland for ABC Classics, later editing it from original manuscripts for a landmark publication. Over a long association with the Elder Conservatorium of Music, he was appointed to senior roles including that of Director, Associate Dean of Learning and Teaching and Head of Keyboard. He was the first performer to be awarded a Doctor of Music degree from the University of Adelaide and to be promoted to the rank of full professor. His teaching has been recognised through the Stephen Cole the Elder Award for Excellence prize at the University of Adelaide and an honorary life membership of the

Piano Teachers’ National Association of Japan. He has adjudicated competitions in Australia, China, Japan, Malaysia and Great Britain. In 2010, David Lockett was awarded an AM (Member of the Order of Australia) for service to music as a concert pianist, educator and researcher, and as an advocate and supporter of Australian music and composers. He is a Patron of the Music Teachers’ Association of South Australia and an Honorary Fellow of the Australian Music Examinations Board (AMEB). His contributions to AMEB have included state, federal and overseas examining, membership of the board of directors, chair of various syllabus committees, compiler and editor of Series 17 and Series 18 piano publications and development of the existing piano syllabus that was launched in 2018. He was Chief Examiner (Practical), overseeing Licentiate and Fellowship examinations across the country.

RECENT EVENTS

Summer Professional Learning Day

Jane Burgess

By Rodney Smith

When: 25 January 2023

Pete Barter

By Rodney Smith

When: 25 January 2023

Teaching repertoire: addressing the reading challenges

As our first presenter and one of our Keynotes, we were fortunate to have Jane Burgess laying a very clear foundation concerning the parameters of learning and improving music reading. A late start caused by technical difficulties in the building didn’t perturb her in the least. Whether discussing clefs, music shapes, or rhythmic groupings, she ensured every concept discussed was addressed thoroughly and logically and the musical examples were engaging and pertinent. This was an ideal way to commence the day’s topic.

Building Blocks of Rhythm

Citing the well-known maxim “We spend 4 years learning to read but a lifetime reading to learn”, Pete Barter entertainingly explored the world of rhythm in which drummers live. In particular we were introduced to his enterprising approach to learning rhythmic motifs in the early stages. Pupils affix LEGO pieces in a rhythmic sequence that can easily be changed for different rhythms. This has proved a reliable and durable device for him especially in school settings and audience participation demonstrated its straightforward qualities.

Yuxin Men and Rodney Smith OAM

By Wendy Heiligenberg

The final session on our PL Day was shared jointly by committee member Yuxin (Melody) Men and our Vice President Rodney Smith OAM.

Their topic of choice was “Learning to read music in an age-appropriate manner and with fluency”.

Melody’s presentation was geared primarily to violin teaching and the challenges of how to teach students in an age-appropriate manner.

She recommended teaching materials for younger and older players and stressed that being able to read music is an essential and serious tool.

Younger players, with shorter attention spans could benefit from listening to recordings, recording themselves or reading note and rhythm flash cards. The Fiddle time Series and Encore Strings include backing tracks which she has found very beneficial. “A New Tune a Day” was recommended for adults, as it includes good descriptions of the aims of each lesson, as do the AMEB Series Books.

Rodney focussed very much on thinking outside the square in the ways we teach. He provided us with a tantalising list of eminent thinkers and educators who have researched and investigated different ways of learning. It is these educators who have contributed to the way we teach at schools and in music. For example, Carl Rogers (Pupil Centred Learning), Abraham Maslow (Self-actualisation and

Hierarchy of Needs), Benjamin Bloom (Taxonomy - i.e. classifying the learning levels of students to their strengths), David Keirsy (Temperament Sorter (KTS), David Kolb (Discovery Learning or Experimental Learning), Gary McPherson (SelfMotivation and Flexibility of Learning – facilitating students who need remediation) and the music focussed educators like Frances Clark (The Music Tree series- reading music by shape) and Fred Kern (Hal Leonard Series, with rhythm being at the heart of everything in music.)Rodney then illustrated some of these ideas with some teaching examples.

He encouraged us to think about what great teachers have said and I for one have already enjoyed delving into the ideas presented by these famous educators. Rodney’s talk also reminded me of something that the great Leonard Bernstein once said- Great teaching is not merely imparting knowledge but more importantly it involves stimulating the appetite for knowledge in our students.

As a music teacher who works primarily in a oneto-one teaching situation, I am lucky to have the luxury to spend time working out how to adjust and help each student individually, and “think outside the square”, something which is unfortunately virtually impossible in a classroom situation.

“Systems and relationships within the scope of Music Reading” Presented by Samantha Penny

by Yuxin Men

Sam Penny is an award-winning woodwind and string teacher based in South Adelaide. Sam is a graduate of The University of Adelaide with degrees in both Music Education and Commerce. She is a Bigger Better Brains Facilitator and passionately advocates for music education at every opportunity. She is the MTASA Treasurer and has served on the council since 2015.

Sam’s topic explored the many and varied systems that we use when teaching music reading that learning this skill may be a very different experience for everyone. She discussed ‘How did students learn to read music? What methods did teachers use to help students? How do teachers approach teaching music reading to their students? Do you think reading music is hard for some?’

Firstly, she gave some methods to help acquire music reading skills, such as using tab/pictorial rep, colour strings, anchor notes, etc.

Secondly, she talked about relationships. She discussed three main points: enthusiasm for reading music, pre-disposition to visual learning, attitudes and pre-conceived ideals.

Thirdly, she spoke about systems and approaches.

She presented her views from the following perspectives.

Reading: sound to symbol methods

Pre-reading: the elements of music

Graphic focus: pictorial representations.

Fourthly, she mentioned relationships and personal disposition, including personal abilities, attitudes and self-belief, instrument and genre. What struck me was that Sam left time for the audience to discuss the questions: ‘What possible influences will have an effect on this person’s relationship with music reading?’, ‘What music reading systems would be appropriate in this situation?’ and split into small groups to discuss the different questions, with the teachers all suggesting a representative based on their teaching experience to give their final group insights.

Sam’s presentation was excellent. She gives her insights and practical solutions to the skill of reading music for students. Furthermore, there was an excellent interaction between her and the audience. This presentation was great for getting involved and sharing experiences with each other.

Presenter: Sofie Arhontoulis “To app or not to app?

Unpacking and exploring note reading apps and games”

by Kathleen Lawler

Many music teachers have adopted note recognition apps to engage this generation of children who have grown up with iPads and smartphones. But are these apps genuinely helpful or just an enjoyable distraction for our students? MTASA President, Sofie Arhontoulis shared her thoughts in an interesting presentation on this topic.

She surveyed a variety of note reading apps, including Note Trainer, Note Quest, Music Tutor,

and Nin Genius. All of these apps can only be accessed through the iPad screen, not using your own instrument. These apps are therefore not useful for non-pianists. Some of them only stretch 1 octave, which is also of limited use.

Note Rush, however, uses the microphone to allow students to use their own instrument, whether this is a piano or another instrument. Sofie thinks this app is probably the most useful in developing note recognition skills and developing hand-eye coordination.

However useful Note Rush is in training note recognition skills, it still doesn’t develop an understanding of relationships between notes, which is so important in developing fluency in sight reading. Sofie concluded that there is no substitute for old fashioned practice in sight reading real pieces of music in developing fluency.

ARTICLES

ACCOMPANIST’S CORNER

ACCOMPANIMENTA STUDENT’S EXPLORATION

Compiled by Monika Laczofy and Leonie Hempton

2023 is AGSA’s Ruby Anniversary Year and we began the celebration quite early!

A visit from our international patron Phillip Moll in February was a highlight.

Born in Chicago, Phillip Moll lives in Berlin as accompanist and ensemble pianist. Phillip has performed with many of the world’s finest musicians including James Galway, Kathleen Battle, Anne Sophie-Mutter, Kyung Wha Chung, as well as ens3mbles from the Berlin Philharmonic, the RIAS Chamber Choir and the Wind Soloists of La Scala. His brief visit to Adelaide made it possible for us to arrange two classes on Duos (Flute and Voice with Piano) and a limited number of individual lessons for pianists and duos.

With the support of the Elder Conservatorium, these were held in Bishop Hall.

Performers were Shawn Hui accompanying flautist Jenny Hu, Thomas Saunders with flautist Lisa Gill (courtesy of the ASO), Jenny Su and Haowei Yang accompanied soprano Lucy Stoddart and Sachiko Hidaka played with soprano Katelyn Crawford. What an excellent couple of days we had with Phillip Moll and his delightful and insightful probes into the performances. It was clear from the start that Phillip wanted to go in depth into each piece. His comments were interesting for the audience as well as the performers, showing his very deep knowledge of all the music.

The next very special event was on February 13 - we were delighted to be invited to Government House to celebrate the Guild’s Ruby Anniversary. The Governor, Her Excellency The Honourable Frances Adamson AC and her husband Mr Rod Bunten welcomed about 70 members and friends of the Guild to the reception.

Among the guests we were delighted to see Diana Harris OAM, founder of the Guild, David Miller AM from Sydney Conservatorium and the NSW branch of the Guild.

Phillip Moll, came back to Adelaide for the Reception after indulging in one of his other interests - several days of ‘train journeying’ interstate!

It was a wonderful opportunity to gather together our supporters, many of whom we haven’t seen for a long time.

We hope that this will be the beginning of a very exciting year for the guild, and one in which we can build on existing relationships and establish ongoing connections with young musicians.

A short performance by two ‘junior’ members, pianist Samantha Li and clarinettist James Skelton, was enjoyed and praised by all. Still to come - watch this space - are our Junior Ensemble Musicians (JEMs) and Young Accompanists Showcase (YAS) events in May and June, then the Ruby Festival in August and Ruby Geoffrey Parsons Award competition (GPA) in September – it will be a well filled year!

TEACHING SINGING FOR MUSIC THEATRE

Happy New Year!

By Pat H Wilson

It’s the pits, folks

Happy New Year to musicians of all ages and sizes. And as Hairspray, this year’s holiday musical settles in for a run at Festival Theatre, audiences relish the unholy alliance of Shane Jacobson and Todd McKenney. Reality check: it’s paid jobs for 37 actor/singer/dancers, plus creatives, musicians, technical crew and front-of-house workers. Yes, music theatre is a profession in Australia… which set me thinking about the multitude of community music theatre productions staged across South Australia throughout the year, and the marvellous musical directors and pit musicians who make them possible.

Whether you’re teaching a young pianist in Golden Grove or a young flautist in Port Pirie, chances are that their skills will one day be snapped up by a musical director putting together a pit band for the next local musical. Playing in the orchestra pit for a musical is a valuable experience for any developing

“Let’s watch the old year die With a fond goodbye, And our hopes as high As a kite.”

[“Let’s start the new year right”, music and lyrics by Irving Berlin - Holiday Inn, 1942]

musician… so I asked a number of my musical director pals what abilities and attitudes they look for when seeking a pit muso. I gave them a list of 12 attributes:

What does the MD look for in a pit muso for a musical?

• Recommendation from other musos who enjoy working with them

• A reputation for always bringing a positive vibe to the pit

• Good, quick reader

• Experience in group playing (band/orchestra/ ensemble)

• Prefer classically trained musos

• Graduate qualifications

• A reputation for punctuality

• Recommendation from another MD who has worked with them (either in a show pit or other orchestral/group settings)

• Prefer jazz trained musos

• A reputation for reliability

• Happy to work with click tracks and use in-ear monitors or headphones

• Knowledge of music theatre scores and musical conventions

I asked them to number these attributes from 1 (highly preferred) to 12 (who cares?).

The results are both fascinating and instructive. Most highly valued by all musical directors was “Always brings a positive vibe to the pit”. Much like other team sports, the pit orchestra needs to get on with each other in order to achieve a collaborative end product. (Check out Gavin Bryars’ Portsmouth

The happy clutter of an Adelaide suburban orchestra pit… familiar muso territory.

Sinfonia on YouTube.) Next in order of importance were “good, quick reader” and “reputation for reliability”.

Additional comments made by these Princes and Princesses of the Pit are worth noting:

1. Jazz Vs Classical training

There was a clear “Depends on the show” response from the MDs.

‘Depending on the style of show I am doing results on which musos I book. My rhythm section is always the same - they are chameleons and can adapt to different styles, but when it comes to reed, brass and keys, I tend to pick musos who are best suited to the style.’

‘I have known rather fantastic drummers who can lock into a groove extremely well while others may be more suited to a percussion heavy show requiring skill across multiple instruments. The same can also be said about keyboard playerssome shows will require a high pianistic level Vs a show with heavy keyboard programming.’

2. Click tracks

‘These days I also look for players who are happy to use click track and wear in-ear monitors or headphones, as many shows are built around this’ ‘In terms of Click track - “show dependent”. For the past 5 years, I have personally run a click track for myself. I would love to run click to the whole band,

but in community theatre, a lot of the “sensitive souls” in the pit (i.e., reed and brass players) refuse to use it as it “mucks up their hearing”. I take this to mean “this is a new thing, and we don’t like new things”.

I see a huge use for click in the pit, especially for choreography heavy shows - tempi the same = less chance the choreographer or dancer can complain about tempi.’

3. Multi-reeds

A very pertinent observation for teachers:

‘There are not very many shows that require “a flute player” or “a clarinet player” - musos need to be multi trained in flute/clari/saxes etc., and different combos. I notice in several school Facebook groups that music teachers seem to forget this and re-write charts for shows to suit their students - sadly, this is highly illegal and against copyright, but we all turn a blind eye to it!’

Next time

Although every music theatre singer needs to know about orchestra pits and the amazing artists they contain, next quarter’s column will focus more on the training of a music theatre voice. Till then, a happy new musical year to all.

The Overtone Series Part 3

Minor triads, and extensions of major and minor triads from the overtone series.

By Anthony Lillywhite

Ex. 1 shows (once again) the overtone series from ‘C2’ (the C that is two 8ves below middle C) as shown in my previous two articles about the overtone series. The numbers shown are the ‘Partial Numbers’ by which the overtones are identified. In this article we will be focusing on the 5th partial.

Ex. 1

Ex. 2 shows the 4th, 5th and 6th partials forming a close root position C major triad. The 2nd, 3rd and 4th bars show the three intervals found in this triad. The partial numbers alongside each show that the acoustical root of each interval is C2 as shown on the bass stave. From this we can conclude that the major triad is the purest arrangement of 3 tones, having a maximum of strength and clarity.

Ex. 2

Ex. 3 shows a root position C minor triad. The following three bars show the three intervals found in this triad. The partial numbers alongside each show that the acoustical root of each interval is different. To see this, look at example 4 that shows the Ab and Eb overtone series to the 8th partial. (The perfect 5th of course is found in the C overtone series above.)

Ex. 3

So we see now that the minor triad has three unrelated acoustical roots or difference tones. Consequently, it has a richer, warmer sound and more tension than the major triad.

The root of a minor triad is calculated as the root of the strongest interval, that being the perfect 5th (or perfect 4th in inversion). The harmonic strength of an interval is determined by its closeness to the acoustical root. The harmonic ratio of perfect 5th is 3/2; only the perfect 8ve - 2/1 is stronger. Therefore ‘C’ is the root of the C minor triad and the partial numbers of its three tones are calculated the same way as the major triad, but with an altered 5th partial (Eb). Altered partials are indicated by a √. See example 5

In jazz harmony, it is common practice to add colour to major and minor triads especially when they function as tonic chords. This is done by adding extra tones; the major 6th, major 7th and major 9th above the root, either singly or in combination. The resultant extended chords are shown in Ex. 6 and Ex. 7.

A note about the chord symbols shown in Ex. 6 and Ex. 7. The second chord in Ex. 7 is CmΔ7. The Delta sign in this chord symbol is in place of the abbreviation of ‘Major’ (CmMaj7). The Delta sign is commonly used when a Major 7th is added to either a major or minor triad. The chords shown in the third bars of both Ex. 6 and Ex. 7, i.e. Cmaj9 and CmMaj9, are 5 note chords as shown by the notation. The major 7th in each case is assumed with these particular chord symbols.

In my previous article, we looked at the altered 7th partial, and now the altered 5th partial. There is one other partial, the ‘altered 9th’ that is of particular significance in harmony. This may be a topic for another article.

Ex. 5

Ex. 6

Ex. 7

REGIONAL TEACHERS

STUDYING A SET WORK: HINTS FOR STUDENTS

by Dr Rita Crews OAM

Dr Rita Crews OAM is the AMEB Federal Chief Examiner for Online Theory, Patron of the Music Teachers’ Assoc of NSW and former President. She is also a Distinguished Alumnus of the University of New England.

The higher grades of AMEB and Trinity theoretical examinations require candidates to study certain works and be able to answer questions on those works with confidence. Studying a set work is one of the more enjoyable aspects of theoretical examinations and is not a difficult task. It is however, a time-consuming task and should not be undertaken two weeks before the examination!

I have listed below a number of hints on studying a set work to help make the task logical and enjoyable.

1. First and foremost, music is an aural experience so play the work many times over on your audio device in order to become familiar with the themes. Do this initially without the score to get an overall impression of the work.

2. Next, play the work again, this time following the score. If you have trouble in the first instance following the score because of the tempo, just put your finger on the bars and follow the beat. There will always be points of rest such as cadences,

lst Movement: Sonata Form

pauses or rests where you can catch up. Repeat this procedure several times until you and the score and the music all finish up together! With an orchestral work, you may have to do this several times until you become very familiar with the work.

3. Now start to write the analysis on the score, using a written analysis as your guide. Use a highlighter to mark the main themes in whatever part they occur. It isn’t necessary for scores to look neat, they should be used not sanctified. Your aim is to mark everything on the score so you can eventually dispense with the written analysis and be left with everything written on the score.

4. Use a different coloured highlighter to mark characteristic features of the music such as sequences, imitation etc. so your eye (and your ear) can pick these out quickly. Recognise any ornaments and be able to write them out as they would be played, using the correct note values. In an orchestral score, familiarise yourself with the various instrumental markings such as arco, + , zu2 etc.

5. Now follow the score with the recording, mentally marking each main subject, key change, features such as canonic imitation, inversion, pedal points, sequences, cross-accents or other important features as they occur in the score.

6. If your score is an orchestral one, make a summary list of the important sections noting theme and instrumentation involved, tempo, modulations, etc., something like this:

11-24 lst Subj. Allegro Theme: V1 with V2 & Cellos Bflat major

23-38 Trans. Horns enter Bflat maj-Eflat maj-Fmaj

38-52 2nd Subj. Allegro Theme: Flutes F maj [dom]

53-106 Devel.

lst S: imitation C maj (V1 & Cellos)

2nd S: augmentation C maj-Gmaj with flute & V2 .....and so on.

The summary lists the main points in outline form.

sections that occur twice; for instance, in a sonata form work, what is the difference between the Exposition and the Recapitulation? Does the same instrument have the same subject? Or is only one subject recapitulated? Does the recapitulation follow the same key plan as the Exposition etc. The more you listen to the recording, the more these questions make sense and you will be able to pick out the similarities and differences between the various parts of the work.

8. If the work is a vocal one, you need to be as familiar as possible with the words and if they are in an unfamiliar language, try to obtain a translation so you know what the words mean, but study the work in the original language as presented on the score.

9. Regardless of whether the work is solo instrumental, orchestral or vocal, you must know and recognise the main themes or subjects. This is a straight out learning process by putting pencil to paper but you can make it easier by playing the themes on your own instrument. This helps with familiarising yourself with the rhythm and interval construction and I strongly suggest you do this,

pen to paper. It makes learning to write out the themes so much easier. Be careful to use the correct clefs, phrasing marks, note values etc. as they appear in the score.

10. Once you are very familiar with the work, test yourself by starting the recording at any place at all, asking yourself “what part is this; what section; which instruments are playing; what key is this” etc. The more you do this, the more familiar you will be with the work and the more confident you will become.

11. Good luck! and enjoy your study of prescribed works.

PEDAGOGY MATTERS

Teaching Observations: Those Pesky Photocopies

By Melanie Spanswick at www.melaniespanswick.com

Today’s post heralds the start of a new series on my blog: Teaching Observations. These posts will include random teaching related topics which might be of interest to other teachers, students, or piano lovers.

I hear and work with a wide variety of piano students both in the UK and abroad; younger, older, and those who play fun, as well as university music undergraduates and postgraduates, and talented students hoping to become professional musicians.

Over the past six months, I’ve observed and worked with more students than usual. I have a new job (faculty piano lecturer) at Royal Holloway University of London, have recently tutored students abroad, and have listened to several hundred young competition players at a couple of online competitions. Time for reflection is most important when teaching. One subject that I constantly mull over is that of piano repertoire; how can I find absorbing music for my students, and repertoire which suits them and their current requirements?

At a university (if majoring in music) and at a music conservatoire, students have yearly exams. ‘Performance Platforms’ for those on the Music Course last around ten minutes at Junior Guildhall School of Music; the repertoire is free-choice and performances are quite formal affairs taken in a recital hall. My one undergraduate Guildhall School student’s piano exams have more stringent regulations. For the first-year undergraduate degree course, we prepared two recitals (a 30-minute exam and a 40-minute exam) both with specific criteria, such as a two Classical Sonatas, two preludes and fugues, several concert studies, a Contemporary work etc. At Royal Holloway university, students have differing recital lengths depending on the degree: undergraduates usually perform for 15/20 minutes at the end of the year, whereas the Master’s degree performance programme is, as one might expect, more demanding requiring two examinations: a 30-minute and 50-minute programme. One criterion remains the same for all: students must not repeat repertoire.

Finding suitable repertoire, or piano works that harmoniously complement each other yet are also well within a student’s grasp, is a challenge. And on top of this, I have to ensure students enjoy all the pieces they study, which I believe is a prerequisite.

Like many teachers, a fair amount of my time is spent scouring exam syllabuses, online libraries, and, occasionally, online forums, because I like to come up with unusual choices alongside the expected ‘classics’.

This brings me to a particular bête noire; photocopies. Piano students really do love to photocopy their music, and, as you can see from the image above, I’ve done my fair share of photocopying too. Photocopied scores are cheap, they are useful for quickly examining music, and purchasing published music can be costly. I expect we all peruse excellent sites like the Petrucci Music Library (IMSLP) which offer a gargantuan selection of wonderful music and all at our fingertips. However, these online scores, which are ripe for photocopying, can be littered with errors, poor fingering suggestions, and a whole host of other issues.

I want to highlight the misuse of photocopies because several pupils have recently encountered unexpected difficulties whilst playing from their photocopied music. Photocopies aren’t just a nuisance, they used to be illegal in certain circumstances such as use in various examinations, festivals, and competitions. Some establishments are loosening their rules here probably due to the rise and popularity of online performances, but irrespective of this, photocopied music presents problems for those using it. It’s also worth noting that where the composer has not yet been dead for 70 years (and sometimes longer) scores are still in copyright, therefore copying their music, in this case, is illegal.

During a recent book tour, most students turned up for their class with a neat file containing all their scores. Inside the file, each piece was photocopied and every page was generously housed in a clear plastic sleeve. This not only renders the score unusable when trying to write on it – of course you can take the music out, but it’s distracting – however, far worse is when lights shine on these plastic sleeves at a particular angle during a performance, the music suddenly becomes unreadable. This problem also rears its head where I teach too; not long ago, a couple of students suffered such an issue during a concert which caused a momentary break-down, heightening their anxiety and nerves. Perhaps even more upsetting is when students carefully line up five or six pages of photocopied music on the music desk (without fastening them together) only to witness each page unceremoniously falling off during a play-through. Even more irritating can be finding the copied pages are in the wrong order!

they are not suitable for long-term study. It’s up to teachers to guide students as to which score to obtain – we all have our favourites. A bone fide score will contain helpful fingerings and other musical markings (if the publisher is reputable and prints good-quality scores). Many editions, especially Urtext editions, offer interesting information regarding the piece, its context in the composer’s output, as well as suggested ornament realisations and relevant composer reworkings of the original score.

Some like to use their tablet to read and store music instead of a traditional score. I’ve only done this on a few occasions and found out relatively quickly that I prefer the physical score as it’s easier to read. Generally, tablets are nicely set up for score reading and most are reliable. Although I attended two concerts a few years ago where the use of tablets seriously ‘let down’ both (renowned) pianists; they had to leave the stage mid-concert to retrieve their physical scores and find page-turners.

Here are a few basic suggestions for those unable to purchase music:

• Explore the library. Libraries don’t always offer a good selection but, as a student, I ‘lived’ in my local library. They had a great collection of all types of music providing a never-ending stream of sightreading for me. It’s not a good idea to annotate library scores, but they can be beneficial.

• If you are a teacher, might you consider allowing a student to borrow scores? This way, they can at least enjoy the benefits of some editions and play from a book as opposed to using photocopies. I tend to loan out my scores quite frequently.

• Second-hand music can be a blessing. Copious online sites are offering second-hand scores which are usually much cheaper than new ones. If this is of interest, check out Preloved.co.uk, handcockandmonksmusic.co.uk, abeBooks.co.uk, and, eBay.

• Instigate a ‘score swap’. If students don’t need their scores anymore and don’t want to keep them, they might consider swapping them with fellow students.

• It’s worth watching out for score ‘sales’ at shops. They occur from time to time and sometimes stores offer up to 25% reductions. Take a look at online sites such as Musicroom and Presto Music – they both feature regular sales.

• If you can locate an antique bookshop, they can contain a treasure trove of unknown music and unknown composers (I have such a shop in Eton, near where I live). They are worth exploring for those who want to discover something different; these scores are invariably inexpensive and you are purchasing a piece of history.

In my opinion, scores are objects of beauty and they

personal annotations.

Another pressing issue that I have yet to mention, but it’s one I feel passionately about, is the fact that publishers, authors, and composers need our support. If music is obtained for free, many publishers will eventually suffer financially and will find it increasingly difficult to print new/more music, which they must do if they are to continue to build and expand their libraries. Authors and composers will suffer a similar fate as a result of this trend, too.

Music study can be expensive and funding is a problem for many a student. But once the decision to study the piano has been made, I believe that acquiring piano scores should be considered a priority for those who take their playing seriously.

www.musicroom.com

www.prestomusic.com

www.sheetmusicplus.com

Melanie Spanswick Biography

Melanie Spanswick (1969 - ) is a British pianist, author, teacher, adjudicator, and composer. She graduated from the Royal College of Music with a Master’s degree in Performance Studies.

As an educator, Melanie has examined and adjudicated widely, and she has given master classes, workshops and presentations throughout the UK and abroad, extensively touring the Far East. She currently teaches the piano at the Guildhall School of Music and Drama and Eton College (UK), and is a Master teacher at the Tom Lee Academy (Hong Kong). As a pianist, she has performed and broadcast worldwide, and has given recitals as a soloist, chamber musician and accompanist at many music festivals and major concert halls.

Melanie has written and edited piano books for the international market, to critical acclaim. She is a regular contributor to Pianist Magazine, Piano Professional (EPTA) and Music Teacher Magazine, and her threebook piano course, Play it again: PIANO (Schott), has become a best-selling series. She has recently published a three-book series: Women Composers – A Graded Anthology For Piano (Schott), and a two-book series, First Repertoire For Little Pianists (Willis Music Co.).

As a composer, Melanie has written and published works for professionals, amateurs and students, and her music has recently been performed and recorded in Japan, Germany, Serbia, Italy, Malaysia, Indonesia, and Singapore, as well as in the UK. Melanie is one of the few female composers to feature in the Edition Schott Composer series.

You can read Melanie’s Blog, and visit her website, here: www.melaniespanswick.com

Social Media

Facebook: https://www.facebook.com/ClassicalMel Twitter: @Classicalmel Instagram: ClassicalMel

OTHER ORGANISATIONS’ NEWS & EVENTS

SA MUSIC CAMP 2023

www.samusiccamp.com.au/

The 2023 Music Camp dates will be released from November

• SA Music Camp offers instrumentalists from the age of nine to twenty three years an opportunity to play in one of five ensembles which cater for a wide range of ages, standards and levels of experience.

• Daily routine includes a mixture of tutorials with specialist tutors, and rehearsals with leading conductors.

• All ensembles perform in a final concert on the Friday night.

ADELAIDE EISTEDDFOD 2023

Entries for the 2023 Adelaide Eisteddfod will be via Stardom; go to www.stardom.com.au/. All of the participating competitions can be viewed from the Homepage. To enter a competition you will need to be registered to login. Visit the Adelaide Eisteddfod website at www.sacomment.com/aes/eisteddfod/ to read the General Rules and look for any news.

27TH BALAKLAVA ESITEDDFOD

Disciplines included are Instrumental Ensembles, Bands, Choirs, Vocal Ensembles, Vocal, Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama and the Finale Concert including adjudication of the ‘Adelaide Plains Male Voice Choir’ Vocal Scholarship. Visit www.balaklavaeisteddfod.org.au, the Facebook

SYDNEY INTERNATIONAL PIANO COMPETITION

Dates Website : :

5-22 July, 2023 (Applications open in Mid 2022) www.thesydney.com.au/

Theme Website

: :

The Mitcham Orchestra is looking for lower strings, Oboe and Horns.

Saturday afternoons 1.30pm – 4.15pm

Cumberland Park Community Centre, 390 Goodwood Rd, Cumberland Park

Ros Keynes

8390 3053

: : : : : SA MUSIC TEACHER

rosalind@keynes.id.au

METROPOLITAN MALE CHOIR OF SOUTH AUSTRALIA

2023 INSTRUMENTAL/VOCAL Music Scholarship-2023

Metropolitan Male Choir of South Australia Inc.

www.mmcsa.org/about/music-scholarships/

The Metropolitan Male Choir Y2023 music scholarship program for solo Instrumental/Vocal performance, is offered to young people with proven musical ability. Applicants must be 12 to 16 years of age on January 1, 2023.

OTHER ORGANISATIONS’

CONCERTS

RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR SERIES 2022

Tickets : $10 or online via website, Facebook, or Vimeo for free.

Enquiries : Ph. 08 8236 7488

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ELDER CONSERVATORIUM OF MUSIC CONCERT SERIES

Lunchtime Concerts

Evening Concerts

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Contact : For booking and enquiries: Tel: +61 8 8313 5925

Email : concertmanager@adelaide.edu.au

ADELAIDE SYMPHONY ORCHESTRA

Check their website for the upcoming concerts and support our local orchestra!

Website : www.aso.com.au/concerts-tickets/whats-on/

MUSICA VIVA

2022

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FLINDERS STREET BAPTIST CHURCH

Tuesday on Flinders

Time : 1:00 pm

Entry : Free

Website : www.fsbc.asn.au/concerts/

NORWOOD SYMPHONY ORCHESTRA

Venue : Norwood Concert Hall

Tickets : Adult $20, Concession $15, Children Free

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BURNSIDE SYMPHONY ORCHESTRA

Venue : Burnside Ballroom, 401 Greenhill Road, Tusmore 5065

Tickets : $20 Please purchase online

Website : www.bso.org.au/concerts-2021/

OTHER ORGANISATIONS

5MBS: MUSIC BROADCASTING SOCIETY OF SA

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8346 2324

5mbs@5mbs.com

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AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au

ABODA SA

C/-PO Box 327 Walkerville SA 5081

ABRSM EXAMINATIONS

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ACCOMPANISTS’ GUILD OF SA INC. www.accompanist.org.au

President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com

ADELAIDE BAROQUE

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ADELAIDE CHAMBER SINGERS

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8361 8896

Executive Director: Ben Finn claire@adyo.com.au

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Secretary: Dianne Spence anats.sa.nt@gmail.com 0435 300 070 admin@anats.org.au

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AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ President: Fiona Patten fionapattenausta@gmail.com +61 439 885 754

AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au

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BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au

Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au

CON BRIO EXAMINATIONS

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ELDER HALL

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FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org

Secretary: Catherine Anderson secretary@flutesocietyofsa.org

INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION

Instrumental Music Office - Klemzig 8261 8988

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Instrumental Music Office - Morphett Vale 8392 3800

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KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com/ 0405 066 469 kodalysa@gmail.com

MUSICA VIVA

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MT GAMBIER EISTEDDFOD

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Secretary: Maxine Chalinor 0457 067 555 tonymaxine@internode.on.net

MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH

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RECITALS AUSTRALIA

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SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION

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THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 srpsainc@gmail.com

TRINITY COLLEGE LONDON EXAMINATIONS

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UKARIA CULTURAL CENTRE www.ukaria.com

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